re: microtonal synths

> My problem is that I don't know at all the technology to work with that,
>so, please: how can I realize it? I think the best way will be to employ a
> synth. Could you suggest me a microtonal one and a software able to fine
> retune *individual* tones (until 1 cent resolution).

You could use the list of supported synths at http://www.justonic.com. All
of these instruments support at least one tuning table, usually to an
accuracy of 1 to 1.56 cents. You would be able to retune the notes using
the instrument's embedded software and display, mapping them to the
existing equal tempered notes. Any MIDI sequence would then play back in
the programmed intonation.

Most choir samples will have beating from the sample looping process, which
could defeat the purpose of any just intonation demonstration of beatless
harmonies. It might be better to use single cycle square or sawtooth wave
programs. Be sure to remove any LFO modulation (vibrato) from the program.

John Loffink


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>Finally, technology is giving us keyboards with virtually
>continuous pitch possibilities, allowing us to produce music that is more
>consistent with natural principles (acoustics, psycho-acoustics, etc.). Why
>continue exploring various equal temperaments? What is the value in it?
> Please understand, I'm not registering a complaint or leveling a criticism;
>I just don't know what the heck's the dang big deal with ETs.

That's a perfectly valid question, but on my opinion, it's based upon a
partly valid and partly faulty premise. That premise is that the only goal
in tuning pitches is to get as close as possible to just intonation. JI is
a fine goal, and there's certainly not a thing wrong with that pursuit. I
personally find octave-repeating harmonic-series-fragment tunings very
interesting when it comes to JI.

But it's not the only meaningful tuning goal. Equal temperaments, or
other nonjust tunings, can be interesting for two main reasons:
1. The approximations of basic JI intervals also sound interesting in their
own right.
2. These tunings provide a new, nontraditional compositional paradigm. For
example, I'm now working in 88CET, a tuning that doesn't represent the
octave at all, and which has 8 instead of 7 steps per perfect fifth. Lemme
tellya, that'll make you step back and rethink music entirely differently!



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On Fri, 2 May 1997 18:31:31 -0700 said:
>consistent with natural principles (acoustics, psycho-acoustics, etc.). Why
>continue exploring various equal temperaments? What is the value in it?

These are good questions. In the electronic domain, I abandoned any
semblance to ET many years ago. I fail to see the need nor use if it,
whether 12, 19, or more divisions to the octave. Using direct digital soft-
ware synthesis, I by-pass the entire keyboard-driven paradigm and work
freely (and delightfully) in open frequency space guided only by various
projections of just intonation.

However, I still use ancient 12-ET when writing for piano, winds, etc., in
order to get music performed by the majority of musicians. I am either not
willing or simply don't have the strength that Ben Johnston does to demand
that all performs learn JI to perform my music. Within the ET paradigm,
I employ pitch bends (etc.) to approximate the intervals I'm after, but
I don't think it's realistic to expect live performers to be absolutely
accurate, when such precision is physically impossible anyway in performance.

Nonetheless, your question regarding the focus of our on-line discussions
is well placed. We should discuss non-ET issues more, since they are more
interesting (IMHO).
-- Brian Belet

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>Nonetheless, your question regarding the focus of our on-line discussions
>is well placed. We should discuss non-ET issues more, since they are more
>interesting (IMHO).

Actually, best I can recall, there's been quite a bit of discussion
about JI, meantone temperaments, well temperaments, and NJNETs over the
course of the list's life.



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