Matthew Todd wrote: > Isn't the 10th (F3-A4) suppose beat maybe 1/2 a beat faster than the > 3rd (F3-A3)? > > Matthew > > *//* Supposed and supposed... Its only supposed to do that if thats what you want it to do. For the octave A3 A4 it is fairly common to set the 6:3 octave pure, and that widens the 4:2 a bit. 0.5bps is a rule of thumbs thats going to vary a bit from piano to piano. My self I prefer the best compromise between a 4:2 and a 6:3. That seems to rather naturally result when dropping the whole octaves tuning concept in favor of tuning perfect 3:1 12ths. For example take D3 (3) and A4(1) as pure. Now D3 (3) needs to beat slightly narrow with A3 (2) i.e. the 3:2 fith. That particular 5th is in the range where 5ths are getting mighty slow... say 0,3. So this means that A3 (2) and A4 (1) will beat wide at that same rate. Thats not very much for the 2:1 octave A3-A4. The result is a very slightly wide 4:2 and very slightly narrow 6:3. Baseing a <<temperament>> curve on those three tones as anchors to evenly space the remaining notes from D3 to A4 and tuning the whole remainder of the treble as perfect 12ths to already tuned notes below produces this result. The bass tho... works really well with the best compromise between 6:3 and 4:2 octaves directly tuned as octave types.... at least thats my experience. Getting both pairs to sound through very just like is a nice effect.... regardless of higher coincident pairs beat rates IMHO. Cheers RicB
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