A Postcard from Trappist 1 is an adaptive Just Intonation improvisation using the Parva synthesizer.
Archive for the ‘adaptive JI’ Category
The video is best viewed full screen. The half-speed version starts after a “note for nothing” to capture the reverb tail and a few seconds. The passing tones are very evident and dissonant in the half speed version. Loquebantur_variis_linguis PDF
Photo by NASA
turning of the sun inside out is a recomposition of James Bailey’s Turning of the Sun that was accomplished by a very original set up. What I did to his original was stretch the fairly percussive track into something more ambient and rearrange the resulting lines before and after applying Melodyne’s adaptive Just Intonation. The result is quite different from the original and has become this consonant / dissonant tug of war ambient drone-ish piece.
James’ description of his original is as follows: “Contact mic into a little battery amp set to feedback level and turntable set in motion. There’s also some sounds of me moving around in a chair.” The rig is pictured below.
What I did was modified Paul Mimlitsch’s prepared guitar track posted to Sound-In. In detail I deleted the highest and lowest notes, and retuned to 22 edo. Then I tuned it to 12 equal whole tone, and then to adaptive just intonation. I normalized the perceived tempo and then quantized the notes to triplet 16th and eight notes. Then I “pulled” the notes to be about 300% longer than originally. Lastly I used the Melodyne spectrum manipulation to kill all harmonics greater than #8. That made the sound a lot purer and a bit like brass in the final result.
A Clean Machine – classical guitar re-composed to adaptive Just Intonation with a few “interesting” surprises introduced by Melodyne’s programming.
I have been archiving past projects and I ran across this fragment of The Rite of Spring (French: Le Sacre du printemps; Russian: «Весна священная», Vesna svyashchennaya, ‘sacred spring’) and decided it would be interesting to render it in adaptive just intonation since that has been a recent topic of interest on the Facebook group Xenharmonic Alliance II. The video is an overlay of the score and the real time adjustments made by the Kontakt included factory script. I selected the factory brass ensemble which in my opinion rendered a nice version of one of my favorite passages of the piece. YMMV of course. You can find the video here for download.
NOTE: Sonar has a a very odd sense of accidentals if you do not explicitly apply a key.
The Ontological Argument is a piece for Kontakt 5 factory string ensemble in adaptive just intonation with a “natural seventh”.
Parmenides was among the first in the Greek tradition to propose an ontological characterization of the fundamental nature of existence. In his prologue or proem he describes two views of existence; initially that nothing comes from nothing, and therefore existence is eternal. Consequently, our opinions about truth must often be false and deceitful. Most of western philosophy — including the fundamental concepts of falsifiability — have emerged from this view. This posits that existence is what may be conceived of by thought, created, or possessed. Hence, there may be neither void nor vacuum; and true reality neither may come into being nor vanish from existence. Rather, the entirety of creation is eternal, uniform, and immutable, though not infinite (he characterized its shape as that of a perfect sphere). Parmenides thus posits that change, as perceived in everyday experience, is illusory. Everything that may be apprehended is but one part of a single entity. This idea somewhat anticipates the modern concept of an ultimate grand unification theory that finally describes all of existence in terms of one inter-related sub-atomic reality which applies to everything.
Tesseract is a recomposed piece that started life as an steel string 12 equal acoustic guitar improvisation trapped in an unpublished video. I extracted the audio track and then brought it into Melodyne 4 Multitrack. Once there I duplicated the track and transposed the duplicate up a fifth creating a lot of lush harmonies. Then to polish the harmonies I selected both tracks and applied Melody 4’s adaptive JI algorithm. Applying adaptive just intonation to the combined tracks is crucial to allow the programming to operate on the newly created fifth relationships. Lastly I panned the two tracks left and right.