ASCAP, BMI, SESAC, and now IBICC? Is IBICC 'in tune' with the times?

[fantasticsound]

Now if we could get Pop interested again... that would be nice.

 

Glad I represented most of your intent to Phil. Thanks for the clarification.

 

------------------

Neil

 

Reality: A few moments of lucidity surrounded by insanity.

 

As requested by Wilpye, I edited out references to a reply by Jason Poff. Lets move on. Apologies to Jason for my harsh reply. http://www.musicplayer.com/ubb/eek.gif

 

This message has been edited by fantasticsound on 06-20-2001 at 12:20 AM

[wilpye]

fantasticsound. I appreciate your counsel to me. But I've just gone back to the initial post & taken out the ill-advised humor.

 

Jason, if you'll go back to your last post & pull the post or the quote, it'll all be gone off the forum. Your call...

 

Neil, you are a friend indeed...

[wilpye]

Fantasticsound. Well, Jason showed a lot of class accepting my apology, so let's all put it behind us. The last three sentences in your last post are about all that posterity should see, so please if you agree go back & lift him off the griddle.

 

I am starting to get concerned by Zap's absence. And we really are needing some over-all observations like Phil earlier offered to weigh in with before your excellent (concise) summation. (I ought to try to get you trimmin' down my posts to manageable size Neil!) It's what Phil asked for, and you delivered....

[fantasticsound]

Originally posted by wilpye:

I am starting to get concerned by Zap's absence. And we really are needing some over-all observations like Phil earlier offered to weigh in with before your excellent (concise) summation. (I ought to try to get you trimmin' down my posts to manageable size Neil!) It's what Phil asked for, and you delivered....

 

Are you INSANE Wilpye???

 

Perhaps you better scoot off to the profanity thread, page 2 before you extend that offer to me... http://www.musicplayer.com/ubb/eek.gif

 

(standing in the corner with my hands behind my back, staring at the floor by my feet, whistling)

 

Actually, I think several posters have wanted to ask you this, but not for the same reason. http://www.musicplayer.com/ubb/biggrin.gif

 

 

------------------

Neil

 

Reality: A few moments of lucidity surrounded by insanity.

[wilpye]

Fantasticsound. Wow. I read every word (& the subsequent posts too) >>>They (people) wish to be part of a community that shares many common beliefs and customs.<<<

 

It's when they're not,... that's when the ailenation & retaliation mentality goes bonkers. All the really quality people I've encountered in my life have had their feet square on the ground as >>>part of a community<<< If a person doesn't belong (spiritually) somewhere, they're on a slippery slope...

 

OK. Sometimes you write immense posts too. I do feel better already.

 

(And I may be insane, but at least I'm not criminally insane. I've tried & tried to explain that to my jailers.)

 

This message has been edited by wilpye on 06-20-2001 at 01:48 AM

[wilpye]

Let's get back to IBICC. This thread has pretty much wound down, so soon I will retire from the forum. There's a zillion things going on. I'll monitor affairs a little longer for any observations or input. Still haven't heard from a single person. "Yes, I listened to the Bytone scale."

 

The preliminary discussions with select broadcasters raised one issue I'd like to air out. Since each individual is responsible for watermarking their masters as the last step in mastering, what would happen if somebody released a 12 tone ET with IBICC watermarking, registered the performance with the registry, and began collecting payments from IBICC?

 

This is clearly fraud against the Broadcasters! In our negotiated settlement, it will be established that IBICC will be held harmless. (The cost to verify each alleged Bytone submission would reduce the general funds, and thus reduce the payout to members. We have to be able to trust our members!) So the broadcasters will be reimbursed, and the party responsible will have a private hearing at IBICC (if desired) to save their membership. No one will be sued for fraud, but unless a reprieve is issued the offender will be drummed out of IBICC for life.

 

This is the only way both the broadcasters and IBICC could come to a proposed solution. Any comments from anybody on this? Any other way we're missing to deal with this?

[Master Zap]

"Worried by my absence"?

 

How nice it is to be missed http://www.musicplayer.com/ubb/smile.gif

 

I've gots me deadlines, not time to frivolous post. Plus "Midsummer" (HUUUUGE Swedish holiday next only to Xmas) coming up so things gonna be Schnapps and Pickled Herring for a while here http://www.musicplayer.com/ubb/smile.gif

 

Wilpye:

 

I'm feeling a little dense, the blueish colored drink my wife just gave me made it worse.... can you just list:

 

A: The two list of detunings from ET needed to do bytone

B: Which intervals are the "bad" ones in which case one shalt switch scales

 

...and I'll tinker. Tinkering time has still been very minimalistic here... deadlines, as said. The backside of the coin of a dayjob as software engineer http://www.musicplayer.com/ubb/smile.gif

 

/Z

 

Can you gimme that list of how to

[wilpye]

Master Zap. Here again are those 3 paragraphs reprinted from earlier in the thread:

 

>>> If you have a tunable synth with a user scale of 1 cent resolution (like most Korg's) dial up C= 0 (cents), C#=+2 D=+4, D#= -6, E=-4, F=-2, and the same thing for F#=0, G=+2, G#=+4, A=-6, A#=-4, B=-2

As long as you don't change chords, this chromatic scale is complete for tonics C or F#. In the patent, this is what is called the 'straight major scale'. It sings...

 

Once again, I am not trying to confuse anybody, but when you need to play a minor chord that also kills, the AutoTune will convert your indicated passage to this scale, called the tall minor: C= 0 (cents), C#=+2 D=+4, D#= +6, E=+8, F=-2, and exactly the same progression F#=0, G=+2, G#=+4, A=+6, A#=+8, B=-2

 

Simple Dimple. At the conversion mix session, all major chords are

tweaked to the straight major scale, & minor chord voicings are

treated with the tall minor scale. Forget the patent. That's all you

need to know.<<<

 

Also when you last left the thread I responded to you at 6-16-2001

02:27 PM & later at 09:56 PM where I gave you some info on MIDI files.

 

Please go read both those posts (back on page 1) if you have not.

 

To make it easy I repeat; if you say that's how you want to approach this give me a request online & I will hook up with you (off the forum) & have you send me a MIDI file to prepare for your synth. (Then you can dial in the Bytone scales & hit play). When you've had too much blue liquid,

this is the easy way. As my wife said >>> Ahhhhh, Sweden!<<<

[wilpye]

Zap, P.S. to my last post: If you don't work much with MIDI, it will be tough to modulate effectively. However, as I've mentioned previously, if the synth is set up for 'C' & 'F#' with the straight major scale, it is ALREADY set up to allow you to hear the tall minor scale for the tonics

'E' and 'bB'.

 

However, if you wanted to hear the tall minor on C or F#, the string of perfect fifths must be retuned to do this (as per the instructions). Otherwise your synth must provide SIMULTANEOUSLY 16 pitches to allow both straight & tall scales for a particular tritone pair of tonics. This is what (and way more) the native keyboard does, of course.

 

This message has been edited by wilpye on 06-21-2001 at 12:22 AM

[Master Zap]

I dont quite get

 

C major and A minor is the same key, right, just different tonic "basepoint". Is the tuning you mention meant for chords in the C major (disregard that F# stuff for now) only? Is it for the C scales natural chords, i.e. C major, D minor, E minor, F major, G major and A minor? Or only for the major chords (C, F and G) and you use the other scale for D, E and A minors?)

 

I only get this partially, but its the blue liquids fault. MY wife mixed it http://www.musicplayer.com/ubb/wink.gif (Hic). Hmm. I'm gonna come off as an Alcoholic in this forum probably, *grin*.

 

I work solely with MIDI so thats not a problem. I'm already thinking in terms of a software that does this, but I have to understand what "this" is first http://www.musicplayer.com/ubb/wink.gif

 

I get the *principle* of what you are saying (have from your 1st bytone post) but *principle* is just a mathematical abstraction (i.e. various intervals, name them x, can be enhanced by detuning, but then other intervals, say y, gets sour, so by swithing the detuning around, one can aceive pureness - great, simple theory) but now it's time for PRACTICE.

 

Spreaking of which, a wise man said:

 

PRACTICE is when EVERYTHING WORKS, but nobody knows why.

THEORY is when NOTHING WORKS but EVERYBODY KNOWS WHY!

We strive to combine THEORY and PRACTICE:

NOTHING WORKS - AND NOBODY KNOWS WHY

 

/Z

[WFTurner]

>>Still haven't heard from a single person. "Yes, I listened to the Bytone scale."<<

 

Hoping to experiment soon. Still not back up and running

yet... been tied up alot at the hospital with tests.

 

Probably had an hour of puter time this week.

 

 

 

 

------------------

William F. Turner

Songwriter

turnermusic

[wilpye]

Zap. (Sorry for leaving my post but something interesting is brewing concerning a large American music publisher, Carl Fisher Inc., N.Y.

More comments at a later time...)

 

>>>I dont quite get C major and A minor is the same key, right..?<<<

 

Yes, but only in equal temperament. In Bytone, the 12 pitches that play the straight major scale for two tonics (separated by a tritone interval) are the same 12 pitches that create the tall minor scale on another two tritone tonics. The difference is: In E.T. if C is the tonic, then A is the correct minor scale, but in Bytone if C is the tonic E!!! is the tonic basepoint for the correct chromatic minor scale.

 

>>>Is it for the C scale's natural chords, i.e. C major, D minor, E minor, F major, G major and A minor<<<

 

This is a hard concept to transfer with words, but no! You are thinking diatonically. Bytone is not a diatonic (7 white key) 'cage' as you are accustomed to working within (with the common modes). The goal with Bytone (on a native instrument) as you move in a linear fashion is to have a 16 pitch cage move with you as you move in a diatonic fashion (from C to D to E to F, etc.) You can play the straight major or tall minor AT WILL, because all 16 notes needed to do this are on the playing surface. (The good news is there is one unified fingering system for tonics. All major chord voicings are fingered exactly the same. Same for all the minor voicings. I'm telling you its WOWsville.)

 

>>>I'm already thinking in terms of a software that does this, but I have to understand what "this" is first<<<

I will need to consult closely with you before you 'mentally' design & approach a program called "this". There are more than magic blue bubbles going to ripple thru your mind when you see & play the native keyboard one day. With a total meeting of our minds, you will know what to do.

 

But you must junk diatonic thinking, it does not work in the Bytone world. Theory here is more convergent than divergent. >>>but now it's time for PRACTICE<<< Although I might not be getting it across well in these posts, in PRACTICE the instrument works to deliver the Bytone 16 note package wherever you need it, in realtime and with super minimal hassle. Working with your 12 pitch per octave Kurzweil's black & white keys is not the best way to comprehend Bytone for realtime players.

 

>>>NOTHING WORKS - AND NOBODY KNOWS WHY<<< That's an apt quote, but I assure you we'll turn it around. It will all work, and everyone will know why. A picture is worth a 1,000 words.

 

WF. Take your time. All good things come to those....

But a blurry view is had by those who skate!

[fantasticsound]

I'll experiment tommorow. Promise. Just too much going on with sick baby, sick mama, sick me, and preparation for Sat. morning. bus call. Thank goodness I'll have another week before the long haul begins.

[Master Zap]

I agree this must be the most elusive C major chord yet. My trusty synth gladly refused to let me custom program it's tuning. Now where's that manual *sigh* http://www.musicplayer.com/ubb/smile.gif (The user interface in this area of the synth wasn't quite exactly not really y'know intuitive and all that)

 

Wil: I dont quite get it still, should I move the scale with me as I change chords? Or change key? Or what? Today, no blue liquid but the density/densensess/densissity increased methinks http://www.musicplayer.com/ubb/wink.gif

 

Look, here is a cute Master Zap chord progression (from my hit " Particles two chords w. a slash between simply means the change is twice per bar, nothing else)

 

Am Dm G C/E7 F Am G E7

 

So, whence do I tune howeth? And dont speak to me about pedals as you did above. I want cents http://www.musicplayer.com/ubb/smile.gif

 

Can I stick to two scales only, and if so, on which chords do I use which scale?

 

Or for " Computer Speak " it's

 

Cm Gm Cm Gm Bbm Fm Ab G

 

Whence, howeth? http://www.musicplayer.com/ubb/smile.gif

 

/Z

 

 

This message has been edited by Master Zap on 06-21-2001 at 05:01 AM

[wilpye]

fantasticsound. My post 6-15-2001 11:25 PM (back on page 1, about 2/3 down)

was the reply to Kris on a quick way to hear the Bytone triads, major & minor. But to hear beyond that (such as providing a 12 member scale for extended voicings) a regular guitar is useless. Two things:

 

1. If you tune the chord for E as I instructed on a guitar, any other 'open' triad chord will be out of tune. (Not the barre E family:

E, F, F#, G, G#, etc. which all preserve the tuning)

 

2. The E chord (triad) has a musical sheen because the fifths are at 702 cents. On a native guitar ALL triads will ching & sing like this in realtime. (And all voicing color pitches too.)

 

Last, if you're under the weather, don't sweat it. Bytone is there for the rest of your life. It'll wait...

 

Zap. I'll give you a post shortly.

 

This message has been edited by wilpye on 06-21-2001 at 05:14 AM

[wilpye]

((Attention. Only serious techs should read the following. This is boogey man talk to the max))

 

Zap! There is a program that alters synth pitches in realtime to make a synth like your Kurzweil play just intonation. See:

 

www.justonic.com

 

The justonic program can be dumbed down to handle the few dozen pitches Bytone requires. Just intonation is a horribly complex intonation that in typical schemes uses 60! to 80! pitches per octave. If it looks interesting to you & you want one, let me know. The idea with the Justonic program is to get a 12 pitch per octave keyboard to allow realtime performance, which is what you seem to be pursuing. Maybe this program could ease your problems.

 

OK, now to your questions. >>>should I move the scale with me as I change chords? Or change key?<<< If you have only 12 pitches as listed by me in cent values, the first string would look like this (as seen in Fig. 1 of the mother patent) 894, 996, 1098, 1200 (or 0), 102, 204. The second string would be 294, 396, 498, 600, 702, 804.

 

Since these 12 pitches are static and unchanging under your present conditions, if your 'chord' is no more than the major triad it will be good on six tonics. If C = 1200 or 0, these six are:

The B triad (1098, 600, 294) The C triad (1200, 702, 394) The C# triad (102, 804, 498) and also: The F triad (498, 1200, 894) The F# triad (600, 102, 996) The G triad (702, 204, 1098).

 

Using these same 12 pitches, six tonics can also play the tall minor triad ((0,702, & 306)):

The A triad (894, 396, 0) The A# triad (996, 498, 102) The B triad (1098, 600, 204) and also:

The bE triad (294, 996, 600) The E triad (396, 1098, 702) The F triad (498, 0, 804).

 

What leaps out is; In this collection of 12 pitches, only two tonic centers (separated by a tritone interval) have the unique ability to either sound the straight major triad, or the tall minor triad.

The B triad (1098, 600, 294) is major, (1098, 600, 204) is minor.

The F triad (498, 0, 894) is major, (498, 0, 804) is minor.

 

For your progression: >>>Am Dm G C/E7 F Am G E7<<< Since you have only 12 pitches to work with, (and you need more to preserve the ideal cent value structure of your triads) you can not play this progression and stay true to the desired triad structure. You need a few more. Do you see why? I can type out the cent values if you ask me to. But if your progression had drawn from the six major triads above, and/or the six minor triads above, YOU COULD have pulled it off.

For instance Am Em G C/E7 F Am G E7 (The substitution of the Em for Dm makes it work)

 

But for total flexibility to do wolf centers like D or Dm you need more pitches than 12.

 

Your other progression >>>Cm Gm Cm Gm Bbm Fm Ab G<<<

Tune your synth to the tall minor 12 pitches for C:

1098, 0, 102, 204, 306, 408, with 498, 600, 702, 804, 906, 1008 and this progression is almost allowed (1 single pitch is missing):

 

Cm (0, 702, 306), Gm (702, 204, 1008), Cm as given, Gm as given,

Bbm ('996' missing, 498, 102), Fm (498, 0, 804) Ab (804, 306, 0), G (702, 204, 1098)

 

And Zap, this is only for triads. What you want & need is a system that gives you the entire 16 notes for a given tonal center 'simultaneously' to allow you at will to play the entire coloration voicings (as called for by the Bytone standard). Of course, I have this with the 'native' Keyboard.

[RecreationalThinker]

Wilpye,

 

So far (from what I have glanced at) your concept deals extensively with triads. How does it address different voicings and extended chordal structures? If I wanted to comp on Dm9 flat 5 with a B flat in the bass (all on a ByTone keyboard), would it still sound sweet?

 

Also, I previously asked about the possibility of a ByTone Saxophone, to which you replied to the effect that any fixed-pitch instrument would be capable of ByTonality. I'm still a little fuzzy on how your tuning system would preserve the character and overtones of an instrument such as a sax, which tends to play around with the pitch of a note as part of the expressiveness. Also, how does your system account for subtle vibrato? (My statements are based on the assumption of real-time processing)

 

Just curious...

 

------------------

What's on, your mind?

 

This message has been edited by RecreationalThinker on 06-21-2001 at 10:23 AM

[wilpye]

Good question, RecreationalThinker. As I just said to Zap >>>this (explanation) is only for triads. What you want & need is a system that gives you the entire 16 notes for a given tonal center 'simultaneously' to allow you at will to play the entire coloration voicings<<<

I only discussed triads to allow him to cozy up to the underlying concepts of modulation.

 

You ask >>>How does it address different voicings and extended chordal structures?<<<

 

The answer is: Totally! The Bytone scale is (in effect) 16 pitches. All the coloration and beauty of the extensive combinational pallate available to the key signature tonic ideally are preserved INTACT for all other piches in the scale when they are modulated to by the score. But the instrument must have the 'compass' to do this. So >>>Dm9 flat 5 with a B flat in the bass (all on a ByTone keyboard), would it still sound sweet?<<<

 

Yes! wherever you sound it, the minor 9 flat 5 with the lowered sixth in the bass in Bytone will do it for you. For cent values; it's 204, 408 (or 1608 as the 9th sounds mod an octave up), 510, 600, and 804 for the Bb. Let this come out of your speakers in a taste test versus the equal temperament values & let the universe decide!

 

But remember, the example to Zap (just given) was for triads only, and would not allow the basic 16 pitch scale requirements for total colloration (when confined to only 12 pitches), which I'm sure is what gave you mental pause. The native keyboard allows all colorations as you modulate because it is designed to 'carry' the vital 16 pitches through your chord changes. (The most powerful native keyboards provide over 2 dozen pitches per octave to allow the minimum compass.)

 

>>>I'm still a little fuzzy on how your tuning system would preserve the character and overtones of an instrument such as a sax, which tends to play around with the pitch of a note as part of the expressiveness. Also, how does your system account for subtle vibrato?<<<

 

A sax is a sax, and the character & overtones are not dependent (with one exception) on how the holes are manufactured positionwise on the barrel. The exception is that the overtones dovetail even sweeter on the Bytone sax because you are truly blowing a 702 cent perfect fifth, which chimes it in more accurately with the frequencies & overtones the rest of the band are laying down. (Versus the ragged 700 cent 5th of E. T.) Subtle vibrato is generated the same, it's just that the fundamental is 'more' in tune than with E.T. (I'm going to have to have Selmer put you on the sax comp list if this is your axe.)

 

>>>What's on, your mind?<<< Gratitude for getting to deal with your question. You're the only guy on the forum that seems (like I do) to care about tooters. My man, brass makes my day!

 

This message has been edited by wilpye on 06-21-2001 at 05:05 PM

[fantasticsound]

Originally posted by wilpye:

fantasticsound. My post 6-15-2001 11:25 PM (back on page 1, about 2/3 down)

was the reply to Kris on a quick way to hear the Bytone triads, major & minor. But to hear beyond that (such as providing a 12 member scale for extended voicings) a regular guitar is useless

 

Last, if you're under the weather, don't sweat it. Bytone is there for the rest of your life. It'll wait...

 

I understood the limitation of the bytone example on a standard guitar. I believe the communication problem between you and several posters is your description of the number of tones, although your last post is somewhat clearer.

 

If I may... (ahem) everyone!

 

Bytone is a microtonal scale. It is NOT, truly, a variation of the western, 12 tone scale. (A through G, with all the sharps and flats possible.) It is.. what it is.

 

Wilpye is trying to relate it to the common 12 tone scale, because in practice it will be used as a variation on the familiar scale, to create sweeter sounding chords.

 

If we weren't ingrained to think in 12 tone, it would be easier for Wilpye to write rules of theory to fit the tuning, not the other way around.

 

Anyone with a basic understanding of the sitar should understand this. Sitar players don't think of how flat or sharp they are in relation to our notion of scales. They have there own, vastly different approach. Although I have no idea how they name different positions on a sitar, I know it isn't: A, A-a-little-flat, A-a-little-more-flat, etc. If someone can explain the basic manner of describing microtonal sitar scales, your input would be greatly appreciated.

 

People who are truly multi-lingual do NOT translate thoughts from their native langauge to the one they're speaking in. They think the thoughts in the speaking langauge. Only as a novice or intermediate, or when you find something that doesn't translate, in a new langauge do you think in your native tongue.

 

This is true of multi-instrumentalists. I'm a hack piano player, but I don't approach the keyboard looking for guitar arrangements. I play voicings that sound good on the keyboard. Conversely, a keyboard player with a guitar, horn, or string sound only will sound like a those instruments if he THINKS in the correct voicings, playing style and nuance.

 

With Bytone, we will end up "translating" our tunings, but underneath those labels is a fundamentally unique, non-western tuning.

 

Do you agree, Wil?

 

------------------

Neil

 

Reality: A few moments of lucidity surrounded by insanity.

[wilpye]

Fantasticsound. This last post really lives up to your name. Fantastic...

((I'm serious, if we could have kicked off the forum with your last observations (or at least a long time ago) we'd probably have a greater participation level right now.))

 

This is soooo right on >>>With Bytone, we will end up "translating" our tunings, but underneath those labels is a fundamentally unique, non-western tuning.<<<

 

And as everyone will hopefully get to hear for themselves, there is a sparkle & clarity through the sound spectrum using the hybrid Bytone system because the perfect 5ths are indeed perfect.

 

The question to be resoved is: Will enough 'live' musicians step up to the plate and learn how to belt tunes out of the park, or will they be mentally content to BUNT & let engineers convert E.T. music to Bytone at mixdown?

 

I don't doubt the success of IBICC, our first thread paved a yellow brick road to first base for the bunters. But that last question is what only time will tell...

[wilpye]

Well, here's some news. (Somebody's been e-mailing excerpts of this forum around.) Yesterday I referenced Carl Fischer Inc. NY, vis-a-vie a load of over 20 different books that arrived (3 are in German!) called the 'Guitar Grimoire' by author Adam Kadmon. They tell me he's the most successful instructional teacher in the history of the firm. Today, hot on the heels of that (with my permission) arrived Carl Fisher's Mr. Kadmon himself. Eventually I had him sign a non-disclosure and rolled out the space age guitars for his inspection. He fired up & away he went...

 

This guy is one over-the-top guitar enthusiast, with as deep a commitment and knowledge base as you could ever expect to run across. (He's a burner of a player too.) For more on his methodology and current output go to:

 

www.guitargrimoire.com or www.carlfischer.com

 

To cut to the chase, he asked for and received a handshake commitment from me to allow him to convert the entire line of Grimoire books over to a special edition series for Bytone guitar as the 'authorized' version from IBICC. (The ever present lawyers will draw it all up soon.) Mr. Kadmon wants Carl Fischer to be "the source" people think of when People think Bytone guitar. He says he's gone about as far as he can go with 12 tone guitar and he's about as ready for this as he could ever be. I say more power to you, Mr. Kadmon.

 

Anyway, now all we need is a dyed-in-the-wool keyboard authority to parachute in tomorrow (to cover that end) & we're gonna be almost half-way to Shangri-La land.

 

 

This message has been edited by wilpye on 06-21-2001 at 10:49 PM

[RecreationalThinker]

Originally posted by wilpye:

A sax is a sax, and the character & overtones are not dependent (with one exception) on how the holes are manufactured positionwise on the barrel. The exception is that the overtones dovetail even sweeter on the Bytone sax because you are truly blowing a 702 cent perfect fifth, which chimes it in more accurately with the frequencies & overtones the rest of the band are laying down. (Versus the ragged 700 cent 5th of E. T.) Subtle vibrato is generated the same, it's just that the fundamental is 'more' in tune than with E.T. (I'm going to have to have Selmer put you on the sax comp list if this is your axe.)

 

>>>What's on, your mind?<<< Gratitude for getting to deal with your question. You're the only guy on the forum that seems (like I do) to care about tooters. My man, brass makes my day!

 

This message has been edited by wilpye on 06-21-2001 at 05:05 PM

 

Wilpye,

 

I would hate for all of us horn players to be left out in the cold. I AM a sax player, as well as a guitarist, a bass player and a synthesist (and wanting to learn bagpipes, but I don't think even *your* revolutionary system would make them sound better ).

 

...I suppose it would be too greedy of me to ask to be added to ALL of the comp lists? :>

 

 

 

------------------

What's on, your mind?

[wilpye]

recreationalthinker... Bytone bagpipes!!!!!! I agree they might not sound better, but darn it, at least they'd be harder to play. That 'might' cut down on their numbers.

 

(All you worthy Scots.. sheathe those claymores. That was a joke.)

[fantasticsound]

Originally posted by wilpye:

recreationalthinker... Bytone bagpipes!!!!!! I agree they might not sound better, but darn it, at least they'd be harder to play. That 'might' cut down on their numbers.

 

(All you worthy Scots.. sheathe those claymores. That was a joke.)

 

 

 

You DO know the last time the Scots were a force to be reckoned with on the battlefield was JUST prior to the invention of earplugs... http://www.musicplayer.com/ubb/biggrin.gif (Joking... joking...)

 

Thanks Wil, for the kind words on my last post. When you look at Bytone as a 16 tone scale, all to itself, it's easier to imagine. But as you point out, much harder to play & master without the aid of the electronic translator.

 

I like your style. Build the ideal instrument for those seeking new challenges at playing, but make Bytone accessible to all through software.

 

And we can make MONEY off your invention, with no extra work, as well? http://www.musicplayer.com/ubb/eek.gif Sign me up!

 

 

------------------

Neil

 

Reality: A few moments of lucidity surrounded by insanity.

[wilpye]

Neil >>>And we can make MONEY off your invention, with no extra work, as well? Sign me up!<<<

 

It may not seem like much to some today, but one day when IBICC actually cuts the ribbon at headquarters, I hope you're physically there for the party. But even if you're not, you will be inscribed on the roll books as affiliated member #00000000001.

 

Well, I guess it beats being second.... Wil

[Master Zap]

If I can be member #00000000

 

(You know us programmers begin counting at zero dont you?) http://www.musicplayer.com/ubb/smile.gif

 

/Z

[wilpye]

Zap, you & Neil (& a few others) are all number one to me!

 

Soon I retire from the forum.... Neil will be having his hands full with his gig, so maybe tommorrow we conclude.

[Kris]

You mean you haven't become addicted to this forum?

 

One of the lucky few I guess...

[wilpye]

Kris. No, I'm addicted too. But I'm worth more to the forum member's by doing my thing (so I'm going cold turkey). Next week it's back to the grindstone full time for me.

 

However, if I hit a roadblock I want to toss out for input, I'll be back in an eyeblink. This forum works for me...

 

This message has been edited by wilpye on 06-23-2001 at 09:52 AM

[wilpye]

So this is goodbye for now. Should anyone have any last minute observations or epiphanies please stick them on the thread. I'll jump back online next Wednesday & if there's a need will comment. Other than that, adios & thanks for the memories.

 

To the in crowd: Hopefully we'll all meet again.

 

I'm taking my wife on a mini-vacation, the last such dalliance we'll have for a long time. Then I'll be 'hellbent for leather' to make IBICC a success. (If I may misquote John Wayne, Master Zap)