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Found 5 results

  1. Hi everyone, I reckon you trust me being well aware of previous discussions insofar. Here‘s what I‘m after: I‘m just acquainting myself with this beautiful brass-reeded instrument, which appears to be in higher pitch and meantone tuning. However, having adjusted my ears to the different sound of temperament tuning, I still notice some slightly odd notes. So I upgraded my tuner, tried quarter comma meantone tuning and tried to calibrate the pitch. Result is that every note (with the exeption of the two added enharmonic notes of course) falls well with the plus/minus 5 cent range, but only if I choose 449 (instead of 452 as expected). I do not intend to take it down anyway, as I want to use it as a solo instrument, or to accompany my (or my wife‘s) singing. So would you recommend to find the best-fitting pitch (probably 449) and touch just few reeds which are actually annoying me - which would rather mean to take them up one to three cents? Is quarter comma meantone the appropriate approach? Unfortunately, I can‘t try 1/5 comma as my tuner doesn’t provide that, but from what I’ve read 1/4 comma is what has been in use around 1860 - which I‘m told the instrument has been fabricated... Thank you in advance for any input - 🐺
  2. A friend is porting Flutini, the real time tuning analyser, to iPod. I recounted that I'd found it useful for checking concertina tuning, and that some concertina players have gone for quarter comma meantone rather than equal temperament, so that if he were intending to offer some temperaments, that would be a potentially useful one. He agrees but asks what root note the temperament should be centred on. Do we have a firm view on this? Terry
  3. There's been a lot written about meantone tuning recently on this forum, but I don't think there are any practical audio comparisons. Since I have anglos in both ET and ¼ comma meantone, I've recently made a short youtube movie to demonstrate and hopefully demonstrate the difference. Unfortunately, I only have Bb/F anglos in both temperaments, so the recording will sound a tone lower than most people would be used to. I've selected four contrasting sorts of pieces and edited the video so that the differences can be directly heard. I've discussed some of the issues, so it is a bit on the long side, but I do hope it will help anybody who is unsure of the scale of difference between the two. https://www.youtube.com/watch?v=HT9fStxlbBQ&feature=youtu.be Adrian
  4. I have just recieved my new wooden-ended Aeola TT from Theo Gibb. Apart from doing a brilliant job of restoration he has tuned it in 1/5 comma meantone for me. I am not aware of having heard an ec in this tuning before and I was apprehensive about doing it. After consulting on here I decided to go ahead and am glad I did. Chords are definately sweeter and more rounded with no harsh heterodyne beating, at least in the keys I normally play in. When there is any slight discord it is no worse than an instrument in ET (eg f#maj, a chord I never use). On the whole I am very pleased with this tuning and would recommend it to anyone who has doubts.
  5. Theo Gibb is about to start work on an Aeola TT for me. The subject of tuning has come up; ET or mean tone? I play both tunes and songs and for the latter would like the sweeter 3rds but do not wish to compromise playing tunes with other people. For tunes I use all the normal folk keys but use some less common ones for song e.g. Fm. Has anyone direct experience of a MT-tuned EC? What advice can you give? Many thanks Dick Trickey.
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