Phi(Golden Mean)tunings

Recently there has been quite some mention of using the Golden Mean(1.618)as a generator. I have to say that this is not a mere abstract construct, but it has "real acoustic" consequences.

Consider three steps of the generator, say 100, 161 and 261 hertz. The difference tone between the two later pitches are the same pitch as the first note, and also the sum tone between the two first pitches are the same as the third note.

This can be enchanced by using distorsion or acoustical cross-vibrations. I've used a series of Phi intervals just like this as a tuning for oscillators or filter banks in several electronic experiments.

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MATS �LJARE
http://www.angelfire.com/mo/oljare

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In-Reply-To: <LAW2-F851HiTRVdgVLU00011f0d@...>
Mats wrote:

> Recently there has been quite some mention of using the Golden
> Mean(1.618)as a generator. I have to say that this is not a mere
> abstract construct, but it has "real acoustic" consequences.
>
> Consider three steps of the generator, say 100, 161 and 261 hertz. The
> difference tone between the two later pitches are the same pitch as the
> first note, and also the sum tone between the two first pitches are the
> same as the third note.

This is the idea behind O'Connell's article in Xenharmonikon 15. It
probably has something to do with Chowning's tuning that Margo mentioned
today, and therefore the reason why Yamaha FM synths have golden ratios
built in.

> This can be enchanced by using distorsion or acoustical
> cross-vibrations. I've used a series of Phi intervals just like this as
> a tuning for oscillators or filter banks in several electronic
> experiments.

Oh really? I avoided distortion because I thought it would *spoil* the
effect. I'll have another look sometime ...

Oh, the timbre for "the broken talisman" I put in the Crazy Music Files
area goes one step further. The partials are tuned according to golden
horagram ratios, and weighted according to how far up the scale tree they
occur.

Graham