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En usko että sävelkorva "vaurioituu", jos enimmäkseen kuitenkin kuuntelee ns. vireistä musiikkia. Pikemminkin nykyään vaarana on, ettei ymmärrä muunlaista musiikkia päinvastoin, kuin siihen vihkiytyneet. Muutenhan pitäisi koko ajan kulkea kuulosuojaimet päässä, kun äänimaailma on täynnä "epävireisiä" taajuusyhdistelmiä. Tosi kyllä on, että korva tottuu myös "huonoon" soundiin, jonka jälkeen saattaa pitää ns. hyvää soundia huonona tai ainakin liian kirkkaana. Toiset tykkää pehmeästä soundista, vaikka nykyisin vallalla onkin kirkas soundi. Metallia ei ehkä pitäisi kuunnella lainkaan, eikä särökitaraa yleensäkään, jos haluaa korvansa pysyvän vireessä, heh. Teknisesti hyvänä pidetään tasaista toistokäyrää ja tarkkaa sävelasteikkoa, mutta eivät nekään takaa, että lopputulos olisi miellyttävä edes soundillisesti saati musiikillisesti tai taiteellisesti. Toinen viritys saattaisi korjata tilanteen, mutta silloinhan musiikki olisi meidän mielestämme "epävireistä" - vaikka kuulostaisikin paremmalta tai olisi jopa paremmin vireessä, kuin se mihin olemme tottuneet. Hmm? Tässä lienee syy miksi vaikkapa taitava viulisti tai laulaja saattavat ajoittain kuullostaa ylimaalliselta ja paljonkin paremmalta, kuin tiukasti vireeseen tai paremminkin lievään epävireeseen sidottu "tylsä" kosketinsoitin.

Nämä saattavat valaista asiaa:
http://en.wikipedia.org/wiki/Just_intonation
http://en.wikipedia.org/wiki/Pythagorean_tuning
http://en.wikipedia.org/wiki/Meantone_temperament
http://en.wikipedia.org/wiki/Regular_temperament
http://en.wikipedia.org/wiki/Well_temperament
http://en.wikipedia.org/wiki/Equal_temperament
http://en.wikipedia.org/wiki/Slendro
http://en.wikipedia.org/wiki/Pelog
http://en.wikipedia.org/wiki/Harry_Partch%27s_43-tone_scale
http://en.wikipedia.org/wiki/Bohlen-Pierce_scale
http://en.wikipedia.org/wiki/LucyTuning
http://en.wikipedia.org/wiki/Quarter_tone_scale
http://en.wikipedia.org/wiki/19_equal_temperament
http://en.wikipedia.org/wiki/22_equal_temperament
http://en.wikipedia.org/wiki/31_equal_temperament
http://en.wikipedia.org/wiki/Schismatic_temperament
http://en.wikipedia.org/wiki/Miracle_temperament
http://en.wikipedia.org/wiki/Stretched_tuning
http://www.kylegann.com/histune.html
http://www.microtonal.co.uk/start.htm
http://pages.globetrotter.net/roule/temper.htm
http://sankey.ws/consonance.html
http://www.odeion.org/atlantis/chapter-1.html
http://www.lucytune.com/
http://bach.tuning.googlepages.com/
 
"All musical tunings have advantages and disadvantages. Twelve tone equal temperament (12-TET) is the standard and most usual tuning system used in Western music today because it gives the advantage of modulation to any key without dramatically going out of tune, as all keys are equally and slightly out of tune. However, just intonation provides the advantage of being entirely in tune, with at least some, and possibly a great deal, loss of ease in modulation. The composer Terry Riley, said "Western music is fast because it's not in tune", meaning that its inherent beating forces motion. Twelve tone equal temperament also, currently, has an advantage over just intonation in that most musicians are trained in, and have instruments designed to play in equal temperament. Other tuning systems have other advantages and disadvantages and are chosen for various qualities.
 
The octave (or even other intervals, such as the so-called tritave, or twelfth) can advantageously be divided into a number of equal steps different from twelve. Popular choices for such an equal temperament include 19, 22, 31, 53 and 72 parts to an octave, each of these and the many other choices possible have their own distinct characteristics.
 
Non-equal and non-just tunings also provide advantages. For instance, William Sethares shows that the tunings of Balinese gamelans are related to the inharmonic spectra or timbre of their metallophones and the harmonic spectra of stringed instruments such as the rebab, just as just intonation and twelve tone equal temperament are related to the spectra or timbre of harmonic instruments alone.
 
Some instruments, such as the violin, don't limit the musician to particular pitches, allowing to choose the tuning system "on the fly". Many performers on such instruments adjust the notes to be more in tune than the equal temperament system allows, perhaps even without realizing it.
 
Like the violin and other fretless stringed instruments, the pedal steel guitar places absolute control of pitch into the hands of the player. Most steel guitarists tune their instrument to just intonation. The steel guitar is unique among western instruments in its ability to create complex chords in just intonation in any key. Smooth, beatless chords are part of the steel guitar's characteristic sound."
 
Lähde: http://en.wikipedia.org/wiki/Musical_tuning