To Monz.

Thankyou for your contribution. I am going to continue using 100 and
200tet because they are easy to use and produce good musical results.

--- In tuning@yahoogroups.com, "robert thomas
martin" <robertthomasmartin@...> wrote:
>
> Thankyou for your contribution. I am going to continue using 100
and
> 200tet because they are easy to use and produce good musical
results.
>

How do you get 100 or 200 keys to the octave in your synth setup?

-Cameron Bobro

--- In tuning@yahoogroups.com, "Cameron Bobro" <misterbobro@...> wrote:
>
> --- In tuning@yahoogroups.com, "robert thomas
> martin" <robertthomasmartin@> wrote:
> >
> > Thankyou for your contribution. I am going to continue using 100
> and
> > 200tet because they are easy to use and produce good musical
> results.
> >
>
> How do you get 100 or 200 keys to the octave in your synth setup?
>
> -Cameron Bobro
>
From Robert. I only use 12-note subsets at a time.

--- In tuning@yahoogroups.com, "robert thomas
martin" <robertthomasmartin@...> wrote:
>

> >
> From Robert. I only use 12-note subsets at a time.

And you are doing a lot of retuning midi files, right? So that seems
practical. But what if you're retuning something as simple as a
common practice ensemble piece and you are using the 696-cent fifth
meantone (from 100-tet) which you posted before? A couple of bog
standard modulations and alterations, say a couple of Neapolitan
sixths and going, I dunno, to the relative minor with some Picardy
thirds thrown in out there and so on, and you already need more than
12 tones per octave. Do you send a program change at those points to
retune the necessary tones to the appropriate 100-tet degree or
something like that?

--- In tuning@yahoogroups.com, "Cameron Bobro" <misterbobro@...>
wrote:
>
> --- In tuning@yahoogroups.com, "robert thomas
> martin" <robertthomasmartin@> wrote:
> >
>
> > >
> > From Robert. I only use 12-note subsets at a time.
>
> And you are doing a lot of retuning midi files, right? So that
seems
> practical. But what if you're retuning something as simple as a
> common practice ensemble piece and you are using the 696-cent fifth
> meantone (from 100-tet) which you posted before? A couple of bog
> standard modulations and alterations, say a couple of Neapolitan
> sixths and going, I dunno, to the relative minor with some Picardy
> thirds thrown in out there and so on, and you already need more
than
> 12 tones per octave. Do you send a program change at those points
to
> retune the necessary tones to the appropriate 100-tet degree or
> something like that?
>

From Robert. When it comes to retuning common practice ensemble
pieces I always use the following tuning table which works very
well for me in all the major and minor keys (all modulations
included):

C = 128/128 = 0 cents
C# = 135/128 = 92
D = 144/128 = 204
Eb = 149/128 = 263
E = 160/128 = 386
F = 168/128 = 471
F# = 180/128 = 590
G = 192/128 = 702
Ab = 199/128 = 764
A = 216/128 = 906
Bb = 224/128 = 969
B = 240/128 = 1088.

I am totally satisfied with the above tuning table when applied to
traditional music but when it comes to exploring and searching for
new sounds I prefer to begin with 100tet in an effort to zero-in
on a potentially beautiful sound before trying to achieve greater
accuracy using the 8th octave partials of the harmonic series. This
is the way I carry out my ongoing research and so far I am satisfied
with this practical working method.

The above tuning table has a remarkable property inasmuch as it can
be subjected to a large number of musical transformations.