Re: [tuning]REAKTOR (OT)

Dear william
i have also just begun to use Reaktor for a soft synth and while i have
tinkered with it a few times
i have not been able to really employ the microtuninh ability of the synth.
can you toss me a file to take a gander at your tuning and from there i
could find my footing.
i have mainly been using it to sequence notes generated from keykit etc...
but would love to delve into it deeper especially with someone tuning
minded.
i think it is a fantastic replica of some of those old synths.--(i have two
unmodified Prophets)
cheers

Pat Pagano, Director
South East Just Intonation Society
http://www.geocities.com/experimental_audio_initiative/
http://www.virtulink.com/immp/video/
----- Original Message -----
From: William S. Annis <wsannis@execpc.com>
To: <tuning@egroups.com>
Sent: Monday, August 21, 2000 7:01 PM
Subject: [tuning] A novice finds toothless wolves and so delves into theory

>
> With a little help from Reaktor* I have have been playing with
> various tunings. I particular, I have been having a lot of fun with
> the Centaur tuning described at Anaphoria
(www.anaphoria.com/centaur.html).
> It has a lot of interesting resources and I find manageable for a
> beginner to start with. I find the collection of major, minor and
> septimal minor triads particularly intriguing.
>
> While playing around with this tuning I noticed that I was
> doing something that should have made my toes curl, at least by all
> reports: I was playing this as a chord: 9/8 7/5 5/3. This looks like
> DF#A using the mapping from the web page. My fingers were thinking
> "major." Overtone series: 84:100:135. The interval from 9/8 to 5/3
> is the much maligned wolf fifth, 40:27. The 40:27 interval sounded
> like a fine member of the Major family to me combined with the 7/5,
> though the beating from just the 40:27 is not quite nice.
>
> Now this is no surprise that the addition of the 7/5 would
> improve the overall sensation of consonance, I thought, until I
> checked the intervocalic ratios: 56:45, 25:21. Now, 25:21 is only two
> cents off (301.85) a tempered minor third, but 56:45 is well away from
> anything at 378.6 cents (5/4 is 386.31). I've checked the tuning of
> the synth several times in desperation.
>
> Why in the world didn't this chord shriek at me?
>
> I don't have an answer to that. I listen to a lot of
> obnoxious electronic music with a fondness for fairly brilliant - not
> to say discordant - timbres, which may have left me with an
> appreciation, somehow, for a chord like 84:100:135. However, I did
> start to wonder about ways of characterizing a chords "distance" from
> some other chord, such that one can say "nope, these are too far apart
> to be misconstrued for each other?" I grabbed "Divisions of the
> Tetrachord" and read through chapter 5 a few times. There are lots of
> interesting tables there, but I'm not quite sure comparing tetrachords
> and comparing chords are the same thing. Has anyone done any work on
> this? I'd rather not rediscover work already done. :)
>
>
> * Reaktor. At the risk of sounding like a marketing person for
> www.native-instruments.de, I must say that Reaktor is one of the most
> wonderful software synthesizers I have ever seen. It is in fact a
> system for *building* synths and samplers. This flexibility has
> allowed me to add a bunch of retuning knobs to every "ensemble" (a
> working collection of sound modules) I find I like. It makes playing
> with tuning a joy, though my neighbors may not agree. :)
>
> --
> William S. Annis wsannis@execpc.com
> inorganic name - http://www.mp3.com/inorganicname
> Mi parolas Esperanton - La Internacian Lingvon www.esperanto.org
>
>
>
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Thank you
Kevin