Hello Ed , > I don't understand. Are you meaning to say that ET is more > "in tune" than the alternatives? If so, then we have to define "in tune" by something other than the amount of consonance available, since ET has virtually no physical consonance at all. ET have a lot of consonance happily, particularly because of the iH and the spectra of the grand piano. My guess is that what you call consonance is flatness, or dullness in some case. Makes me think of the Barocco thing, where musicians unable to produce music with a good sound became specialists of a thing that nobody can judge objectively. All this is waste of time, for sure any tuning done without a nice spectra in the voicing and the unisons will sound a little more lively when it will have flaws of unequal temperament, but, when nicely tuned, the little differences are of a so little concern that they are not noticed, even in thirds speed (the speed is almost growing regularly on the finest tunings I hear). What is a good thing is that actual tuners , because they use so much the EDT, can well re-discother the importance of the fifths and the cycle of fifths. It helps to reset the ears, but you are not obliged to go to extreme situations to obtain a nice tuning. I have the Beethoven CD, don't like the way the pianist brutalize the instrument and the music, nor the piano sound, ugly treble and uninteresting medium. You cant mask capo noises with the tuning, it is better to revitalize the hammer and mate it to strings. The tuning don't hold well in the treble, and I feel you where obliged to close too much the unison, in an attempt to have them stable, let me tell you it did not work. The unisons, octaves and bass tuning sound as the work I done 2 years ago, focusing on partial match at the detriment of the warmness and bloom of the sound. May be it is because I am used to European Steinway, but I don't like these mushy hammers artificially hardened , they can't accept hard playing and they don't help the tone. I guess too that tuning the piano in these different ways does not allow for enough precision in unisons. It may be more useful on an historic instrument, more forgiving . I would not say that if I did not understood recently that it is a matter of bizzness to you, please don't take too much people with you in this foolish trade, pianists are in need of very good tuners more than ever, and they are too rare now ... Younger tuners may well not loose too much time on that I think. Having a professional appreciation and knowledge of temperaments is well something desirable, but all the mystics sold with it is a little too much for me. And remember the pitch can well be very different at the times involved, so don't talk about emotional content. Emotions are to be feel. Not enough to think about it. Sorry to be unfair, but I tried to shut up. Will leave that post unsended for a while. Done.... Regards. Isaac OLEG
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