Hi. I'm here again.

Hi all!

After more than a year of silence, I decided to stay here again for some
time. And I'm sincerely very happy having found you discussing beat rates
more closely now. Gene can confirm that last year I was experimenting with
them a lot. And it's still one of my favorite subjects in the huge amount of
possible interval and tuning properties today.

In December last year, I made two scales, both of which were tuned as
12-tone quasi-meantone chains of fifths from F to A# (i.e. sharps only).
Unlike my previous quasi-meantone scales, these two were made using a
completely different method. And you'll see very soon what I mean if you
pick up either "parizek_qmeb1" or "parizek_qmeb2" from Manuel's archive,
execute "Set frequency" followed by the number given in the description, and
then "Show/test beat 3/2 5/3 5/4 7/4 7/6". I think this will make it clear
to you where I got all those strange ratios.

Gene, having known how much you had helped me last year, I wished you could
also have seen my new discovery. Sadly, I didn't have your e-address at that
time; so now you can see them together with others.

A few words to Carl now. I don't know what was the timbre of the sounds you
used in your ".wav" files but I'm unable to hear the minor third beats in
these. I would prefer a standard sawtooth much more; and maybe even an
octave lower in order the overtone frequencies wouldn't get so high. And as
far as your question of making nice beats in triads is concerned, I think it
strongly depends if you play the chord in its root position or not. If you
play a triad of C-E-G, then the minor third beats will appear in the highest
frequency bands. If you play it as G-C-E, this will be true for the major
third. In my oppinion the beating of the fifth should be surely taken into
account because the "almost common" overtone which has these beats is the
lowest of all beating overtones. I personally prefer, when examining a major
triad, to use 3:4:5 as a starting point instead of 4:5:6. For example, when
you use a triad of G3-C4-E4, the lowest beating overtones then are G5 for
the fourth, B5 for the major sixth, and E6 for the major third. Even more,
using 3:4:5 guarantees the same "almost common" fundamental for all
intervals. -- Oh, one more thing. I'm definitely satisfied with your idea of
using ".wav" files. Particularly in my case, if I used pure sawtooth waves,
I doubt a compression like MP3 could leave the important beating
characteristics undamaged.

Petr

--- In tuning@yahoogroups.com, Petr Parízek <p.parizek@c...> wrote:

> Gene, having known how much you had helped me last year, I wished
you could
> also have seen my new discovery. Sadly, I didn't have your e-address
at that
> time; so now you can see them together with others.

It would be interesting to hear more about them, and why you chose the
beat ratios you did. Nice to see you back again!