This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Mr. Breemer, Thanks for your thanks ! I've find a German tuner which is on the Web and explain that he find too this tempering method (tempering by the twelve this time).http://www.piano-stopper.de/html/stotune.htm (in German at these times) I wonder if you strip mute the piano, because I can't tune accurately with this method, the focus point which correspond,d to the 'octave tempering' seems lost (to me anyway,) went strip muting. Have you an idea on why the unisons color is changed too ? When tuning with a less stretched, more "classical" way, I often have unisons phasing differently. I try to avoid at any price the exaggeration when it comes to stretch , because the sound can be too aggressive then, and the color is then lost. Anyway your method is a real "ear opener" . When tired it is difficult to accept the strong sound of the piano, but if the sound is warm and strong together, then everything is easy. As I am a "perfect ear guy" this method is easy. Personally I like the color of the fifths and twelve's when they move, I don't like the Cordier fifths so much, that is because some life remains in the twelve's that I like your sound. I wonder if we are not having the higher partials giving the life in the interval, as the classical 3:1 ratio is certainly more than pure. How do you tune the bass with your method ? for me the fast rolling of the tenths is not acceptable in classical tuning, but when it comes to open the sound then it does not disturb (funny is not it !) Perhaps some of those who find it hard to believe that I can tune as quickly as I can and do "all the checks" will realize that I don't need to any more than just one for each of the notes in the 1st, 2nd, 5th, 6th and 7th octaves and have results just as quickly and accurately as if I had used an ETD I guess that primarily it is a different way of hearing, first I learned to open my unisons (takes a long time), then my octaves and now I can open many intervals with the same warm sound quality. Now, Oleg, if you will make the effort to try to learn the EBVT, I am sure that you will find it to be superior to the Cordier temperament. You will get the same good effect with Romantic music as you get with the Cordier but earlier music played in the simple keys with close harmony will sound much more harmonious. In my opinion, the idea of tuning a temperament with all pure 5ths is self serving to the tuner only -It is a essay to have a better sound first, sure it is easier for the tuner, but it have it's value in schools where less than good instruments are available, and there are not enough tunings. Because may be of the fixity of these temperament and tuning mode, the pianos seems to hold tune longer, I mean that it accept a lot of drifting. and moving . But I had remarks of musicians that it can be tiring (boring) for their ears with time. That is why some tuners using the Cordier method modify it on some pianos (Yamahas i.e.) Therefore, it is better to accept that fact and *arrange* the consequences to align themselves with the Cycle of 5ths. The tempered 5th sound that is displeasing to a tuner will not be heard in the typical musical context. The EBVT, as many HT's do provides a canceling out effect that causes that tempered sound to be "swallowed". Also, my Tempered Octave method "cleans up" this sound in the outer octaves. The EBVT with Tempered Octaves will provide you with the cleanest, purest, most harmonious sounding piano you have ever heard. Try it and you will be amazed. I guess that I begin to have an idea of what it can do ( I will try it for sure). One of our best tuners (retired now) , used to tune a temperament that you hear as being absolutely even (ET kind), but with much more color All "Romantics asked him" . When listening to the thirds, they all grow up quietly in sequence, but If you check it against a EDT , you find a lot of jumps that you can't understand where they come from, because they are basically not perceptible when listening. Of course if you begin to listen to the partials there you will find the "errors" , but if you listen to the partials you stop tuning BMO - that is why it is so difficult to use these ETD while trying to tune musically. Regards, I will let you know the following. Isaac OLEG ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/d6/71/72/7d/attachment.htm ---------------------- multipart/alternative attachment--
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