Re: heeelllo!

Carl,

Thanks for the reply. I hope you don't mind me forwarding your reply to
the tuning list. I hoping that some helpful threads would be generated on
the subject of the carillon and all its related issues. I need help, as I
am still a beginner!

Replys below

Peace,
Darren

>
> >This post and the html file contain my latest thoughts on the tuning for
> the >microtonal carillon I am building. The carillon will use steel bars
> driven >by solenoids and amplified through large outdoor PA speakers.
>
> I remember this boy when he was in Denny's carport filled with cobwebs!

Yes, I encounter a few cobwebs. I restored the 5/7 keyboard to working
order.

> >The second table in the file illustrates the keyboard layout. It
features
> >128 keys in an 8 by 16 format. The keyboard can be either a matrix midi
> >controller or use simple analog swiches to drive the solenoids directly.
>
> Analog switches, all the way. Just be sure they feel good!

I will use analog switches no matter what -- the question yet to be
answered would be whether it would be a keyboard that generates midi
messages that activate the solenoids, or if the switches would connect
directly to the solenoids. Direct connection has the advantage of being
cheaper and not requiring the intervention of our very busy and somewhat
unavailable techno wiz, Bob Benchic.

I was planning to use old computer keyboard switches. Any thoughts on this
type of switch?

>
> >I believe this arrangement gives the best of both worlds. It allows for

> >playing of the 8x8 matrix in its pure form, and at the same time uses
the
> >matrix resources as a scale allowing for voice leading, chord inversions
> >and melodic lines not possible with a strict matrix.
>
> Could you illustrate? I can't see what your changes amount to.

If you looked at the keyboard arrangement at
www.acceleration.net/dburgess/matrix.html, the changes should be apparent.
What I don't like about the pure matrix is that it limits the chord
voicing. Taking the matrix as a scale eliminates this problem. I worked
out some examples a while back and will try to dig them up. I am not much
of a composer/theorist yet, so my ability to articulate what I am
describing is limited for now. My main focus has always been on flesh and
bones instruments.

>
> Who will be playing it? You?

I will be playing it.

>
>
> >There are of course large gaps (esp. between 1/1 and 16/15, 15/8 and
2/1)
> >which could be filled in Partch-style with secondary intervals to yeild
a
> >continuous 15 limit scale.
>
> I wouldn't worry about the gaps too much. You're not going to be playing
> the whole thing as a melody, are you? I think the melodic resources of
> this scale are its harmonic and subharmonic series segments. There are
> plenty of very small intervals near the center of the diamond for
effects,
> if you want them.
>
> The other question is, how many tones do you have to work with?

I have about 120 solenoids that I will be stealing from the original
instument

I'd rather
> have a three octaves of straight diamond than two of enriched diamond.
>

Why?

>
> Wilson has shown that Partch (unconsciously) selected his secondary
ratios
> based on a linear series (chain of fifths). Are you familiar with
Wilson's
> work ala Xenharmonikon 3?
>

Please tell me where I could get more information this. Particularily, I
would like to determine the best secondary intervals to add to a 15limit
diamond.

Darren

>I hoping that some helpful threads would be generated on the subject of
the >carillon and all its related issues.

Cool!

>I will use analog switches no matter what -- the question yet to be
>answered would be whether it would be a keyboard that generates midi
>messages that activate the solenoids, or if the switches would connect
>directly to the solenoids. Direct connection has the advantage of being
>cheaper and not requiring the intervention of our very busy and somewhat
>unavailable techno wiz, Bob Benchic.

Don't mess with MIDI. Direct electric connection is better, unless you've
got a lot of money to spend.

>I was planning to use old computer keyboard switches. Any thoughts on this
>type of switch?

Don't use it.

>If you looked at the keyboard arrangement. the changes should be apparent.

I did look. It seems you've put the the interval classes into rows. This
is a pretty minor change.

>What I don't like about the pure matrix is that it limits the chord
>voicing.

How so?

>I'd rather have a three octaves of straight diamond than two of enriched
>diamond.
>
>Why?

It's my personal taste as a composer and performer. If the instrument is
for you, then you don't need anybody's opinion but your own. The history
of xen keyboards is littered with folks who made keyboards for "somebody
else", designed them in the way least offensive to "anybody else", and they
were never used and are now sitting unfunctional in a museum.

>Please tell me where I could get more information this.

I recommend Xenharmonikon 3, available at low cost from Frog Peak music...

http://www.sover.net/~frogpeak/

...or, in poor presentation, for free at...

http://www.anaphoria.com/wilson.html

>Particularily, I would like to determine the best secondary intervals to
add >to a 15-limit diamond.

The idea is very simple. I am coming to Gainesville in the next month
sometime. Perhaps we could get together? I'd love to see how the work is
coming. I'm sure you could teach me a lot. Maybe you know a place I could
crash for a night or two? Pat has a cat, which I am allergic to.

Carl