Yahoo Tuning Groups Ultimate Backup makemicromusic Microtuning on the Korg Karma

We're back -- Ara and I are making microtonal music every Wednesday,
and we're going to break through the absolute novice barrier sometime
this summer! :)

Anyway, despite what John Loffink's Microtonal Synthesis website
might lead you to believe, we were able (through an accidental
discovery in the manual) to implement the full 22-equal mapping from
my paper (the one that skips the E's) -- and this without even using
the single User All Notes Scale!! Anyone care to guess how? I'll tell
you next time.

Also, it looks certain that we'll be able to implement a full 31-
equal tuning across the 61 keys of the keyboard (so almost 2
octaves), again seemingly contradicting the microtonaly synthesis
website . . . but this *will* require using the User All Notes Scale.

Meanwhile, we've been having loads of fun playing lots of timbres
with a 9-note Mavila (formerly Pelogic) tuning -- not just kalimba
sounds but even string sounds work fantastically with it . . . look
forward to hearing examples in the next month or two . . .
ENANTIODROMIA . . .

-Paul

🔗2357111317 <spigot@...>

🔗Jonathan M. Szanto <JSZANTO@...>

Paul,

{you wrote...}
>We're back -- Ara and I are making microtonal music every Wednesday, and >we're going to break through the absolute novice barrier sometime this >summer! :)

We're all bozos on this bus!

Don't make us play guessing games, let us in on the secrets of tuning implementations...

>Meanwhile, we've been having loads of fun playing lots of timbres with a >9-note Mavila (formerly Pelogic) tuning -- not just kalimba sounds but >even string sounds work fantastically with it . . . look forward to >hearing examples in the next month or two . . .

Care to post a .scl of that file, unless it is already listed in Scala?

>ENANTIODROMIA . . .

I won't even guess...

Cheers,
Jon

🔗Jonathan M. Szanto <JSZANTO@...>

🔗David Beardsley <db@...>

Jonathan M. Szanto wrote:

>p,
>
>{you wrote...}
> >
>>..all this *-ET talk here is making me want to take the plunge off the JI >>cliff into the 5, 10, 13, 22, *-ET ocean...
>> >>
>
>One would hope that it would be music that would make one jump, but I >defend the right of anyone to use any tuning *for their own music*. Then >again, the day that David Beardsley switches to an ET for good I'm outta >here! :)
>
I don't think that's gonna happen.

I really do like 11 limit ratios, they really beat like crazy, Daddy O. ;)

--
* David Beardsley
* microtonal guitar
* http://biink.com/db

🔗Jonathan M. Szanto <JSZANTO@...>

🔗Paul Erlich <perlich@...>

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"
<JSZANTO@A...> wrote:

> Don't make us play guessing games, let us in on the secrets of
tuning
> implementations...

I happened to stumble upon a page in the manual that mentioned "pitch
slope". This is nowhere near the parts of the manual that talk about
scales/tuning. It controls, for each oscillator, the slope of the
graph of keyboard position (on the x-axis) vs. pitch (on the y-axis).
The slope can be set to any value from -1.0 to +2.0 in increments of
0.1. So setting the slope to 0.5 causes the keyboard, in "equal
temperament" tuning, to play 24-equal instead of 12-equal.

Oddly, -99 to +99 cent offsets in the user tunings are applied
*after* this "pitch slope" adjustment, not before as one would expect.

So to acheive a half-octave of 22-equal, one simply programs the
offsets from the half-octave of 24-equal that one needs -- 11 offsets
altogether, key E is left out.

Literally, this is how one inputs the user octave tuning (by turning
the dial on each note until the correct number is shown):

C: +9
C#: +14
D: +23
D#: +28
E: WHATEVER
F: -28
F#: -23
G: -14
G#: -9
A: -5
A#: 0
B: +5

And then, a pitch slope is 0.5 is used, so each keyboard octave will
sound as as half-octave -- and the 22-equal mapping is complete!

For a full 31-equal that doesn't skip any keys, you need to use
the "user all notes scale". Set the pitch slope to 0.4, which gives
you 30-equal, and apply the necessary offsets from there.

> >Meanwhile, we've been having loads of fun playing lots of timbres
with a
> >9-note Mavila (formerly Pelogic) tuning -- not just kalimba sounds
but
> >even string sounds work fantastically with it . . . look forward
to
> >hearing examples in the next month or two . . .
>
> Care to post a .scl of that file, unless it is already listed in
Scala?

Since the idea draws on familiar keyboard patterns, I'll show how the
tuning is implemented as cent offsets from 12-equal. When this is
done, the notes aren't in order of pitch anymore so I'm not sure how
to best express that as an .scl. The pitch slope is back to normal
(+1.0) for this:

C: +46
C#: WHATEVER
D: 0
D#: WHATEVER
E: -46
F: +69
F#: -92
G: +23
G#: WHATEVER
A: -23
Bb: +92
B: -69

> >ENANTIODROMIA . . .
>
> I won't even guess...

I discussed this on other lists, and the relevant posts will help you
understand what we're doing with this Mavila (formerly Pelogic)
tuning. Though they were not original to him, Erv Wilson was the one
who applied the words "Mavila" and "Enantiodromia" to this tuning and
this process.

/tuning/topicId_52666.html#52727
/specmus/topicId_unknown.html#1557
/specmus/topicId_unknown.html#1558
/specmus/topicId_unknown.html#1562
/specmus/topicId_unknown.html#1566

🔗Jonathan M. Szanto <JSZANTO@...>

Paul,

{you wrote...}
>I happened to stumble upon a page in the manual that mentioned "pitch slope".

[snip] Thanks for that. While I'm not into 22, I know that the pitch slope think is in my Korg Wavestation as well. Very ingenious of you!

>... the notes aren't in order of pitch anymore so I'm not sure how to best >express that as an .scl....
> > >ENANTIODROMIA . . .
> >
> > I won't even guess...
>
>I discussed this on other lists...

I'll follow those links, thanks.

Cheers,
Jon