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toplayer2 wrote:One presumes that you have suggested equally tempered thirds for a reason.
James wrote:While all this noticing beats as discordant is very interesting, I think that it is important to remember we are in a real world of different temperatures,humidity weird pipe problems, and on and on. In my experience, the only time an instrument is really in tune, no matter what the temperament, is in the 10 or so minutes that it takes for the tuner to pack up his tools and go home. In the 19th century, the problems of tuning must have been extreme. As the concert hall filled up, the temperature would rise, the instruments would go out of tune, the poor organ suffering the most. Fortunately, at that time, the audience made so much noise waving to friends, chatting, and so forth, that it probably did not matter much. While I am sure that most gentle readers of this post will not believe it, there are people today who deliberately detune their sample sets, to more accurately experience this real world effect!!
James wrote:While all this noticing beats as discordant is very interesting, I think that it is important to remember we are in a real world of different temperatures,humidity weird pipe problems, and on and on. In my experience, the only time an instrument is really in tune, no matter what the temperament, is in the 10 or so minutes that it takes for the tuner to pack up his tools and go home.
Eric Sagmuller wrote: I still hear this with multiple speakers, but overall the sound is just more at ease sounding, and giving more of an interactive soundstage, more like my real pipes, even with wet samples.
jkinkennon wrote:At least in my case all the beating thirds diminish rapidly as I move away from a piano or organ speaker. I suspect the reason is the additional multi-phase room reflections. That's an interesting point about reverb. Whether from the real acoustic or artificial reverb, the additional phase relationships should mask the beats. I'm sure this is one of the reasons for my strong preference for stereo samples as well. The same effect may explain the practise of turning speakers around to reflect off walls and such. Is it possible that mono sample sets REALLY need multiple speakers and stereo or surround sets beneift a little from extra speakers? Same for dry/wet as has been mentioned previously.
On another topic, I cannot resist the urge to point out that the spec being quoted for the Mackie speakers is not the spec for the speaker, which would be considerably higher, but the spec for the amplifier section of the speaker only. I don't question the quality or well deserved reputation of these speakers, but speakers remain the most non-linear of all the components in the audio chain.
Concerning historic temperments, it's one of the strengths of HW that it becomes so easy to experiment with these temperments. Temperment "fixes" always come with a price and making a set of preferred intervals sound better results in other intervals sounding much worse. So it's a tradeoff that can be seen as more musical, and sometimes it's a tradeoff that happens more by accident such as when tuning using perfect fifths. But always a perfect beatless C to E, as an example, makes some other interval sound worse.
toplayer2 wrote:When I play the C above middle C (523.251 Hz ) along with the major third E (659.3 Hz), I hear a tone that is roughly the G above middle C. The difference between the frequencies of C and E is 136.0 Hz. If this is subtracted from C's frequency, the result is 387.25 Hz, pretty close to G (392.0).
The stapedius muscle is attached to the stirrup and oval window; it contracts in response to a loud noise, making the chain of ossicles more rigid so that less sound is transmitted. This response, called the acoustic reflex, helps protect the delicate inner ear from sound damage.
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