P12 in Tunelab Pro

[Isaac OLEG]

Hello,

Bernhard wrote :

(I also don´t find it helpful to discuss about octaves to
be 2/1 4/2 or 6/3 since at that point we are leaving the beat
structure net
caused by the main fundamentals) In fact I described the tuning as
19th root
of the 3rd harmonic and not as 19th root of a mathematical 3/1 ratio.

I agree with that, expression of these octave ratio is mostly a help
to get a better control on the artificial stretch used, but primarily
the idea came because of the preeminence of those partials in the tone
mix INCLUDING THE FUNDAMENTAL, thing than most seem to forget.

When it comes to the stretch proposed by the VT, I check it again
recently on a nice Erard grand with low iH strings (recent soft
Firmini sings) the 12ths have  around 1/3 bps in the 5-6th octave, and
that gives a color I like. I understand the strength that is given
with those purer intervals and the solution you came by for tempering,
but I'd say it is not suited nor for any instrument, nor for any
music, (while I could not really get in there saying why, very
probably rounder instrument will not benefit as much from it as more
incisive ones)

And I have yet a few years to change my mind ;>)

Best regards.

Isaac OLEG


Talking about EDT At this moment only a multi partial driven device
can come close to what the ear listen. The most point that I did not
like with partial driven methods is that there is no respect for the
fundamental GLOBAL tone, then octaves for instance are often a little
off (what I call artificial strech)and the kind of consistency
obtained is not very natural to my ears (while giving an impression of
justness indeed).

Stretch as use in concert tuning, seem to me a tool to get more power
at the attack of the intervals, as the tone is higher when the hammer
hit the strings generally, these seem to settle down towards a lower
frequency.

Possibly when played together a stretched octave tend to lock the
sustain to a higher pitch, for resonances reasons (is it possible ?).

I know I rely too much on my musical trained hearing for tuning, this
is why I can't use always the same method, and I have to listen to the
result played if I want to correct a few things. Even in the most
perfectly tuned piano there will be passages that will benefit of some
tweaks, Using a p12 or p5 approach is of course very good, but it can
apart more or less of the piano own's resonance IMO.

Nowadays, I don't know if I obtained the true pure twelve tunings, I
guess that yes, I like to hear more anyway. But I recognize a bit of
it when I hear the Paulello piano (Stephen tunes by pure 12ths also)
and I find it good but a tad strange, probably because of the ear
education I have.

Best

Isaac