Ethno2 contest MOTU-vates new music

Hello, all, and congratulations to Jacques Dudon
for the beautiful and innovative Ethno2 collection
of tunings which indeed I find a most valuable
free prize, and to all who have entered the contest
and shared their music with the community here in
many diverse styles!

As Carl Lumma has said, the Tuning List doesn't
"owe" anyone anything -- in part, because it gives
out gifts like the Ethno2 collection before anyone
has time to write out an IOU. And Jacques Dudon,
our most generous St. Nicholas who has happily
returned to the Internet and our group after
a tragic natural disaster which struck his community
and region, most fittingly presides at the conclusion
of this contest he has done so much to make possible
and facilitate with congeniality and fairness.

At the time I became aware of the Ethno2 collection,
taking a special interest in the Soria tunings, I
had no idea what "Ethno2" was. What I quickly realized,
while remaining unsure what else this name might
signify, was that the tuning community can enjoy a
new perspective on practice and theory thanks to
Jacques Dudon's world tour de force.

Later I would learn that "Ethno2," the name
of Jacques' collection, is also the name of a
software program which, as it happens, I could
not run on my computer hardware and text-based LINUX
system for various reasons -- but that thousands
of interested people worldwide definitely can and do!

Listening to the contest pieces I have sampled so
far has been a delight, reintroducing me to familiar
faces and giving me the opportunity to meet some new
ones. Since I have not downloaded and heard all the
pieces, and also have certain quirks of hearing that
might bias my listening in ways unrelated to the merits
of these pieces, I consider it wisest to wait for the
judging before sharing some remarks about pieces that
especially impressed me. For the moment, however, I
freely share my enthusiasm, and my special delight
that the Ethno2 collection has sparked or reinforced
interest in Near Eastern modes and styles, and also
some Indigenous modes and styles from my own continent.

At the same time, Ethno2 and some related tunings of
Jacques Dudon, in combination with Ozan Yarman's thesis
on the intonational nature and patterns of Turkish maqam
music and the 79-tone qanun, have inspired me to delve
more deeply into the history and practice of this music,
and to devise and play in a new tuning which much
intrigues and excites me.

It is fitting that to join in the celebration of the
conclusion of this contest, I write a long-promised
review of the Ethno2 collection, which I should do
shortly.

For now, I would like to focus on one especially
laudible aspect of the collection: a keen and
alert interest in meeting at least halfway the
musician without experience in either ethnomusicology
or microtonality who simply wishes to create beauty
and expand her or his universe of musical colors
and effects.

The idea of 12-note or sometimes smaller tuning sets
that can aptly map to a single off-the-shelf
keyboard and launch a hitherto uninitiated person
into a new world of sound is one that deserves the
highest form of flattery: emulation.

Thus I propose an open-ended Tuning List event, not
necessarily a formal "contest" but maybe just an
ongoing theme or dialogue, called "Ethno2 Extras."
List members would do what I have recently been doing:
seeking out tuning sets (JI or tempered), often of 12
notes or less, which could attract a user of Ethno2
or other digital instruments to make beautiful music
and learn more about the incredible range of world
musical styles, modes, and tunings.

Of course, such tunings, like the current Ethno2
collection, could also be used with Scala, or with
any amenable instrument, digital or acoustical.

Also, the tunings could come with optional information
on the musical cultures or styles which prompted them,
on on the larger tuning systems or approaches (e.g. -c)
which help determine or influence their structure.

Personally I take the view that microtonality is a
continuum, or one parameter of music along with rhythm,
melody, and sometimes also counterpoint or harmony, with
12-EDO merely one point on that continuum, as opposed to
a central point of reference to be uniquely adored or
abhored.

Advocating for the diversity of world musical traditions
through history is in my opinion the best and most potent
advocacy for "microtonality": intonational diversity has
been a done deal in a vast range of world musics over the
centuries, and our task is at once to participate in
this diversity and help to get out the word.

Jacques Dudon and MOTU have helped to do this in a very
special way, along with all who have participated in this
worthy contest.

With many thanks,

Margo Schulter
mschulter@...

Hi Margo,

I like your initiative - considering much conversation over the past
year has been about bringing xenharmonic music to the masses in one
fashion or another I think this fits in well with a shared goal of
many on this tuning list.

Chris

>
> Thus I propose an open-ended Tuning List event, not
> necessarily a formal "contest" but maybe just an
> ongoing theme or dialogue, called "Ethno2 Extras."
> List members would do what I have recently been doing:
> seeking out tuning sets (JI or tempered), often of 12
> notes or less, which could attract a user of Ethno2
> or other digital instruments to make beautiful music
> and learn more about the incredible range of world
> musical styles, modes, and tunings.

--- In tuning@yahoogroups.com, Margo Schulter <mschulter@...> wrote:
For now, I would like to focus on one especially
laudible aspect of the collection: a keen and
alert interest in meeting at least halfway the
musician without experience in either ethnomusicology
or microtonality who simply wishes to create beauty
and expand her or his universe of musical colors
and effects.

:Here here. Sounds a little like me, Margot Shulter -)
I dabble in ethnomusical effects but my primary inspiration is to be taken away and to express beauty.

Thus I propose an open-ended Tuning List event, not
necessarily a formal "contest" but maybe just an
ongoing theme or dialogue, called "Ethno2 Extras."
List members would do what I have recently been doing:
seeking out tuning sets (JI or tempered), often of 12
notes or less, which could attract a user of Ethno2
or other digital instruments to make beautiful music
and learn more about the incredible range of world
musical styles, modes, and tunings.

:Bravo, here here again. Great idea! I m for it. -)

Catrina
http://dominacatrinalee.bandcamp.com

Dear Margo,

Thanks for your very kind comments, your enthusiastic words and this creative proposition !
I agree with all what you say here and I simply say : let's do it.

"Ethno2 extras" is fine but it refers to a specific software, which should improve someday in a Ethno3 version.
The moment has not come but I am certain that all the 12 participants of that adventure will have useful suggestions to address, starting from missing or problematic instruments, and not to mention the mapping implementations where Manuel Op de Coul I am sure could bring his expertise.
So anyway I would propose to call such project simply "Ethno Extras".
I know very well my Ethno2 collection is uncomplete, and I would be glad to offer my participation if I can, to keep record of these "Ethno extras" for example, since I have already a database for that.

In the meantime and among others, I would be personnally very interested to have access just to a "Margo Schulter Ethno collection". Knowing the background these tunings could be provided with, if you write someday a documentation, that would be a microtonal treasure !

- - - - - -
Jacques

Margo wrote :

> Hello, all, and congratulations to Jacques Dudon
> for the beautiful and innovative Ethno2 collection
> of tunings which indeed I find a most valuable
> free prize, and to all who have entered the contest
> and shared their music with the community here in
> many diverse styles!
>
> As Carl Lumma has said, the Tuning List doesn't
> "owe" anyone anything -- in part, because it gives
> out gifts like the Ethno2 collection before anyone
> has time to write out an IOU. And Jacques Dudon,
> our most generous St. Nicholas who has happily
> returned to the Internet and our group after
> a tragic natural disaster which struck his community
> and region, most fittingly presides at the conclusion
> of this contest he has done so much to make possible
> and facilitate with congeniality and fairness.
>
> At the time I became aware of the Ethno2 collection,
> taking a special interest in the Soria tunings, I
> had no idea what "Ethno2" was. What I quickly realized,
> while remaining unsure what else this name might
> signify, was that the tuning community can enjoy a
> new perspective on practice and theory thanks to
> Jacques Dudon's world tour de force.
>
> Later I would learn that "Ethno2," the name
> of Jacques' collection, is also the name of a
> software program which, as it happens, I could
> not run on my computer hardware and text-based LINUX
> system for various reasons -- but that thousands
> of interested people worldwide definitely can and do!
>
> Listening to the contest pieces I have sampled so
> far has been a delight, reintroducing me to familiar
> faces and giving me the opportunity to meet some new
> ones. Since I have not downloaded and heard all the
> pieces, and also have certain quirks of hearing that
> might bias my listening in ways unrelated to the merits
> of these pieces, I consider it wisest to wait for the
> judging before sharing some remarks about pieces that
> especially impressed me. For the moment, however, I
> freely share my enthusiasm, and my special delight
> that the Ethno2 collection has sparked or reinforced
> interest in Near Eastern modes and styles, and also
> some Indigenous modes and styles from my own continent.
>
> At the same time, Ethno2 and some related tunings of
> Jacques Dudon, in combination with Ozan Yarman's thesis
> on the intonational nature and patterns of Turkish maqam
> music and the 79-tone qanun, have inspired me to delve
> more deeply into the history and practice of this music,
> and to devise and play in a new tuning which much
> intrigues and excites me.
>
> It is fitting that to join in the celebration of the
> conclusion of this contest, I write a long-promised
> review of the Ethno2 collection, which I should do
> shortly.
>
> For now, I would like to focus on one especially
> laudible aspect of the collection: a keen and
> alert interest in meeting at least halfway the
> musician without experience in either ethnomusicology
> or microtonality who simply wishes to create beauty
> and expand her or his universe of musical colors
> and effects.
>
> The idea of 12-note or sometimes smaller tuning sets
> that can aptly map to a single off-the-shelf
> keyboard and launch a hitherto uninitiated person
> into a new world of sound is one that deserves the
> highest form of flattery: emulation.
>
> Thus I propose an open-ended Tuning List event, not
> necessarily a formal "contest" but maybe just an
> ongoing theme or dialogue, called "Ethno2 Extras."
> List members would do what I have recently been doing:
> seeking out tuning sets (JI or tempered), often of 12
> notes or less, which could attract a user of Ethno2
> or other digital instruments to make beautiful music
> and learn more about the incredible range of world
> musical styles, modes, and tunings.
>
> Of course, such tunings, like the current Ethno2
> collection, could also be used with Scala, or with
> any amenable instrument, digital or acoustical.
>
> Also, the tunings could come with optional information
> on the musical cultures or styles which prompted them,
> on on the larger tuning systems or approaches (e.g. -c)
> which help determine or influence their structure.
>
> Personally I take the view that microtonality is a
> continuum, or one parameter of music along with rhythm,
> melody, and sometimes also counterpoint or harmony, with
> 12-EDO merely one point on that continuum, as opposed to
> a central point of reference to be uniquely adored or
> abhored.
>
> Advocating for the diversity of world musical traditions
> through history is in my opinion the best and most potent
> advocacy for "microtonality": intonational diversity has
> been a done deal in a vast range of world musics over the
> centuries, and our task is at once to participate in
> this diversity and help to get out the word.
>
> Jacques Dudon and MOTU have helped to do this in a very
> special way, along with all who have participated in this
> worthy contest.
>
> With many thanks,
>
> Margo Schulter

Dear margo and all
Hi
Very glad to see you again after such a long time i have been off from the list.
I'm reading ur mail and as before full of new things for me to learn.
Margo
One the most important things i found in ethno2 was easy usage of nonoctavic systems .
I have used many VSTs but ethno2 is such a thing that i can use my nonoctavic systems and scales such as 96edo version of 12-ED(700) or any other scales to compose with nonwestern instruments.
It was one of my dreams using this idea to compose.
Many thanks to Jacques Dudon and MOTU to help me finding a solution for my dream.

--- In tuning@yahoogroups.com, Chris Vaisvil <chrisvaisvil@...> wrote:
>
> Hi Margo,
>
> I like your initiative - considering much conversation over the past
> year has been about bringing xenharmonic music to the masses in one
> fashion or another I think this fits in well with a shared goal of
> many on this tuning list.
>
> Chris
>
> >
> > Thus I propose an open-ended Tuning List event, not
> > necessarily a formal "contest" but maybe just an
> > ongoing theme or dialogue, called "Ethno2 Extras."
> > List members would do what I have recently been doing:
> > seeking out tuning sets (JI or tempered), often of 12
> > notes or less, which could attract a user of Ethno2
> > or other digital instruments to make beautiful music
> > and learn more about the incredible range of world
> > musical styles, modes, and tunings.
>

> Hi Margo,

> I like your initiative - considering much conversation over the past
> year has been about bringing xenharmonic music to the masses in one
> fashion or another I think this fits in well with a shared goal of
> many on this tuning list.

Dear Chris,

Thank you for your support for this initiative, and also for your
pieces which I'm still digesting, with _Socotro Island_ in Afshari a
fascinating kind of stylistic mixture that to me suggested very
pleasantly some of the spirit of _Kinda Blue_ by Miles Davis, a real
favorite of mine in the world of modal jazz or blues.

[From Catrina]

> :Here here. Sounds a little like me, Margot Shulter -) I dabble in
> ethnomusical effects but my primary inspiration is to be taken away
> and to express beauty.

Dear Catrina,

Yes, the ideal of what in Arabic is called _tarab_ or enchantment,
music that "takes one away," is exactly the point! And the ideal for
"Ethno2 Extras" should be accessible tunings that give people a good
starting point in this journey.

Of course, congratulations to Jacques and all the people who have
entered this contest and received recognition in the newly announced
results! I'll be commenting more on _Socotro Island_ and some other
wonderful pieces I've heard so far.

With many thanks,

Margo Schulter
mschulter@...

On Mon, 26 Jul 2010, tuning@yahoogroups.com wrote:

> Posted by: "Jacques Dudon" fotosonix@...
>
> Sun Jul�25,�2010 6:34�am (PDT)

> Dear Margo,
>
> Thanks for your very kind comments, your enthusiastic words and this
> creative proposition !
> I agree with all what you say here and I simply say : let's do it.

Dear Jacques,

Thank you for your enthusiasm, especially at the conclusion of what has
been an arduous process of coordinating and now judging a wonderful
contest.

> "Ethno2 extras" is fine but it refers to a specific software, which
> should improve someday in a Ethno3 version.

A very good point!

> The moment has not come but I am certain that all the 12
> participants of that adventure will have useful suggestions to
> address, starting from missing or problematic instruments, and not
> to mention the mapping implementations where Manuel Op de Coul I
> am sure could bring his expertise.

Please let me join you in saying that Manuel Op de Coul has made incredible contributions over the years with his knowledge, his
patient advocacy for alternative tuning systems, and, of course,
with Scala!

> So anyway I would propose to call such project simply "Ethno Extras".
> I know very well my Ethno2 collection is uncomplete, and I would be
> glad to offer my participation if I can, to keep record of these
> "Ethno extras" for example, since I have already a database for that.

What I would say is that your Ethno2 collection is indeed, as I delight
to call it and shall soon use as the title of a review, a world tour de force. The differentially coherent JI (-c) is a unifying theme which at
once reflects a fine-tuned (literally and figuratively) musical
sensitivity and inspires others to strive for similar discernment,
whether following this approach or some other.

"Ethno Extras" is the heading I shall use in threads posting or
discussing these supplementary tunings, many of which will focus
on maqam/dastgah music.

> In the meantime and among others, I would be personnally very
> interested to have access just to a "Margo Schulter Ethno
> collection". Knowing the background these tunings could be provided
> with, if you write someday a documentation, that would be a
> microtonal treasure !

Indeed, the "Ethno Extras" project is in large part a homage to the
Ethno2 collection, with the quest for musical excellence in _accessible_
form certainly a theme of your collection and the recent contest. One
of my goals will be, for example, to document some of the notable modes
and tetrachords, etc., in a given tuning set.

And with these tunings and their documentation, as with Ethno2 and
future versions as refined in part through the contest, feedback
from you and others will be invaluable in making the documentation
as readable and informative as possible.

What I must tell you is how exciting this process has been, with
the Ethno2 collection and our discussions here pointing in so
many directions. Is there some interesting variation on an Ethno2
that might be interesting to explore? Can certain temperaments
sometimes evoke some of the qualities of spectral coherence, if
not of -c? What are some alternative 12-note sets for Rast, or
Shur, or Afshari, or (not the least!) our beloved Buzurg?

The contest is a good reminder that tunings are meant to be
_used_, and "Ethno Extras" has a high standard for which to strive.

With many thanks,

Margo Schulter
mschulter@...

--- In tuning@yahoogroups.com, Margo Schulter <mschulter@...> wrote:

> What I must tell you is how exciting this process has been, with
> the Ethno2 collection and our discussions here pointing in so
> many directions. Is there some interesting variation on an Ethno2
> that might be interesting to explore? Can certain temperaments
> sometimes evoke some of the qualities of spectral coherence, if
> not of -c?

An interesting question we've just scratched the surface of is which rank two temperaments the recurrence relation business works well for. I suppose a brute force search of polynomials with integer coefficients and leading term a power of two bounded in height and degree by something reasonable would be a place to start.

--- In tuning@yahoogroups.com, Jacques Dudon <fotosonix@...> wrote:

> I know very well my Ethno2 collection is uncomplete, and I would be
> glad to offer my participation if I can, to keep record of these
> "Ethno extras" for example, since I have already a database for that.

Are you speaking of extending the catalog of scales? If so, would they be required to have particular or unusual features such as recurrence relationships or some connection to ethnic music?

Dear Margo,
Only good ideas in here !
But let me insist again on having you starting the new collection by a
"Margo Schulter's Ethno Extras"...
I am preparing several new important concerts now, so forgive me if I am not totally present.
Anyway I will develop here two or three points inspired by your message :

> Can certain temperaments
> sometimes evoke some of the qualities of spectral coherence, if
> not of -c?

About temperaments, their usual role is to approach JI, and therefore spectral coherence, while reducing the number of tones. Now, many tunings such as the ones I develop sometimes can perfectly work as temperaments, and have in addition differential coherence and/or equal-beating qualities.
Some others of my sequential tunings have those same acoustic qualities but would be more difficult to use as classical temperaments, because they won't give simple access to all the first harmonics and they would rather make use of more specific inharmonic timbres. But you can make music with both and I think they complement each other.

> What are some alternative 12-note sets for Rast, or
> Shur, or Afshari, or (not the least!) our beloved Buzurg?

Ethno2 proposed models of those, but they need more notes variations to meet the needs of more Maqamat, Datsgah and Avaz, and you are definitively the person who can propose such sets.

> The differentially coherent JI (-c) is a unifying theme which at
> once reflects a fine-tuned (literally and figuratively) musical
> sensitivity and inspires others to strive for similar discernment,
> whether following this approach or some other.

One specific aspect of traditional music is that, most of the time, it uses a small number of tones.
This means that the reduction of the number of tones, with a ordinary 12 tones per octave-keyboard for example, is not always a need. This does not mean at all that temperaments are not useful in traditional music : how to tune a heptatonic Kora with only 7 notes in classical JI is a vast problem. But on a keyboard we can also embellish a tuning with additional JI intervals, or complementary -c intervals, that's what I did in many of my tunings through the use of double notes.
I suspect double notes may make some analysis functions of Scala more difficult. But these are part of the tuning,
I personnally like them, it's a facility offered by the keyboard that adds a variety of vocal-like expressions we find in many traditional music and I noticed these were used by some Ethno2 participants. In addition all those small commas here of course are equal or proportional-beating.
- - - - - - -
Jacques

On Mon, 26 Jul 2010, tuning@yahoogroups.com wrote:

> > Posted by: "Jacques Dudon" fotosonix@...
> > Sun Jul 25, 2010 6:34 am (PDT)
>
> > Dear Margo,
> >
> > Thanks for your very kind comments, your enthusiastic words and this
> > creative proposition !
> > I agree with all what you say here and I simply say : let's do it.
>
> Dear Jacques,
>
> Thank you for your enthusiasm, especially at the conclusion of what > has
> been an arduous process of coordinating and now judging a wonderful
> contest.
>
> > "Ethno2 extras" is fine but it refers to a specific software, which
> > should improve someday in a Ethno3 version.
>
> A very good point!
>
> > The moment has not come but I am certain that all the 12
> > participants of that adventure will have useful suggestions to
> > address, starting from missing or problematic instruments, and not
> > to mention the mapping implementations where Manuel Op de Coul I
> > am sure could bring his expertise.
>
> Please let me join you in saying that Manuel Op de Coul has made
> incredible contributions over the years with his knowledge, his
> patient advocacy for alternative tuning systems, and, of course,
> with Scala!
>
> > So anyway I would propose to call such project simply "Ethno > Extras".
> > I know very well my Ethno2 collection is uncomplete, and I would be
> > glad to offer my participation if I can, to keep record of these
> > "Ethno extras" for example, since I have already a database for > that.
>
> What I would say is that your Ethno2 collection is indeed, as I > delight
> to call it and shall soon use as the title of a review, a world > tour de
> force. The differentially coherent JI (-c) is a unifying theme > which at
> once reflects a fine-tuned (literally and figuratively) musical
> sensitivity and inspires others to strive for similar discernment,
> whether following this approach or some other.
>
> "Ethno Extras" is the heading I shall use in threads posting or
> discussing these supplementary tunings, many of which will focus
> on maqam/dastgah music.
>
> > In the meantime and among others, I would be personnally very
> > interested to have access just to a "Margo Schulter Ethno
> > collection". Knowing the background these tunings could be provided
> > with, if you write someday a documentation, that would be a
> > microtonal treasure !
>
> Indeed, the "Ethno Extras" project is in large part a homage to the
> Ethno2 collection, with the quest for musical excellence in > _accessible_
> form certainly a theme of your collection and the recent contest. One
> of my goals will be, for example, to document some of the notable > modes
> and tetrachords, etc., in a given tuning set.
>
> And with these tunings and their documentation, as with Ethno2 and
> future versions as refined in part through the contest, feedback
> from you and others will be invaluable in making the documentation
> as readable and informative as possible.
>
> What I must tell you is how exciting this process has been, with
> the Ethno2 collection and our discussions here pointing in so
> many directions. Is there some interesting variation on an Ethno2
> that might be interesting to explore? Can certain temperaments
> sometimes evoke some of the qualities of spectral coherence, if
> not of -c? What are some alternative 12-note sets for Rast, or
> Shur, or Afshari, or (not the least!) our beloved Buzurg?
>
> The contest is a good reminder that tunings are meant to be
> _used_, and "Ethno Extras" has a high standard for which to strive.
>
> With many thanks,
>
> Margo Schulter

Hi Gene,
This is Margo's idea, so I leave it to her to answer to these questions. From my point of view, but she seems to say the same, I do not think it should be limited to one school of tuning or another. The Ethno2 tunings show that there is no contradiction anyway between temperaments and JI (at least in my conception of JI !). They also don't only use recurrent sequences, but lots of traditional material improved in the form of differential coherence modeling.
Connection with "ethnic music", if this project is named *Ethno* Extras, I would guess yes, resonances with musical traditions of all times but why not also neo-traditional propositions if it makes sense in relation to former tuning traditions. Isn't it what Ozan does, for example ?
But in Ethno2 I have also added quite a few fractal and other adventurous tunings, intuitively dropped at some ends of specific geographic areas - such as Liane for example, with which I pretended to do an "Aztec-Jazz" demo...
So you see I won't be the one to throw the first stone if others want to add more imaginary or neo-traditions.
Next question is : Are the actual 11 geographic folders sufficient, or do we want to extend as well to ethnies from other planets ??? :)
- - - - - - - -
Jacques

Gene wrote :
> > (Jacques) : I know very well my Ethno2 collection is uncomplete,
> > and I would be glad to offer my participation if I can, to keep > record of these
> > "Ethno extras" for example, since I have already a database for > that.
>
> Are you speaking of extending the catalog of scales? If so, would > they be required to have particular or unusual features such as > recurrence relationships or some connection to ethnic music?

Gene wrote :

> --- In tuning@yahoogroups.com, Margo Schulter <mschulter@...> wrote:
>
> > What I must tell you is how exciting this process has been, with
> > the Ethno2 collection and our discussions here pointing in so
> > many directions. Is there some interesting variation on an Ethno2
> > that might be interesting to explore? Can certain temperaments
> > sometimes evoke some of the qualities of spectral coherence, if
> > not of -c?
>
> An interesting question we've just scratched the surface of is > which rank two temperaments the recurrence relation business works > well for. I suppose a brute force search of polynomials with > integer coefficients and leading term a power of two bounded in > height and degree by something reasonable would be a place to start.

I know, and I promise to start this business as soon as I can, because I have the answers at hand. What will take me longer is to translate 1300 decimal ratios (1.xxxxxx...) in cents, then to compare them with Graham's list will be a child's play. Unless Graham has a programmer's way to send me his list in a decimal ratios ?
No need of "Brute force search of polynomials"... All my fractals have musical sense, that makes it at once more interesting.
- - - - - - -
Jacques

On 27 July 2010 23:11, Jacques Dudon <fotosonix@...> wrote:

> I know, and I promise to start this business
> as soon as I can, because I have the answers
> at hand. What will take me longer is to translate
> 1300 decimal ratios (1.xxxxxx...) in cents, then
> to compare them with Graham's list will be a
> child's play. Unless Graham has a programmer's
> way to send me his list in a decimal ratios ?

It should be easy to convert them, but I don't have the code I used
with me. So you'll have to send me my list first.

Graham

Dear Graham,
That would be wonderful.
I have been willing to create a cents value field of my ratios, but I don't think I can automatize this on this old AppleWorks database.
In the meantime this would save me three days works. I send you the list rightaway, see if you can convert it.
- - - -
Jacques

--- In tuning@yahoogroups.com, Graham Breed <gbreed@...> wrote:
>
> On 27 July 2010 23:11, Jacques Dudon <fotosonix@...> wrote:
>
> > I know, and I promise to start this business
> > as soon as I can, because I have the answers
> > at hand. What will take me longer is to translate
> > 1300 decimal ratios (1.xxxxxx...) in cents, then
> > to compare them with Graham's list will be a
> > child's play. Unless Graham has a programmer's
> > way to send me his list in a decimal ratios ?
>
> It should be easy to convert them, but I don't have the code I used
> with me. So you'll have to send me my list first.
>
>
> Graham

Received it !
(O Gosh, that was fast !)
Thanks so much.
Results in a few hours...
- - - - - - -
Jacques

Graham wrote :

> It should be easy to convert them, but I don't have the code I used
> with me. So you'll have to send me my list first.