Brad, 45/32 et al....

Not to muddy the waters, but I've been improvising in the duodene
tonight, and I have to say, 45/32 sounds pretty nice and close to
beatless, at least on my piano sample..harpsichord can be quite a
whole other ball o' wax, but I must say, if it's beating at all, it's
gotta be faster than 20hz, cause I ain't hearing it....now I do hear a
very slow beating, but that might be in my sample as an artifact.

Anyway, I can see how Brad might be not smoking crack and having the
perceptions he is....and no, I haven't been smoking crack either.

When is the last time anyone tuned up a 45/32 and checked it out? NOw,
yes, 7/5 is beatless, too, but in a different way...but I get the
sensation of stasis for sure from 45/32.....it's very nice, in fact.

Damn, now you can all start attacking *me* like the viscious lions you
are....:)

-AKJ

ROOOOOOOAAAAAAAAARR!

Aaron Krister Johnson wrote:
>
>
>
> Damn, now you can all start attacking *me* like the viscious lions you
> are....:)
>
> -AKJ
>
> -- Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/index.html>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main/index.asp> 88.9 FM Wed 8-9 pm Los Angeles

Both 7/5 and 45/32 beat, but the former does so in a
nicely synchronized way.

-Carl

--- In tuning@yahoogroups.com, "Aaron Krister Johnson" <aaron@...> wrote:
>
> When is the last time anyone tuned up a 45/32 and checked it out?

Me, about 3 nights ago. Honestly, I've given a link to the .mp3 file I
recorded half a dozen times already. Why no-one bothers to listen to
it is a mystery -

/tuning/files/sphaerenklang/tritonesfeb08.mp3

> yes, 7/5 is beatless, too, but in a different way...but I get the
> sensation of stasis for sure from 45/32...

On a synthesized piano, that may well be. We don't know how much 7th
harmonic it has. There may be significant inharmonicity too (to make
the thing sound like a piano) which kind of gums up these considerations.

It's a curious historical sidelight that Kirnberger, that apostle of
'pure' tuning and compositional practice, wrote a flute sonata that
requires the harmonic 7th to be used as an aug6 (i.e. F- = E#). That
implies, of course, a 7/5 tritone at B-E#.
http://diapason.xentonic.org/dp/dp002.html

~~~T~~~