Kawai MP8II manual Common Parameters, Solo Mode, Stretch Tuning, Temperament

6.2.32 Solo Mode

This parameter determines which note will be played when Solo is ON and more than one note is being played simultaneously. There are three choices for Solo note priority.

Last:	The most recently played note within a group of notes will be heard when
	Solo is ON
Hi:	The highest note played within a group of notes will be heard when Solo is
	ON.
Low:	The lowest note played within a group of notes will be heard when Solo is ON.

When the Solo is “Off”, this page won’t be displayed.

6.3 Common Parameters

Common parameters are affecting all zones.

6.3.1 Stretch Tuning

The hearing ability of a human is uneven and is not accurate with high frequency and low frequency as it is with the middle range. The tuning of an acoustic piano is stretched to compensate for this so the sound will be heard naturally to the ears.

Off:	The tuning is flat without stretching.
On:	The tuning is always stretched.
Piano:	The tuning is stretched only when piano sounds are selected.
On W:	Same as “On” but the stretching is wider.
Piano W:	Same as “Piano” but the stretching is wider.

6.3.2 Temperament

This parameter sets the temperament of the MP8II.

Equal:	This is the most popular tuning method that divides the scale into
	twelve equal semitones. This produces the same chordal intervals
	in all twelve keys, and has the advantage of limitless modulation
	of the key. However the tonality of each key becomes less
	characteristic and no chord is in pure consonance.
Pure Maj/min:	This temperament, which eliminates dissonances for thirds and
	fifths is still popular for choral music because of its perfect harmony.
	When playing in a major key select “Pure Maj” and when playing
	in a minor key select “Pure Min”.
Pythagor:	This temperament, which uses mathematical ratios to eliminate
	dissonance for fifths, is very limited for use with chords, but it
	produces very characteristic melodic lines.
Meantone:	This temperament, which uses a mean between a major and minor
	whole tone to eliminate dissonance for thirds, was devised to
	eliminate the lack of consonances experienced with certain fifths

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