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OT: The Infinitone


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I am glad to see this article.

 

"But while a sax"s keys attach to valves that open and shut, the Infinitone has five motorized slides that give it the flexibility of a trombone or guitar. "

 

I play guitar, I've scalloped the fretboard which makes it nearly effortless to perform subtle or not-so-subtle pitch bends. Imperative for authentic blues, just for one.

It took a chunk of my life to get here and I am still not sure where "here" is.
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Nice gadget, but couldn't the guy could just learn to play a violin ?

 

This remember me an Electtronic Music Day in Pisa, a few (ehm, forty ?) year ago, where somebody presented an article on alternative tuning based on the square root of 9, and a student asked: "Now that a computer can play any frequency, do we need notes and tuning any more ?". Clearly the guy never saw a violin, either.

 

Maurizio

Nord Wave 2, Nord Electro 6D 61,, Rameau upright,  Hammond Pro44H Melodica.

Too many Arturia, NI and AAS plugins

http://www.barbogio.org/

 

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Nice gadget, but couldn't the guy could just learn to play a violin ?

 

Convince a sax player - he's a sax player - to learn violin? Not all sax players think the way Ornette Coleman thought. I recall Miles Davis mentioning in his autobiography how pissed he was at Ornette for getting a violin and playing it without proper training.

 

You'll probably have just as much luck convincing a violin player to learn to play baritone saxophone.

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I play guitar, I've scalloped the fretboard which makes it nearly effortless to perform subtle or not-so-subtle pitch bends. Imperative for authentic blues, just for one.

 

I had a Fernandes Fretless guitar. It shipped with Elixir coated strings to minimize wear to the wooden fingerboard, and had a Fernandes Sustainer to compensate for lack of sustain on the upper region of the neck, since there's not frets up there to let the strings ring against.

 

I met some people who were into Just Intonation and invited me to jam with them. They tried to help me by drawing lines on the fingerboard to mark where the notes of their Just Intonation scale should be, as some of those notes were in between the standard tempered chromatic notes.

 

One of the had a guitar with a just intonation fretboard. Looked like the neck at the bottom of this page:

https://freenotemusic.com/freenote-guitars-and-necks/

 

He wouldn't let me play it though, so I never to experience what it would be like to play chords on such a guitar. To me that's the whole point of getting a guitar with an alternative fret layout like that - playing chords. If you're not going to play chords, then just use a slide or normal string bending techniques on a regular guitar.

 

I later took up the viola - would not recommend unless you have a stubborn personality and are willing to put up with years of terrible tone until your bowing technique gets better.. That bow makes the journey more trouble than it's worth - well, it feels that way at times.

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I play guitar, I've scalloped the fretboard which makes it nearly effortless to perform subtle or not-so-subtle pitch bends. Imperative for authentic blues, just for one.

 

I had a Fernandes Fretless guitar. It shipped with Elixir coated strings to minimize wear to the wooden fingerboard, and had a Fernandes Sustainer to compensate for lack of sustain on the upper region of the neck, since there's not frets up there to let the strings ring against.

 

I met some people who were into Just Intonation and invited me to jam with them. They tried to help me by drawing lines on the fingerboard to mark where the notes of their Just Intonation scale should be, as some of those notes were in between the standard tempered chromatic notes.

 

One of the had a guitar with a just intonation fretboard. Looked like the neck at the bottom of this page:

https://freenotemusic.com/freenote-guitars-and-necks/

 

He wouldn't let me play it though, so I never to experience what it would be like to play chords on such a guitar. To me that's the whole point of getting a guitar with an alternative fret layout like that - playing chords. If you're not going to play chords, then just use a slide or normal string bending techniques on a regular guitar.

 

I later took up the viola - would not recommend unless you have a stubborn personality and are willing to put up with years of terrible tone until your bowing technique gets better.. That bow makes the journey more trouble than it's worth - well, it feels that way at times.

 

Looks to me like the Just Scale fretboard cannot decide what key it is for. Fretted won't work for that idea, fretless is needed so you can adjust the intervals. What happens if you want to play in F#? The first interval will be too close to the tonic. It's like each string is it's own key and there are only 5 keys if you tune in the traditional EADGBE. That's nuts.

 

As to chords and such, one of the joys of the scalloped board is the ease of playing double or triple stops and being able to easily change the pitches of various strings and or put a bit of vibrato on there without affecting the other strings.

For some notes you have to work from down a fret. The flat 7 in blues doesn't quite go to the same pitch as the fret is placed. I can also easily bend right up to and through the tonic from 3 frets below (instead of 2). The minor 3rd is often higher although not quite a major 3rd. With scalloped fretboard it is super easy to make subtle adjustments or not so subtle wide intervals that are intentionally not placed on the tempered scale. Of course on your viola, your freedom in that respect is unlimited. As with all strings, fretted or unfretted, the technique used to activate the string can produce a variety of tones, full and sonorous, sharp to shrill, harmonics, etc. That's the true joy of stringed instruments, the variety of tones you can instantly produce by changing how you activate the string.

Reeds have some of that and so do horns. Keys are more complicated but touch and velocity sensitivity are bringing some of that to keyboard world. It's fairly new in the overall history of the instrument.

It took a chunk of my life to get here and I am still not sure where "here" is.
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I have several wind synths, most recently an Akai EWI Solo which has a slide next to the thumb octave rollers that allows me to slide over 7 octaves in any of 200 sounds. This technology has been around for a while. I'm not sure what the infinitone does that my EWI doesn't do. I need to do some more research.
These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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I play guitar, I've scalloped the fretboard which makes it nearly effortless to perform subtle or not-so-subtle pitch bends. Imperative for authentic blues, just for one.

 

I had a Fernandes Fretless guitar. It shipped with Elixir coated strings to minimize wear to the wooden fingerboard, and had a Fernandes Sustainer to compensate for lack of sustain on the upper region of the neck, since there's not frets up there to let the strings ring against.

 

I met some people who were into Just Intonation and invited me to jam with them. They tried to help me by drawing lines on the fingerboard to mark where the notes of their Just Intonation scale should be, as some of those notes were in between the standard tempered chromatic notes.

 

One of the had a guitar with a just intonation fretboard. Looked like the neck at the bottom of this page:

https://freenotemusic.com/freenote-guitars-and-necks/

 

He wouldn't let me play it though, so I never to experience what it would be like to play chords on such a guitar. To me that's the whole point of getting a guitar with an alternative fret layout like that - playing chords. If you're not going to play chords, then just use a slide or normal string bending techniques on a regular guitar.

 

I later took up the viola - would not recommend unless you have a stubborn personality and are willing to put up with years of terrible tone until your bowing technique gets better.. That bow makes the journey more trouble than it's worth - well, it feels that way at times.

 

Looks to me like the Just Scale fretboard cannot decide what key it is for. Fretted won't work for that idea, fretless is needed so you can adjust the intervals. What happens if you want to play in F#? The first interval will be too close to the tonic. It's like each string is it's own key and there are only 5 keys if you tune in the traditional EADGBE. That's nuts.

 

 

Regarding your statement that he must not know what the key he wanted to play that guitar in, sorry but that is incorrect. One of the few things II do remember that he got the guitar - weird fretting and all - set up for the key of D. No I didn't remember to ask him if he thought it was the saddest of all keys. :laugh:

 

I realize what I said earlier may have been upsetting to you. My apologies for that.

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I was highly intrigued and prepared to give it a chance until I listened to the embedded clip. Let's just say his seemingly random, amelodic notes strung together did not give me the same inspiration it took this person to invent the thing.

Keyboards: Nord Electro 6D 73, Korg SV-1 88, Minilogue XD, Yamaha YPG-625

Bonus: Boss RC-3 Loopstation

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I love it when the articles discuss freeing us from the horrible limits of Western music. Dammit, it actually works pretty well.

 

Nice gadget, but couldn't the guy could just learn to play a violin ?
I concur. The great Peter Schickele invented the "tromboon", using a bassoon mouthpiece on either a slide or a whole tenor trombone. Then there's the pennywhistle, the Ondes Martinot, and the Theremin.

 

somebody presented an article on alternative tuning based on the square root of 9
Huh. That would be 3. (Trust me on this -- I'm a math whiz.)

 

I'll stick with the 12th root of 2.

-Tom Williams

{First Name} {at} AirNetworking {dot} com

PC4-7, PX-5S, AX-Edge, PC361

 

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The video helps make sense of this. The tablet is an integral part of the playing experience and technique.

 

I wonder if a trombone with a single-reed (sax/clarinet-style) mouthpiece would have been simpler? The transition between notes wouldn't sound exactly the same (especially the trills at 3:06 and elsewhere), but it would address the requirement for microtones.

 

I agree with the post above that this relatively static, slow, performance doesn't give me the inspiration I would get from (say) Tchaikovsky or Al Green - but that's my problem, not the player's. It's always good to broaden my mind with new experiences.

 

Cheers, Mike.

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I play guitar, I've scalloped the fretboard which makes it nearly effortless to perform subtle or not-so-subtle pitch bends. Imperative for authentic blues, just for one.

 

I had a Fernandes Fretless guitar. It shipped with Elixir coated strings to minimize wear to the wooden fingerboard, and had a Fernandes Sustainer to compensate for lack of sustain on the upper region of the neck, since there's not frets up there to let the strings ring against.

 

I met some people who were into Just Intonation and invited me to jam with them. They tried to help me by drawing lines on the fingerboard to mark where the notes of their Just Intonation scale should be, as some of those notes were in between the standard tempered chromatic notes.

 

One of the had a guitar with a just intonation fretboard. Looked like the neck at the bottom of this page:

https://freenotemusic.com/freenote-guitars-and-necks/

 

He wouldn't let me play it though, so I never to experience what it would be like to play chords on such a guitar. To me that's the whole point of getting a guitar with an alternative fret layout like that - playing chords. If you're not going to play chords, then just use a slide or normal string bending techniques on a regular guitar.

 

I later took up the viola - would not recommend unless you have a stubborn personality and are willing to put up with years of terrible tone until your bowing technique gets better.. That bow makes the journey more trouble than it's worth - well, it feels that way at times.

 

Looks to me like the Just Scale fretboard cannot decide what key it is for. Fretted won't work for that idea, fretless is needed so you can adjust the intervals. What happens if you want to play in F#? The first interval will be too close to the tonic. It's like each string is it's own key and there are only 5 keys if you tune in the traditional EADGBE. That's nuts.

 

 

Regarding your statement that he must not know what the key he wanted to play that guitar in, sorry but that is incorrect. One of the few things II do remember that he got the guitar - weird fretting and all - set up for the key of D. No I didn't remember to ask him if he thought it was the saddest of all keys. :laugh:

 

I realize what I said earlier may have been upsetting to you. My apologies for that.

 

I didn't say that the player did not know what key he wanted to play, I said "Looks to me like the Just Scale fretboard cannot decide what key it is for."

That's a very different statement and topic. What I meant by that is that it appears the frets are calculated based on the open strings and I will concede that it is probably the only way you could have a Just Scale fretted instrument.

If you tried to play in a key that is not a note on an open string (for instance F# as I mentioned above), it will be some other "interesting" scale but not the Just Scale.

 

D is an open string in standard tuning and Double Drop D or DADGAD would give you more options to engage other strings.

 

I am not upset in the slightest, I hope you are not either. I was more letting the thoughts come out of my head than trying to make any sort of point or prove anything. I've been a guitarist since age 14 (65 now) and a guitar tech for nearly that long. I've designed and built a few myself. So I can look at a photo of a different type of fretboard and spot interesting aspects.

 

I'd still like to play a Just Scale fretboard, "Just" for fun (ouch!). Cheers, Kuru

It took a chunk of my life to get here and I am still not sure where "here" is.
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[

I didn't say that the player did not know what key he wanted to play, I said "Looks to me like the Just Scale fretboard cannot decide what key it is for."

That's a very different statement and topic. What I meant by that is that it appears the frets are calculated based on the open strings and I will concede that it is probably the only way you could have a Just Scale fretted instrument.

If you tried to play in a key that is not a note on an open string (for instance F# as I mentioned above), it will be some other "interesting" scale but not the Just Scale.

 

D is an open string in standard tuning and Double Drop D or DADGAD would give you more options to engage other strings.

 

I am not upset in the slightest, I hope you are not either. I was more letting the thoughts come out of my head than trying to make any sort of point or prove anything. I've been a guitarist since age 14 (65 now) and a guitar tech for nearly that long. I've designed and built a few myself. So I can look at a photo of a different type of fretboard and spot interesting aspects.

 

I'd still like to play a Just Scale fretboard, "Just" for fun (ouch!). Cheers, Kuru

 

I can assure you, at least, that the guy who ordered a guitar that sort of neck - not exactly THAT neck in the photo, but similar - knew exactly what he wanted when he ordered that guitar.

 

I guess you brought up your years of experience to let me know that you are, well, experienced. Well, my friend I never doubted that. However, I don't think sheer number of years of guitar playing matters that much if you don't know exactly what you want when you order a custom guitar like that, especially with specifications as exacting as the specs for a neck like that.

 

Now I remember that for the upper half of the neck he had some notes from his JI scale omitted because if they were all there, there would be so little space between all the microtonal frets that that part of the fretboard would be unplayable. So he had to decide which ratios ("scale degrees") that absolutely had to be fretted on the upper part of the neck. I think he kept the most obvious ones like the root, the just major and just minor 3rds, etc. Probably omitted a lot of the neutral intervals.

 

Too bad I lost his contact info. Remember this was almost 20 years ago. Otherwise I'd be happy to introduce you and him and then y'all can discuss amongst yourselves why he wanted that particular layout and how it relates to his 15-limit or 17-limit Just Intonation scale, all that good stuff.

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Ah yes...

 

How Equal Temperament Ruined Harmony (And Why You Should Care)

 

Just get it and read it, it's as illuminating as it is funny.

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

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Ah yes...

 

How Equal Temperament Ruined Harmony (And Why You Should Care)

 

Just get it and read it, it's as illuminating as it is funny.

 

Oh man that reminds me, some guy messaged me about the Moog Matriarch Tuning Scale Select feature and fired off all these microtuning questions. He wanted reassurance that Matriarch will respond properly to MIDI Tuning Standard Single-Note messages or something, before buying a Matriarch.

 

I tried passing on his message to the Moog forum but, all I'm getting is deafening silence. I told him sorry dude, I don't have time to test all this microtuning stuff for you. Just because I found it in the manual doesn't make me an expert

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I can assure you, at least, that the guy who ordered a guitar that sort of neck - not exactly THAT neck in the photo, but similar - knew exactly what he wanted when he ordered that guitar.

 

I guess you brought up your years of experience to let me know that you are, well, experienced. Well, my friend I never doubted that. However, I don't think sheer number of years of guitar playing matters that much if you don't know exactly what you want when you order a custom guitar like that, especially with specifications as exacting as the specs for a neck like that.

 

Now I remember that for the upper half of the neck he had some notes from his JI scale omitted because if they were all there, there would be so little space between all the microtonal frets that that part of the fretboard would be unplayable. So he had to decide which ratios ("scale degrees") that absolutely had to be fretted on the upper part of the neck. I think he kept the most obvious ones like the root, the just major and just minor 3rds, etc. Probably omitted a lot of the neutral intervals.

 

Too bad I lost his contact info. Remember this was almost 20 years ago. Otherwise I'd be happy to introduce you and him and then y'all can discuss amongst yourselves why he wanted that particular layout and how it relates to his 15-limit or 17-limit Just Intonation scale, all that good stuff.

 

I have no doubt of his passion, his need for an instrument that he could successfully express the music that flows through his soul. I already knew that an intense, crazy person offered such necks in the first place. It was probably perfect.

That would have been awesome to be introduced.

The scalloped board was my freedom find. I'd considered one for years but finally going all in took playing to another place. I realized how much friction there can be on a fretboard when I got rid of it entirely. It is effortless to play any note in between the next 3 frets from that one fret below from the 2nd fret on up to the end of the neck. So I would show him that if I ever met him.

It took a chunk of my life to get here and I am still not sure where "here" is.
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I have no doubt of his passion, his need for an instrument that he could successfully express the music that flows through his soul. I already knew that an intense, crazy person offered such necks in the first place. It was probably perfect.

That would have been awesome to be introduced.

The scalloped board was my freedom find. I'd considered one for years but finally going all in took playing to another place. I realized how much friction there can be on a fretboard when I got rid of it entirely. It is effortless to play any note in between the next 3 frets from that one fret below from the 2nd fret on up to the end of the neck. So I would show him that if I ever met him.

 

Before he got that guitar he had already composed some music in that Just Intonation scale, using synth with the tuning loaded and a lap steel. I'm sure that is part of how he figured out what microtonal fret he wanted put onto his custom guitar.

 

He had me play some of his music for him at a microtonal music festival in NYC. He played his Just Intonation guitar, I played a Roland Handsonic with each of the pads tuned to some note from the scale, and a 3rd person played violin.

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I have no doubt of his passion, his need for an instrument that he could successfully express the music that flows through his soul. I already knew that an intense, crazy person offered such necks in the first place. It was probably perfect.

That would have been awesome to be introduced.

The scalloped board was my freedom find. I'd considered one for years but finally going all in took playing to another place. I realized how much friction there can be on a fretboard when I got rid of it entirely. It is effortless to play any note in between the next 3 frets from that one fret below from the 2nd fret on up to the end of the neck. So I would show him that if I ever met him.

 

Before he got that guitar he had already composed some music in that Just Intonation scale, using synth with the tuning loaded and a lap steel. I'm sure that is part of how he figured out what microtonal fret he wanted put onto his custom guitar.

 

He had me play some of his music for him at a microtonal music festival in NYC. He played his Just Intonation guitar, I played a Roland Handsonic with each of the pads tuned to some note from the scale, and a 3rd person played violin.

 

 

That's awesome, so much to explore and I tend to ignore music entirely unless I am immersed in it. I'll have to search for some Just scale music and check it out.

The "Blue Notes" are a primary reason bottleneck guitar was such a predominant blues style, older strings were too high tension to stretch to the notes and large frets had not been invented yet. A "moveable fret" on your pinky finger solved that.

 

At one point long ago in Fresno, we started a band with the idea that things must be profoundly different. I was the bassist for that ensemble. The guitarist had an idea based on a new transducer material introduced by Dean Markley.

Intended for an under saddle acoustic guitar pickup and VERY high output without a preamp - Larry contacted Markley and got a nice piece of the material. I made a nut for his guitar and my bass.

We tapped to get the notes from the nut to the nearest fret being used to divide the string. Larry called it "the logarithmic inverse of the notes" but there was a fret space in-between the two notes so I called them "The Notes that are Wrong."

 

We ran those through stacked pitch shifters and old school digital delays that allowed capture of delay loops and real time pitch/time shifting.

We agreed that we would never discuss anything regarding how music should be played, we would just start in - vocals, drums, bass and guitar. It didn't sound like anything I've ever heard, before or since.

It was not real popular, we emptied a club in record time once - a proud moment in context.

 

The original Vortexans, another band used the name after us.

It took a chunk of my life to get here and I am still not sure where "here" is.
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... We agreed that we would never discuss anything regarding how music should be played, we would just start in - vocals, drums, bass and guitar. It didn't sound like anything I've ever heard, before or since.

It was not real popular, we emptied a club in record time once - a proud moment in context.

 

The original Vortexans, another band used the name after us.

In the 70's I played guitar in a free rock/jazz/whatever band. We had a regular gig in a local bar we all lived near. We'd pick a key and go. Vocalist made up words about what was happening in front of us. Sometimes it was aimless noodling, sometimes it was transcendent. We chose a different name most times we played. The drummer always chose the name The Martians. Once we were named The Bearded Clam.
These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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That's awesome, so much to explore and I tend to ignore music entirely unless I am immersed in it. I'll have to search for some Just scale music and check it out.

 

This music is not in Just Intonation but it is microtonal. Turkish music has a lot of quarter-tone usage. The extra frets in this case allow this Turkish guitarist to access those quarter-tones more easily

 

[video:youtube]

 

This should be more familiar to Western ears. He plays a well-known Bach piece in 4 different micro-tunings, inviting the listener to judge which tuning sounds the best. One of them is 5-limit Just Intonation.

 

[video:youtube]

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I've seen this gentleman before, he is an interesting musician beyond any doubt. I haven't seen these 2 videos. I love nylon string guitar but steel string electric guitar is my sound.

 

Difficult sell on the keyboard forum, the tempered scale is rooted in keyboards.

 

I like this video, a simple explanation demonstrated beyond any doubt.

 

It took a chunk of my life to get here and I am still not sure where "here" is.
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It seems to me that tonality options should be an easy sell (sale?) on a keyboard forum. My Kurzweil and Casio both have temperament choices built-in; I once spent a fun evening A/B comparing them. Most interesting was that the Werckmeister (sp?), which blended well with even-tempered, seemed to be implemented differently on the K and the C -- I got beat tones between them.

-Tom Williams

{First Name} {at} AirNetworking {dot} com

PC4-7, PX-5S, AX-Edge, PC361

 

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It seems to me that tonality options should be an easy sell (sale?) on a keyboard forum. My Kurzweil and Casio both have temperament choices built-in; I once spent a fun evening A/B comparing them. Most interesting was that the Werckmeister (sp?), which blended well with even-tempered, seemed to be implemented differently on the K and the C -- I got beat tones between them.

 

Maybe it's because I am "just a guitar player" or something. I've often mentioned that blues music has important components that cannot be played correctly on a piano - even though much of the music IS played (or attempted) on a piano, going back probably 100 years or so since pianos are nice and loud and lots of honky-tonks had them.

 

Some of these "blue notes" are specific notes but many are "flourishes" of expression, sliding smoothly from a place that is not on a tempered note to another place that is also not on a tempered note.

 

Electronic keyboards can do all sorts of cool things. I know there is a Casio keyboard that is intended for playing Middle Eastern music, some friends in Fresno used those. Very cool.

Ribbons, wheels and aftertouch options open up another world of expression.

It took a chunk of my life to get here and I am still not sure where "here" is.
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somebody presented an article on alternative tuning based on the square root of 9
Huh. That would be 3. (Trust me on this -- I'm a math whiz.)

 

I'll stick with the 12th root of 2.

 

Ops, you are right, i do not remember what i was drinking when i wrote it :->.

I think the paper was about the 19th root of 2, actually :->, leaving out some multiples for making a scale closer a natural one (don't ask me which one :).

 

Maurizio

Nord Wave 2, Nord Electro 6D 61,, Rameau upright,  Hammond Pro44H Melodica.

Too many Arturia, NI and AAS plugins

http://www.barbogio.org/

 

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It seems to me that tonality options should be an easy sell (sale?) on a keyboard forum. My Kurzweil and Casio both have temperament choices built-in; I once spent a fun evening A/B comparing them. Most interesting was that the Werckmeister (sp?), which blended well with even-tempered, seemed to be implemented differently on the K and the C -- I got beat tones between them.

 

Agreed that it's not a hard sell for keyboardists. Kurzweil, Sequential, Moog, and other makers put those microtonal scale options into their products, presumably because there were enough customers demanding them.

 

Well, maybe in the case of Sequential, it was just Robert Rich calling Dave over and over again until Dave relented. :laugh:

 

The main constraint is with scales that have more than 12 notes in one octave. For example, when I tried a 19-tone equal temperament scale on my old Emu rompler, I found it awkward because C up from middle C was no longer an octave up - it was only 12 tones up out out 19 tones. An octave up was instead mapped to G. To make such scales more playable on a regular keyboard, most players and composer just select the 12 notes that they feel like they need the most out of the 19 for 19-tone, or the 31 for 31-tone or whatever the tuning is.

 

I'm sure Korg and Yamaha do it because they have a lot of customers from the Middle East, Africa, and Asia who need keyboards with microtunings to play their music. An example is the keyboardist(s) who have toured with Syrian vocalist Omar Souleyman. While I was studying Persian music, I learned that quarter tones are not the same throughout the maqam music world. Syrians, Egyptians, Palestinians, etc. all hear the quarter-tones a little differently from one another

 

[video:youtube]

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"Louie, Louie" sounds awful in Carlos Alpha. :sick:
Fixed.

 

That's the first song I ever jammed to with other people. And on the piano, no less. Ah, high school....

 

Who knows what Bach would have thought of his music being played in equal temperament. From what I understand, he composed Well Tempered Clavier to show off the character of different keys, because back in his day the key of F major really sounded different from C major and Bb major, and so on. Equal temperament was not adopted yet in his time. I've also seen some scholarly debate over whether the temperament he used was Kirnberger, Werckmeister, or something else.

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Nice gadget, but couldn't the guy could just learn to play a violin ?

 

Convince a sax player - he's a sax player - to learn violin? Not all sax players think the way Ornette Coleman thought. I recall Miles Davis mentioning in his autobiography how pissed he was at Ornette for getting a violin and playing it without proper training.

 

You'll probably have just as much luck convincing a violin player to learn to play baritone saxophone.

 

I realise that my comment was more on the article than the instrument or the inventor in itself.

 

The article talk about 512 notes, "many you"ve never heard before", and "Singh realized this music existed outside of the rigid 12-note structure of Western music, in which he had been trained as a jazz musician.". That is BS, you do not need this new instrument to discover that there are more than 12 notes. If the article said "Singh, as a saxophonist, could not go out of the 12-nore strucutre like his violinist friends", that would have been different :->.

 

Maurizio

Nord Wave 2, Nord Electro 6D 61,, Rameau upright,  Hammond Pro44H Melodica.

Too many Arturia, NI and AAS plugins

http://www.barbogio.org/

 

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