Chowningization -- first 13-tET recording

[Since writing this, Mary and everyone, I've recorded my first example
in 13-tET -- quick and unpolished, but an interesting sample of my
first impressions. I'll be writing more about this, and for now would
just remark that what I've taped so far may mainly illustrate the
potentials of 13-tET and the imperfections of my keyboard techniques.]

Hello, there, everyone, and my special best wishes to Mary, whose
artistry with timbres and orchestration provided a bit of inspiration
for me today as a rank beginner in the art of sound design.

Over the last couple of days, I've realized that an especially term
for this process in the setting of 13-tET (or 13-EDO or 13ED2, if you
prefer) is "Chowningization," in honor of John Chowning, whose music
speaks to both the tuning and timbre sides of the equation.

Today was an occasion for me to celebrate and honor the contributions
of John Chowning both as the composer of _Stria_ (1981), a piece based
on a division of Phi into nine equal parts almost identical to 13-tET,
and as the inventor of FM synthesis and the algorithms on the TX-802
synthesizer that I am now learning about in developing timbres for
this temperament.

Could it be that the Yahama preset "Piccolo" voice (A27) was developed
for Chowning's Phi-based scale, or some similar tuning with a fifth
around 8/9 Phi, or 8/13 octave -- around 738 cents in 13-tET?

One high point happened when my "Chowningization" -- taking a preset
voice and playing around with the FM algorithms or operators to see
how it affects the timbre/tuning fit for 13-tET.

Already I had happily found a "Celeste" voice (B22), made a minor
adjustment or two on the FM operators, and found that it fit
beautifully both with the tuning and with some other organ-like
timbres that I had.

Now I was editing a timbre called "Lady Vox" (A62), changing a couple
of operators from fixed to ratio mode -- that is, from a fixed
frequency for all notes to one forming a ratio with the frequency of a
given note.

When I tried a ratio mode setting of 1.53, very close to the ratio of
the 13-tET fifth (somewhat larger than a pure 3:2, or 1.5), I noticed
that the effect was indeed a kind of "partial," and maybe around now
had a moment of recognition.

This was the kind of timbre that really reminded me of your music,
Mary -- floating, "spacy," and also very pleasant. It would give my
music a side that I have admired both in your pieces and in those of
Bill Sethares, and would also blend neatly with an organ timbre,
distinguishing melodic lines while fitting together harmoniously.

Of course, Mary, I also had to include Phi in a timbre dedicated to
you -- reflecting also on John Chowning's role mentioned by Graham --
so I adjusted another operator to a ratio mode setting of 1.62, the
nearest approximation to Phi at around 1.618. This is also the best
match for the 13-tET interval of 9/13 octave or about 1.616, around
830.77 cents, very close to Phi at around 833.09 cents.

It's a wonderful timbre, and I'm just about ready to record a tape
using it and some other timbres for music in 13-tET.

Mary, thank you for your music, so that when I heard that timbre I
could recognize it, say to myself, "Mary Beth Ackerley," and know that
it was right. It's wonderful for a timbre to stand at once for a new
kind of musical adventure, and for a friendship of the kind this group
fosters.

With peace and love for all,

Margo

Hi Margo

I can't wait to hear your new piece. And I've delighted in reading
about your adventures with a new tuning because you are so clearly
enjoying yourself. And I think that without that element of joy ,
that spark that just loves to create because it can, music remains
robotic and devoid of artistry, although technically proficient.

I am also learning from you. Whenever I tweak sounds I tend to just
go in and fiddle with knobs (usually virtual) till I like what I
hear. Now I think I will pay more attention to partials and their
ratios in the tuning that I am using.

I just got some gorgeous samples of European Baroque organs. They
are six organs from Italy, France and Holland that are sampled by
someone who clearly loved what he wa doing. Each organ has such a
distinct personality, and I suspect it has a lot to do with its
characteristic partials. I plan, of course, on giving them "more
personality" but your writing has inspired me to tune them for my own
favorite tunings.

Anyway thank you Margo for demonstrating that it is very possible to
push oneself a bit and move into creating music as well as writing
about it.

MAry