The Return of Sarn....

Please let me introduce myself, for a second time...

My name is Mr.Sarn Richard Ursell, and I am emailing you all from Wellington, New Zealand.

I am now 37 years of age and learning day by day.

I beilive in the multiverse, and life on other planets.

I was a member of the alternative tuning list between the years of about 1997 and 2002, but then I became tied up with other things, so I unsubscribed.

But, heck, times change, and people change, so, one day, after making a whole lot of my own microtonal music, (about 98 songs, in fact...), I decided to rejoin the list.

I recall with fond memorys the days where everyone was just so friendly and helpful to me, and I must extend a very special thanks to Mr.Warren Burt, and Mr.Carl Lumma, for their help and kind words.

So, tell me, how are the old gang?

Neil Haverstick, Dave Keenan, also good old John Chalmers, how ever could I forget these gentlemen.... and this bloke who had a band called Butterflys and Zebras, if memory serves me correctly?

My music is a strage hybrid between aural sculpture and algorithmic composition.

Is anyone interested in shareing storys about their own music making experiments in sound and xentonality?

----Sarn.

__________________________________________________________________________________
Yahoo!7: Catch-up on your favourite Channel 7 TV shows easily, legally, and for free at PLUS7. www.tv.yahoo.com.au/plus7

Hi Sam,
This is Steve from across the ditch (Maleny, Australia)

I am making music using harmonic ratios and also interested in making rhythms out of the binaural beating of harmonic ratios.

I would be interested in emailing to you personally if you like about my current interests and music and hearing about yours. If this interests you please email.

Steve

________________________________
From: Sarn Ursell <polyverse2002@...>
To: tuning@yahoogroups.com
Sent: Thu, 4 February, 2010 6:07:17 PM
Subject: [tuning] The Return of Sarn....

 
Please let me introduce myself, for a second time...

My name is Mr.Sarn Richard Ursell, and I am emailing you all from Wellington, New Zealand.

I am now 37 years of age and learning day by day.

I beilive in the multiverse, and life on other planets.

I was a member of the alternative tuning list between the years of about 1997 and 2002, but then I became tied up with other things, so I unsubscribed.

But, heck, times change, and people change, so, one day, after making a whole lot of my own microtonal music, (about 98 songs, in fact...), I decided to rejoin the list.

I recall with fond memorys the days where everyone was just so friendly and helpful to me, and I must extend a very special thanks to Mr.Warren Burt, and Mr.Carl Lumma, for their help and kind words.

So, tell me, how are the old gang?

Neil Haverstick, Dave Keenan, also good old John Chalmers, how ever could I forget these gentlemen... . and this bloke who had a band called Butterflys and Zebras, if memory serves me correctly?

My music is a strage hybrid between aural sculpture and algorithmic composition.

Is anyone interested in shareing storys about their own music making experiments in sound and xentonality?

----Sarn.

________________________________
Yahoo!7: Catch-up on your favourite Channel 7 TV shows easily, legally, and for free at PLUS7. Check it out.

__________________________________________________________________________________
Yahoo!7: Catch-up on your favourite Channel 7 TV shows easily, legally, and for free at PLUS7. www.tv.yahoo.com.au/plus7

Hi Steven,
This is Jacques, from the antipodes...

How do you experiment binaural beating of harmonic ratios ?

About epimoric ratios, one property they have I can add, of course : they are the only intervals that have their difference tones in unisson with their fundamental frequency.
As such, because relatively to their size they have the highest possible fundamental frequency, this helps the perception of their fundamental frequencies.
Ex. when playing a 10/9 dyad with a double-ocarina you may easily hear 10 - 9 = 1 = a sound 3 octaves and one tone below the lower note of the 10/9.
- - - - - - -
Jacques

Steve wrote :

> Hi Sam,
> This is Steve from across the ditch (Maleny, Australia)
>
> I am making music using harmonic ratios and also interested in > making rhythms out of the binaural beating of harmonic ratios.

> I would appreciate any perspectives, contemplations, praise songs > or formulas about epimoric ratios and their place in tuning

Hi jacques,

Thanks deeply J. That info is so useful. It is interesting that epimoric ratios do difference tones in a specific way. Do you play a double ocarina?

Could you say more about: As such, because relatively to their size they have the highest possible fundamental frequency. As my maths is still in the seedling stage.

Re: How do you experiment binaural beating of harmonic ratios ?

I have recently been inspired by some music by Dave Siedel http://mysterybear.net/article/30 where he uses 'binaural twins' to explore the notes in La Monte Young's 'Magic Opening Chord' (see link for mp3 download and some description of his modus operandi). The scale itself is amazing consonant consiering it has such clusters of intervals (I can't quite figure out how come), but the addition of the polyrhythmic binaura beating is quite something.

I  love epimoric ratios and there 'middle path properties', so I have been using them as the basis to make binaural beating.

For example:
You can say play a 17/16 at 127.5hz in the left channell and a 15/14 at 128.57 hz in the right channell and you hear a 16/15 (Db in JI scale). but with a rhythmic pulsation as well. Then when you do this with another harmonically related ratio you get not just the harmony, but also rhythmic patterns.

Lets share the treasure
Steve

________________________________
From: Jacques Dudon <fotosonix@...>
To: tuning@yahoogroups.com
Sent: Sat, 6 February, 2010 3:22:43 AM
Subject: [tuning] Re: The Return of Sarn....

 
Hi Steven,
This is Jacques, from the antipodes...

How do you experiment binaural beating of harmonic ratios ?

About epimoric ratios, one property they have I can add, of course : they are the only intervals that have their difference tones in unisson with their fundamental frequency.
As such, because relatively to their size they have the highest possible fundamental frequency, this helps the perception of their fundamental frequencies.
Ex. when playing a 10/9 dyad with a double-ocarina you may easily hear 10 - 9 = 1 = a sound 3 octaves and one tone below the lower note of the 10/9.
- - - - - - - 
Jacques

Steve wrote : 

Hi Sam,
>This is Steve from across the ditch (Maleny, Australia)
>
>
>I am making music using harmonic ratios and also interested in making rhythms out of the binaural beating of harmonic ratios. 

I would appreciate any perspectives, contemplations, praise songs or formulas about epimoric ratios and their place in tuning

__________________________________________________________________________________
Yahoo!7: Catch-up on your favourite Channel 7 TV shows easily, legally, and for free at PLUS7. www.tv.yahoo.com.au/plus7

Steven wrote :

> Hi jacques,
>
> Thanks deeply J. That info is so useful. It is interesting that > epimoric ratios do difference tones in a specific way. Do you play > a double ocarina?

Only occasionally, just for fun. But it is definitely the best acoustic instrument to experiment beautiful difference tones, and at very soft levels. Many people say that difference tones can be heard only at loud levels, because they have not experimented them with double ocarinas. But double ocarinas shows the contrary. You need to try different sizes double-ocarinas, and with various size holes in order to make very fine pitch adjustments.
One thing I should have added about fundamental frequencies, but certainly you know aready : you can hear them by playing dyads of epimoric ratios better than any other intervals, on a guitar (or other instruments) plugged in a distorsion effect (fuzz box or distorsion pedal). Guitarist Jon Catler (from the Microtones) used to play solo melodies of fundamental frequencies that way on stage, with perfect control.

> Could you say more about: As such, because relatively to their size > they have the highest possible fundamental frequency. As my maths > is still in the seedling stage.

Because their fundamental frequency is in unisson with their difference tone, and it can never be higher. With other JI intervals, fundamental frequency are sub-harmonics of the difference tones, that means they're much lower (when they are audible). And the more complex a ratio is, the less chances you have to hear these fundamental frequencies.

> Re: How do you experiment binaural beating of harmonic ratios ?
>
> I have recently been inspired by some music by Dave Siedel http://> mysterybear.net/article/30 where he uses 'binaural twins' to > explore the notes in La Monte Young's 'Magic Opening Chord' (see > link for mp3 download and some description of his modus operandi). > The scale itself is amazing consonant consiering it has such > clusters of intervals (I can't quite figure out how come), but the > addition of the polyrhythmic binaura beating is quite something.

Thanks for sharing. Interesting experience. At the end I was still hearing beautiful tiny sounds going on, I thought it was some extra in the piece but I took the headphones off and realized it was in my head.
It reminds me some of the best pieces of a french lady, inspired electroacoustic composer that likes long ambient beatings a lot, Eliane Radigue. But this is more archetypal.
(I enjoyed also the 2nd piece, "Invocation").

> I love epimoric ratios and there 'middle path properties', so I > have been using them as the basis to make binaural beating.
>
> For example:
> You can say play a 17/16 at 127.5hz in the left channell and a > 15/14 at 128.57 hz in the right channell and you hear a 16/15 (Db > in JI scale). but with a rhythmic pulsation as well. Then when you > do this with another harmonically related ratio you get not just > the harmony, but also rhythmic patterns.
>
> Lets share the treasure
> Steve

Very interesting. Let us know when we can hear some of it.
- - - - - - -
Jacques