New Bearing Plan for EBVT

[Mike and Jane Spalding]

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Bill,

Thanks for continuing to restate and improve your directions.  I've been =
trying to follow along and learn EBVT, and decide whether or not I like =
how it sounds.  Currently undecided, most likely due to not getting it =
right.  Anyway, I'm looking forward to the next installment:  "detailed =
notes and explanations for each step";  please try to include tests and =
troubleshooting, for example "if the A#-D# 4th and G#-D# 5th beat too =
fast, then.....  ".=20

In past posts, you've referred to "reverse well temperament, the most =
common error made by aural tuners attempting equal temperament"?  What =
is reverse well?  How can I watch out for, and avoid or correct it as =
I'm setting an equal temperament?

 Background:  Only a couple years tuning experience, maybe 300 tunings, =
Randy Potter graduate, but use RCT when I can't afford errors or extra =
time, which is most of the time.  (I do floor work for one dealer who =
doesn't mind if I try weird stuff on his pianos, so the aural ET and =
EBVT happens at his place and at home).  I'll be taking the tuning exam =
at Reno.

thanks,

Mike Spalding

  ----- Original Message -----=20
  From: Billbrpt@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: Sunday, June 03, 2001 1:56 PM
  Subject: New Bearing Plan for EBVT


  List,=20

  After taking note of comments from other technicians who have tried to =
tune=20
  the EBVT, the following is a new approach to tuning it.  It does not =
change=20
  the basic results of what I've always done, it hopefully only makes =
the idea=20
  easier to understand and follow.  Later on, I will write a page or two =
of=20
  detailed notes and explanations for each step.=20

  This simple bearing plan does not describe how to test intervals or =
how to=20
  adjust for inharmonicity.  I invite all questions and comments which =
will=20
  help contribute to the detailed notes pages.  =20

  Happy EBVT tuning!=20

  Bill Bremmer RPT=20
  Madison, Wisconsin=20

    =20
                New Temperament Sequence (Bearing Plan) for the=20
                Equal Beating Victorian Temperament (EBVT)=20

  1.  Tune A4 to A-440 pitch source.=20
  2.  Tune A3 to A4, stretching the octave to a a 6:3 type.=20
  3.  Temper F3 from A3, a wide 3rd, estimating it to beat at 6 per =
second,=20
      just slightly slower than it would be in Equal Temperament (ET).   =

  4.  Tune C4, a pure 5th from F3.=20
  5.  Temper E4 a wide 3rd from C4, making it also beat at 6 per second. =

      (about half the speed of the same interval in ET.)=20
  6.  Temper G3 from E4, a wide Major 6th so that it beats exactly the =
same=20
      as the F3-A3 and C4-E4 3rds. (6 beats per second).=20
  7.  Temper D4 from both G3 and A3 so that both the G3-D4 5th and the=20
      A3-D4 4th beat at exactly the same mild rate. (Each one just =
slightly=20
      more tempered than in ET).=20
  8.  Temper B3 from G3, a wide Major 3rd so that it beats exactly the =
same=20
      as the F3-A3, C4-E4 and G3-B3 3rds and the G3-E4 6th. =
(Approximately=20
      6 beats per second).  Now, the F3-D4 6th may also beat at 6 per =
second.=20
  9.  Tune F4 a pure 4th from C4.   This will make a pure sounding 4:2 =
octave=20
       from F3-F4.=20
  10. Tune Bb3 a pure 5th from F4.   =20
  11. Listen to the resultant 3rd, Bb3(A#3)-D4.  Temper C#4 from A3  so =
that=20
       the A3-C#4 3rd beats exactly the same as the Bb3(A#3)-D4 3rd.=20
  12. Tune F#3 a pure 5th from C#4.   =20
  13. Tune G#3 a pure 4th from C#4.   =20
  14. Temper D#4 from both G#3 and A#3 so that both the G#3-D#4 5th=20
       and the A#3-D#4 4th beat exactly the same as each other (slightly =

       less tempered than in ET or nearly pure).  =20
  15. When expanding the octaves do so in a manner which will cause the=20
     2nd inversion major triads of C, G, D, A, E, & B to have the 3rd & =
6th=20
     beat exactly the same.  The octave should be stretched enough so =
that=20
     there is a very slight beat in the single octave (approximately 1/2 =

     beat per second) and that the tempered 5th will beat slower than =
the=20
     4th. When both the 4th and the 5th were pure in the temperament, =
the=20
     octave will naturally be stretched a little less than an octave=20
     whose 4th and 5th are tempered.=20
  16. When expanding the outer octaves, try to reconcile the double =
octave=20
     and the octave and a 5th (12th) so that the double octave and the =
12th=20
     beat exactly the same. (A very slight beat, almost inaudible). This =

     will naturally result in octaves which vary slightly in size up and =

     down the keyboard. These will quite effectively be "tempered=20
     octaves".=20


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