Tuning opcode in latest Csound

Message written at 10 Jan 1997 10:46:14 +0000

Thank you to a number of you who offered advice. As a result (or
perhaps ignoring that advice) the latest version of Csoudn (3.44) has
two new opcodes aimed at tunings other than 12ET, which has been built
in from the beginning.
The first opcode is aimed at even divisions of the octave, and is a
simple extension of the current notation. The other opcode gves equal
divisions of any interval -- clearly a 12th is a good candidate but so
would irrational repeats like 3.14159 (well actually a rational
approximation). There are provisions for setting ones own reference
frequency.
As an alternative both opcodes can be used with a table of values
rather than equal divisions, so 'exotic' scales could be coded fairly
easily.

As was pointed out the just-intonation folk are already provided for
by division.

ohn ffitch

(Documentation in ftp.maths.bath.ac.uk:pub/dream/Version3_44.Notes
PC/Windows code in ftp.maths.bath.ac.uk:pub/dream/csound_win.zip
PC/DOS code in ftp.maths.bath.ac.uk:pub/dream/csound_new.zip
SGI code in ftp.maths.bath.ac.uk:pub/dream/SGI/csound
Sources in csound_src.zip of Csound.tar.gz)

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On Jan 9, 8:42pm, Adam Silverman wrote:
> Subject: building an mbira
> This is a question for all of you master-craftspersons out there. I have
> decided to have a fancy mbira custom-built for my music, and before I jump
> into it, I would like to know if anyone here has done this and can offer
> any advice regarding design specifications. I would like to have a
> double-level style like those found in Zimbabwe (do we say Rhodesia?) but
> probably a second tier on either side. I don't know why they usually are
> only double-tiered on the left. I am also wondering if a fine-tuning
> mechanism could be devised, better than just wiggling the tongues back and
> forth while hoping for the best.
>
> Any advice?
>
> -Adam
> abs22@pantheon.yale.edu
>-- End of excerpt from Adam Silverman

I've built plenty of single layer mbira (and we don't say "Rhodesia", just like
we don't say "thumb-pianos" :-) ) the way they do in the bush - with
packing cases and bicycle spokes -if that's any help then I can describle the
process. Tuning is not to bad - two variables.
David.

--
___________________________________________________
Head, Australian Centre for the Arts and Technology
Australian National University
GPO Box 804 Canberra Australia 2601
'phone: +61 6 249 5640 Fax: +61 6 247 0229
email: David.Worrall@anu.edu.au
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> my understanding is that the gourd acts as a air resonator, more than as a
> sounding board (mechanical conduction).

It can, but commonly it's used as a method of amplifying the sound with
mechanical contact. I fix mine with a stick between the end of the board
and the top of the gourd. It makes a big difference in volume. If you use it
as an air resonator the difference is only small.
Other materials are used too. Sometimes mbiras are mounted on large gasoline
tins, or tortoise shells or even skulls are attached.
The association in Shona culture of the mbira and the gourd resonator is so
strong that they have an expression for "calabash resonator without mbira"
referring to someone who speaks with "empty words".

Manuel Op de Coul coul@ezh.nl

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