>Although I agree that lens tests need to allow for the subjective
>element, tuning pianos is actually fairly simple according to which
>model of intonation the tuner uses. He can tune each note precisely
>toa given standard (A=440) for even intonation, or he can adjusy
>certain notes higher or lower to achieve just intonation. To many
>ears, even intonation sounds alittle harsh, so just intonation is
>most commonly used.
Oh so true. Although I won't get into a big technical explanation why
right now, it has to do with the way sound carries and is interpreted by
the human ear. A -2 octave A note would be 110 Hertz if you used
mathematics, however, it will definitely sound out of tune to the human
ear. This has been a big problem with electronic instruments when used
with accoustic instruments. Fortunately, most keyboards these days either
automatically or allow the user to set frequency drift across the keyboard
which will match up with a "properly" tuned accoustic instrument. This is
also why you could instantly recognize electronic versions over the real
thing, even though all else is equal. A properly sampled instrument will
contain multiple samples for every note, not just a few representing a
range of notes and then frequency altered.
Back to lenses, just because two lenses might spec out nearly identically,
the character and individuality comes out. For example, just because a
zoom lens might reach 35mm/2.8 and have identical
resolution/distortion/contrast tests as a prime doesn't mean the photos
will be identical. The optics used to achieve those results are completely
different and will have different bokeh and sense of presence. In my book,
no zoom ever achieves the look of a good prime. To me, the zooms look
"organic" in comparison, even though the specs may be as good, if not
better. Take the 100/2.8 for example and compare its images at F5.6 to any
zoom at the 100/5.6 setting.
Ken Norton
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