Archive for the ‘adaptive JI’ Category

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.

A Postcard from Trappist 1

Saturday, March 18th, 2017


A Postcard from Trappist 1 is an adaptive Just Intonation improvisation using the Parva synthesizer.

Linnstrument using Soniccouture’s reed organ in Adaptive JI

Friday, January 20th, 2017


audio only

Loquebantur variis linguis in Adaptive JI normal and half speed

Wednesday, January 11th, 2017

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

turning of the sun inside out (Melodyne recomposition / acousmatic)

Friday, December 23rd, 2016

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.

Two for Opabinia (BP and Adaptive JI)

Wednesday, November 30th, 2016

opabinia_bw2 Opabinia regalis

Opabinia 2 (in shale) Soniccouture‘s vibraphone in Kontakt’s adaptive JI (which I push quite hard)

Opabinia 1 (in the hunt) Double tracked Bohlen-Pierce guitar with Ego compressor and Breverb hall reverb.

Capturing Paul (Acousmatic in Adaptive Just Intonation via Melodyne)

Saturday, November 26th, 2016

capturing_paul Melodyne

capturing_paul2 Spectrum analysis

Capturing Paul
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 (adaptive JI classical guitar via Melodyne)

Thursday, October 13th, 2016

407crop Note Melodyne manual calls adaptive JI “dynamic” JI – see entry down the page by clicking the photo I took.


A Clean Machine – classical guitar re-composed to adaptive Just Intonation with a few “interesting” surprises introduced by Melodyne’s programming.

Animated Score Rite of Spring Fragment D in Adaptive JI for Brass Ensemble

Wednesday, July 20th, 2016

rite

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 (adaptive Just Intonation)

Friday, February 19th, 2016

Parmenides


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.