Pure Tuning; Pure Tuning The Virus - Access VIRUS CLASSIC User Manual

Pure Tuning

For centuries we have been playing musical instruments that are out of tune...
Ever since the emergence of polyphonic instruments, including all keyboards as well as fretted
instruments such as the lute and guitar, tuning has always been a compromise. Several
th
attempts from the 16 -18th centuries to standardise the temperament (tuning) of church
organs and virginals helped a little, but they were battling against the mighty laws of physics –
see the "Theory" section below.
First suggested in 1636, our modern "Equal Temperament" was only in common use from the
late 18th century onwards because it was considered much too much of a compromise at the
time. Despite it's one advantage (the freedom to play in any key), Equal Temperament simply
dilutes the fundamental problem, spreading it across all the notes in the octave.
Experienced singers and string players use "just" intonation – they adapt to any keys and mod-
ulations (key changes) because they have infinitely variable control over pitch. Within certain
limits, the pitch of wind instruments can also be varied by adjusting embouchure (lip position/
tension). A group of musicians instinctively approaches a common overtone structure, minimiz-
ing the "friction" between all the voices in a chord. This results in the wonderfully rich but com-
pact sound of symphony orchestras or gospel choirs.

Pure tuning the Virus

Unfortunately, realtime intonation was not a feasible proposition for makers of keyboard instru-
ment. Finding a usable method of performing fine adjustments to each and every note seemed
physically impossible, especially when playing polyphonically.
VIRUS CLASSIC MANUAL 137
Pure Tuning