Yes. As I think about it, I recall that David Andersen puts great emphasis on the fourths, especially on the way down through the tenor. Now fourths do happen to have the coincident partial that is a P12 from the upper note. So in a manner of hearing, David is emphasizing P12 in his own way. Hmm. Jason On 6/25/07, Richard Brekne <ricb at pianostemmer.no> wrote: > > Interesting that you should like this tuning so much there David. > Stopper uses his own version of the P-12th tuning stumbled upon > independently in a far more pragmatic approach by myself, and > essentially used without being so defined by hundreds of tuners through > the years who place a lot of weight on the major 6th double decime > (10th) test. Essentially a P-12th is a very moderate stretch...that > pushes the stretch in the killer octave area out there a bit more then > octave priority tunings usually do. Jim Coleman did some looking into > the Tune-lab P-12th approach I came up with a few years back and there > is some of his commentary in the archives on it. > > The interesting part about this is that just about everyone I've ever > run into that uses one or another P-12th approach just ends up loving > the tuning and specifically mention their enthusiasm for the stretch > achieved. > > Personally, I find the P 12th approach to generally cause a too narrow > bass and have come to rather lean heavily on an acceptably quiet 9:3 > coincident pair as part of my tuning tests. This tends to push the bass > notes lower then a P-12th tuning would. I find there has to be a nice > compromise between what a P-12th wants and what the 9:3 coincident > allows for. > > At some point in the bass...looked at from an octave priority > perspective... the 4:2 and the 6:3 become more or less identical in > terms of beat rates... nearly 0. At that point I let the 9:3 come into > the picture. If its <<annoyingly>> fast...... then I need to push a bit > wide. I havent gotten into counting beats with this yet... one just > finds a good compromise. > > In anycase... that you like this approach of Bernhards re-enforces > something I've suspected from your own discussions on tuning on the list > for a long while now. That your tuning ends up very close to a P-12 > result. > > Cheers > RicB > > > Special greetings right back at ya, Bernhard. The Fazioli suite was > on my floor (the 36th) at the Hyatt; on Saturday, after my 6-hour > marathon of teaching, I followed an impulse to turn right into the > Fazioli suite rather than left into my room, and what I found was > magnificent: a 6'4" piano, which I had played and enjoyed on > Thursday, was now luminously beautiful; I played a little, and > immediately asked some guy there who had tuned it; he pointed to you, > hunched over a computer with Rick Baldassin in the corner of the > room. I played some more; this piano was tuned in a manner extremely > close to my protocol and stretch; it sounded, to me, like a million > bucks. My only quibble---and a teeny one, at that---was the slight > imperfections in the unisons, but the tuning was awesome. Then, as is > my wont, I expressed my satisfaction to you rather joyfully and > forcefully---hope I didn't freak you out with my enthusiasm, brother. > That was one great piano tuning, Mr. Stopper. Thank you. > > xoxxoDavid A. > > -- | || ||| || ||| || ||| || ||| || ||| || ||| || ||| jason's cell 425 830 1561 -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20070625/39989df5/attachment.html
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