----- Original Message ----- From: <A440A@AOL.COM> To: <pianotech@ptg.org> Sent: Thursday, August 08, 2002 10:06 PM Subject: Re: Stretch Vs.Temperament, (was Beat Rates) > Ric writes: > > If indeed there exists a substantial number of people who can't > > hear the difference, I as a piano tuner am willing and able to > > satisfy their desires and tune for them a very good ET. > > Hmm, this brings up a question. If these substantial numbers of people > can't hear the difference between a well-temperament and ET, then, for this substantial number, the difference between a sloppy ET and a "very good" one is purely academic, no? > Regards, > Ed Foote Nah, I would say purely professional because it is professional attitude that determines the accuracy and consistency of tuning. But it is academic that tuners who find ET difficult have recourse to the machine so there is are only two reasons for sloppy ET. It doesn't take a well trained ear to hear a "sloppy ET" but players who do take the time to listen as in testing rarely go beyond octaves and unisons. Especially unisons because they stand out in playing. I played happily for four months away on my Yamaha PSR 340 until one day I checked the temperament. There are two fifths that can only be mistakes and yes off enough to call it a sloppy ET. "Reverb" which by default is always on ameloriates the situation somewhat, and when played in open chords sounds less conspicuous and in music you forget all about it. But now that I know I do hear it every once in a while and it is starting to bug me. Would that more players get put off by bad intervals there would be twice as many, maybe three times as many tunings for the profession. It just goes to show there is a wide range of "tolerance" both empirically and aesthetically in temperament before things get objectionable. For the tuner, the ability to achieve ET is known only by other tuners. Yes there are some situations that might "catch up" to the sloppy tuner but I doubt he would advance that far in the profession for that to happen. For example tuning a piano in one room and a piano in another and for some reason they are moved together to be played as a duet. Or a certain group that wanted to mix songs from different concerts and in the studio, found the piano didn't always match. Renting a piano and playing it with the one already there. One tuner tuning the piano there and another tuner for the rental company. But just try to explain to the stage manager (who made sure they were both "just tuned" in that case why both pianos should then be tuned by the same tuner. >From the recording company that sends tapes from SF to LA they soon hear which pianos from which studios do or do not match, to the piano on site (as in movie)does not match well with the piano in the sound recording studio, there are many opportunities for the careful and consistent tuner to flourish, or flounder. In the end it will be attitude that deals with the floundering situations. ---ric (the c stands for 'cudda) to the dressing room where they wonder why the Wurlitizer spinet does not sound like the pit piano there are situations where the sloppy ET will get "busted".
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