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so,you've all seen the microtonally adjustable piano,right?


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There was a big thread on this when the news first hit. Check it out.



"I'm so crazy, I don't know this is impossible! Hoo hoo!" - Daffy Duck


"The good news is that once you start piano you never have to worry about getting laid again. More time to practice!" - MOI

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just read through the older post, joe, thanks for the link. i agree with you that the timbre is a little disappointing. i was hoping for more of a modern piano sound. but, either way, i think the concept/potential is really cool. as far as the "constructive" criticism (i couldn't help but notice some gratuitous hatin' coming from the populous):


i agree that a) this is a largely impractical instrument b) there are many flaws in its execution c) the guy seems a little simplistic in his explanation of western/non-western tuning...but he's right for the most part in my opinion, and mostly just pretty bad-ass for conceiving of this and seeing it through.

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I've never been called a populous before. :D Welcome to the forum, Bud! :wave:


Yes, I'm a hardcore champion of equal temperament. It's the one and only for the instruments and the music that I play. I'm sure that it's inappropriate for other music, be it from another culture or an earlier time. I'm sure equal temperament grates on folks with a different taste in harmony and melody, because any hint of their tuning in my stuff really spoils the sauce for me.


I'd be more tolerant of different view points if they didn't trash talk equal temperament so much. So many of my equal tempered brethren and sistren are so poisoned by this trash talk that many characterize equal temperament as imperfect, limited, a compromise, or worse, out of tune. It's none of that. It's pure beauty and elegance. It's as in tune as it gets. It's hard to understand that if you cling to the ancient notion that beatless means in tune. In tune for me means a circle of uniformly contracted fifths where then ends actually meet. Smooth, uniformly rising or falling beat frequencies when playing any interval chromatically. It's what makes harmony as I understand it possible.




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Yeah, I still dig the idea. I dabbled in alternative temperaments and just intonation. It does take a lot of work though to compose a piece of music around nonstandard temperament or untempered tuning system. Depending on the tuning system you select, you could use a lot of what applies to standard equal temperament, or you could be devising a very different system of harmony.


Despite the emergence of easily tunable softsynths, an acoustic instrument that can be played in an alternative tuning system will always have a certain special appeal - as in the case of the Harry Partch instruments.


I play equal tempered guitar and keys because I try to be in tune with other people who play guitar and keys in the same temparament. We are the kind of band though that may someday welcome me trying out chords in, say, 34-tone equal temperament superimposed over the other players' "normal"-tuned parts, because that's how we sometimes roll. I can't say I'm cool as, say Neil Haverstick, who plays jazz in 34-tone, 36-tone equal, and other weird tunings on fretless and unusually fretted guitars - or Wendy Carlos or Robert Rich.

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Make it interactive... so the audience can control the pitch while the piano player plays. :sick:


I'm sure Dave Horne would enjoy that, right Dave?


I'll have to get back to you on that one.

No guitarists were harmed during the making of this message.


In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments.


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