Archive for the ‘Musical Technique’ Category

Opposing Views (Double Blue JI)

Monday, October 2nd, 2017


Opposing Views (Double Blue JI) – Two copies of Pianoteq 6 standard offset by 4 midi notes, both with Blue JI. So, middle C is 1/1 and 5/4

photo by Chris Vaisvil

! C:\Cakewalk\scales\blue-ji.scl
!
Blue JI
 12
!
 15/14
 9/8
 6/5
 5/4
 4/3
 7/5
 3/2
 8/5
 5/3
 9/5
 15/8
 2/1

A Figure in a Field (album)

Thursday, July 27th, 2017

I have finally released my album “A Figure in a Field”. It is a mostly ambient leaning album in many tunings and created with many techniques. See the album and track notes for details.

17 edo guitar in “a minor” with “C harmony”

Saturday, July 22nd, 2017


I improvised with my 17 edo guitar through a GT-10 using its C harmony patch – the resulting tuning is above. I think it sounds interesting at times.
Here is the adjusted (nomalized to 0 cent tonic) probabilistic applied tuning.

The Bootstrap Paradox (adaptive JI ambient)

Thursday, June 29th, 2017

The Bootstrap Paradox is an ambient piece made using a Fender Squier Bass VI, Electroharmonix Pitch Fork, Sonar, Melodyne Adaptive 5-limit JI algorithm, Native Instrument Guitar Rig 5 “all or none” granular synthesis patch.

When Pigs Swim (19 edo)

Monday, June 12th, 2017


Using my GR-20 driven by my 19 edo electric guitar – so the bass soft synth as well as the sax patch on the GR-20 is in 19. Not a perfect performance – though I forgot how much I enjoyed being a one man band this way. Drums by session drummer. When Pigs Swim

Its a Glitch (Just Intonation, Video)

Friday, May 19th, 2017


using melodyne, sonar, audacity and movie studio – version 2 audio track (which I prefer)
audio only


using melodyne, sonar, audacity and movie studio – version 1 soundtrack
audio only

BitWiz Harmonic Series Code

Saturday, May 6th, 2017


BitWiz is a $0.99 app that lets you run single line C code music generation algorithms. I used it to perform this piece by selecting code in sequence and using the X-Y manipulation when it was a part of the code. This software from Kymatica is for the iPad. The analysis shows that at least the first section is clearly non-12 equal. I didn’t analyze the rest, however, it seems to me to be almost next to impossible for a single line of code to generate something as unnatural as 12 equal.

Click the picture to enlarge the Melodyne analysis of section 1 or the spectrum analysis of the Gong piece below.

As a bonus For Gongs, Bow, and Super Balls with Effects

Parva Keyboard Slope Tuning with Melodyne Analysis

Tuesday, March 28th, 2017

Click on picture to enlarge and see the Melodyne analysis of the unknown tuning.

By using stacked keyboard note to frequency settings in the Parva modulation matrix I happened on this tuning that has a very nice sounding 318 cent near just minor third and a 1470 cent “9th” interval. This -almost- closes at the octave + tritone – which is close enough that Melodydne doesn’t show the octave with the default settings thinking it is an overtone.

audio

This re-tuning technique relies on changing the midi note to pitch relationship called in some circles the “slope” of the keyboard.

Claire de Lune in Wilson’s Golden Horagram nr.1 tuning

Saturday, March 11th, 2017

By Jessie Eastland – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=22864094

Claire de Lune in Wilson’s Golden Horagram number1 tuning using u-he‘s Diva I think shows some of the amazing attributes of Wilson’s tuning systems. Throwing an arbitrary 7 note tuning and coming up with (for a microtonalist) very listenable result is impressive. I hope you enjoy this transtuned rendition as music as I have. The tuning is below.

! wilson_gh1.scl
!
Golden Horagram nr.1: 1phi+0 / 7phi+1
 7
!
 157.52096
 315.04191
 472.56287
 727.43713
 884.95809
 1042.47904
 2/1

Micronation (Melodyne processed aeolian harp )

Saturday, March 11th, 2017



Micronation is an audio experiment where I took a ~30 seconds of aeolian harp captured during a high wind event and used Melodyne to determine each of four root notes by frequency. [The strings were tuned justly by ear but drift after several hours exposure to the elements outside, especially due to temperature changes] Then I used Paul’s Extreme Sound Stretch to isolation each vertical harmonic structure based upon the roots determined by Melodyne (10 harmonics high by 25 cents wide)and exporting the four files. Then I used Sonar to sequence the exported wav files and applied reverb, EQ, and tape simulation. The experimentally determined roots are 92 Hz, 118 Hz[59/46], 140 Hz[35/23], and 184 Hz [ 2/1 the octave of 92].