Timbral tuning - Revision history

Fredg999 category edits: Categories

2023-03-08T02:31:56Z

Kaiveran: Kaiveran moved page Generalized overtone tuning to Timbral tuning: As per Bullet51 on Discord

2022-10-29T21:06:45Z

Kaiveran moved page Generalized overtone tuning to Timbral tuning: As per Bullet51 on Discord

← Older revision		Revision as of 21:06, 29 October 2022
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	~~[In need~~ of a ~~better name~~ perhaps]		A possibility largely neglected until very recently due to a variety of factors, '''timbral tuning''' is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[Just_intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while timbral tuning can also embrace inharmonic sounds of any stripe.

	~~A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system~~ that ~~takes into account the actual~~ "~~real~~-~~world~~" ~~overtone spectrum of any instrument or voice, be it real or virtual~~, and ~~uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as~~ a ~~basis for~~ tuning~~. This differs from [[Just_intonation\|just]] or rational intonation,~~ in ~~that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres~~, ~~while generalized overtone~~ tuning ~~can also embrace inharmonic sounds~~ of ~~any stripe. An important pioneer in this field is [[Bill_Sethares\|Bill Sethares]]~~.		(Note that what exactly "close-enough" means is debatable, and one could make the argument that a subtle form of timbral tuning arises in several instruments which display inharmonicity, such as the stretched tuning of a piano or the balancing act across a guitar's neck.)

	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration. An important pioneer in this field is [[Bill Sethares]].

	'''Works and Examples and Things'''		'''Works and Examples and Things'''

	<ul><li>[https://www.youtube.com/watch?v=xcSod-sj2CE The Hyperpiano] by Kevin Hobby and Bill Sethares</li><li>[[kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</li></ul>		<ul><li>[https://www.youtube.com/watch?v=xcSod-sj2CE The Hyperpiano] by Kevin Hobby and Bill Sethares</li><li>[[kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</li></ul>

Kaiveran: Kaiveran moved page Generalized overtone tuning to Timbral tuning: As per Bullet51 on Discord

2022-10-29T21:01:30Z

Kaiveran moved page Generalized overtone tuning to Timbral tuning: As per Bullet51 on Discord

← Older revision	Revision as of 21:01, 29 October 2022
(No difference)

Wikispaces>FREEZE at 00:00, 17 July 2018

2018-07-17T00:00:00Z

← Older revision		Revision as of 00:00, 17 July 2018
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	~~<h2>IMPORTED REVISION FROM WIKISPACES</h2>~~		[In need of a better name perhaps]
	~~This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>~~
	~~: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-11-28 01:31:24 UTC</tt>.<br>~~
	~~: The original revision id was <tt>622564417</tt>.<br>~~
	~~: The revision comment was: <tt></tt><br>~~
	~~The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>~~
	~~<h4>Original Wikitext content:</h4>~~
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[In need of a better name perhaps]

	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[~~xenharmonic/Just intonation~~\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[Just_intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill_Sethares\|Bill Sethares]].

	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.

	Works and Examples and Things		'''Works and Examples and Things'''
	* [[https://www.youtube.com/watch?v=xcSod-sj2CE\|The Hyperpiano]] by Kevin Hobby and Bill Sethares
	* [[~~xenharmonic/~~kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</~~pre></div>~~		<ul><li>[https://www.youtube.com/watch?v=xcSod-sj2CE The Hyperpiano] by Kevin Hobby and Bill Sethares</li><li>[[kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</li></ul>
	~~<h4~~>~~Original HTML content:~~<~~/h4>~~
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Generalized overtone tuning</title></head><body>[In need of a better name perhaps]<br />
	~~<br />~~
	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />
	~~<br />~~
	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />
	~~<br />~~
	~~<strong>Works and Examples and Things</strong><br />~~
	<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li><li><a class="wiki_link" href="http://xenharmonic.wikispaces.com/kai-metalbar-nonoct">A non-octave &quot;tonality diamond&quot;</a> based on the spectrum of a metal bar free to vibrate at both ends</li></ul~~></body></html></pre></div~~>

Wikispaces>kai.lugheidh: Imported revision 622564417 - Original comment:

2017-11-28T01:31:24Z

**Imported revision 622564417 - Original comment: **

Wikispaces>kai.lugheidh: Imported revision 610762773 - Original comment:

2017-04-12T20:23:06Z

**Imported revision 610762773 - Original comment: **

Wikispaces>kai.lugheidh: Imported revision 608990879 - Original comment:

2017-03-17T00:30:07Z

**Imported revision 608990879 - Original comment: **

Wikispaces>kai.lugheidh: Imported revision 608982615 - Original comment:

2017-03-16T19:12:02Z

**Imported revision 608982615 - Original comment: **

Wikispaces>kai.lugheidh: Imported revision 608982469 - Original comment:

2017-03-16T19:07:05Z

**Imported revision 608982469 - Original comment: **

← Older revision		Revision as of 19:07, 16 March 2017
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	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-16 19:07:04 UTC</tt>.<br>		: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-16 19:07:05 UTC</tt>.<br>
	: The original revision id was <tt>~~608982465~~</tt>.<br>		: The original revision id was <tt>608982469</tt>.<br>
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	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>

Wikispaces>kai.lugheidh: Imported revision 608982465 - Original comment:

2017-03-16T19:07:04Z

**Imported revision 608982465 - Original comment: **

New page

<h2>IMPORTED REVISION FROM WIKISPACES</h2>
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
: This revision was by author [[User:kai.lugheidh|kai.lugheidh]] and made on <tt>2017-03-16 19:07:04 UTC</tt>.<br>
: The original revision id was <tt>608982465</tt>.<br>
: The revision comment was: <tt></tt><br>
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
<h4>Original Wikitext content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[In need of a better name perhaps]

A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation|just]] or rational intonation, in that JI only accepts integer relations and thus necessary limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].

The resources of these kinds of tunings are theoretically as rich and complex as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.

**Works and Examples and Things**
* [[https://www.youtube.com/watch?v=xcSod-sj2CE|The Hyperpiano]] by Kevin Hobby and Bill Sethares</pre></div>
<h4>Original HTML content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Generalized overtone tuning</title></head><body>[In need of a better name perhaps]<br />
<br />
A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessary limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />
<br />
The resources of these kinds of tunings are theoretically as rich and complex as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />
<br />
<strong>Works and Examples and Things</strong><br />
<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li></ul></body></html></pre></div>

← Older revision		Revision as of 02:31, 8 March 2023
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	<ul><li>[https://www.youtube.com/watch?v=xcSod-sj2CE The Hyperpiano] by Kevin Hobby and Bill Sethares</li><li>[[kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</li></ul>		<ul><li>[https://www.youtube.com/watch?v=xcSod-sj2CE The Hyperpiano] by Kevin Hobby and Bill Sethares</li><li>[[kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</li></ul>

			[[Category:Tuning]]
			[[Category:Timbre]]

← Older revision		Revision as of 01:31, 28 November 2017
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	<h2>IMPORTED REVISION FROM WIKISPACES</h2>		<h2>IMPORTED REVISION FROM WIKISPACES</h2>
	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-04-~~12 20~~:23:06 UTC</tt>.<br>		: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-11-28 01:31:24 UTC</tt>.<br>
	: The original revision id was <tt>~~610762773~~</tt>.<br>		: The original revision id was <tt>622564417</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].

	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals~~, snare drums~~ and ~~the like~~. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.

	Works and Examples and Things		Works and Examples and Things
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	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />
	<br />		<br />
	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals~~, snare drums~~ and ~~the like~~. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, resources are limited by the number of identifiable overtones in the source timbre (plus the accuracy of their measure or definition), and it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals and flat gongs. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />
	<br />		<br />
	<strong>Works and Examples and Things</strong><br />		<strong>Works and Examples and Things</strong><br />
	<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li><li><a class="wiki_link" href="http://xenharmonic.wikispaces.com/kai-metalbar-nonoct">A non-octave &quot;tonality diamond&quot;</a> based on the spectrum of a metal bar free to vibrate at both ends</li></ul></body></html></pre></div>		<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li><li><a class="wiki_link" href="http://xenharmonic.wikispaces.com/kai-metalbar-nonoct">A non-octave &quot;tonality diamond&quot;</a> based on the spectrum of a metal bar free to vibrate at both ends</li></ul></body></html></pre></div>

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	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-~~17 00~~:30:07 UTC</tt>.<br>		: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-04-12 20:23:06 UTC</tt>.<br>
	: The original revision id was <tt>~~608990879~~</tt>.<br>		: The original revision id was <tt>610762773</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].

	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove ~~very useful~~ for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.

	Works and Examples and Things		Works and Examples and Things
	* [[https://www.youtube.com/watch?v=xcSod-sj2CE\|The Hyperpiano]] by Kevin Hobby and Bill Sethares</pre></div>		* [[https://www.youtube.com/watch?v=xcSod-sj2CE\|The Hyperpiano]] by Kevin Hobby and Bill Sethares
			* [[xenharmonic/kai-metalbar-nonoct\|A non-octave "tonality diamond"]] based on the spectrum of a metal bar free to vibrate at both ends</pre></div>
	<h4>Original HTML content:</h4>		<h4>Original HTML content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Generalized overtone tuning</title></head><body>[In need of a better name perhaps]<br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Generalized overtone tuning</title></head><body>[In need of a better name perhaps]<br />
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	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />
	<br />		<br />
	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove ~~very useful~~ for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove fruitful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />
	<br />		<br />
	<strong>Works and Examples and Things</strong><br />		<strong>Works and Examples and Things</strong><br />
	<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li></ul></body></html></pre></div>		<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li><li><a class="wiki_link" href="http://xenharmonic.wikispaces.com/kai-metalbar-nonoct">A non-octave &quot;tonality diamond&quot;</a> based on the spectrum of a metal bar free to vibrate at both ends</li></ul></body></html></pre></div>

← Older revision		Revision as of 00:30, 17 March 2017
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	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-~~16 19~~:12:02 UTC</tt>.<br>		: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-17 00:30:07 UTC</tt>.<br>
	: The original revision id was <tt>~~608982615~~</tt>.<br>		: The original revision id was <tt>608990879</tt>.<br>
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	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[In need of a better name perhaps]		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[In need of a better name perhaps]

	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus ~~necessary~~ limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].

	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Generalized overtone tuning</title></head><body>[In need of a better name perhaps]<br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Generalized overtone tuning</title></head><body>[In need of a better name perhaps]<br />
	<br />		<br />
	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus ~~necessary~~ limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessarily limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />
	<br />		<br />
	The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />

← Older revision		Revision as of 19:12, 16 March 2017
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	<h2>IMPORTED REVISION FROM WIKISPACES</h2>		<h2>IMPORTED REVISION FROM WIKISPACES</h2>
	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-16 19:07:05 UTC</tt>.<br>		: This revision was by author [[User:kai.lugheidh\|kai.lugheidh]] and made on <tt>2017-03-16 19:12:02 UTC</tt>.<br>
	: The original revision id was <tt>~~608982469~~</tt>.<br>		: The original revision id was <tt>608982615</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessary limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual "real-world" overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from [[xenharmonic/Just intonation\|just]] or rational intonation, in that JI only accepts integer relations and thus necessary limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is [[Bill Sethares]].

	The resources of these kinds of tunings are theoretically as rich ~~and complex~~ as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.

	Works and Examples and Things		Works and Examples and Things
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	A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessary limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />		A possibility largely neglected until very recently due to a variety of factors, generalized overtone tuning is a system that takes into account the actual &quot;real-world&quot; overtone spectrum of any instrument or voice, be it real or virtual, and uses intervals between these overtones (and perhaps their multiples, quotients, inverses, etc) as a basis for tuning. This differs from <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation">just</a> or rational intonation, in that JI only accepts integer relations and thus necessary limits its purview to harmonic (or close-enough) timbres, while generalized overtone tuning can also embrace inharmonic sounds of any stripe. An important pioneer in this field is <a class="wiki_link" href="/Bill%20Sethares">Bill Sethares</a>.<br />
	<br />		<br />
	The resources of these kinds of tunings are theoretically as rich ~~and complex~~ as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />		The resources of these kinds of tunings are theoretically as rich as those of JI. In practice, it may not prove very useful for very noisy or dense timbres that fail to give an impression of definite pitch, such as cymbals, snare drums and the like. Nevertheless, it may be far too early to make any definite judgements about so young a field, and it is undoubtedly ripe for exploration.<br />
	<br />		<br />
	<strong>Works and Examples and Things</strong><br />		<strong>Works and Examples and Things</strong><br />
	<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li></ul></body></html></pre></div>		<ul><li><a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow">The Hyperpiano</a> by Kevin Hobby and Bill Sethares</li></ul></body></html></pre></div>

Timbral tuning - Revision history

Fredg999 category edits: Categories

Kaiveran: Kaiveran moved page Generalized overtone tuning to Timbral tuning: As per Bullet51 on Discord

Kaiveran: Kaiveran moved page Generalized overtone tuning to Timbral tuning: As per Bullet51 on Discord

Wikispaces>FREEZE at 00:00, 17 July 2018

Wikispaces>kai.lugheidh: **Imported revision 622564417 - Original comment: **

Wikispaces>kai.lugheidh: **Imported revision 610762773 - Original comment: **

Wikispaces>kai.lugheidh: **Imported revision 608990879 - Original comment: **

Wikispaces>kai.lugheidh: **Imported revision 608982615 - Original comment: **

Wikispaces>kai.lugheidh: **Imported revision 608982469 - Original comment: **

Wikispaces>kai.lugheidh: **Imported revision 608982465 - Original comment: **

Wikispaces>kai.lugheidh: Imported revision 622564417 - Original comment:

Wikispaces>kai.lugheidh: Imported revision 610762773 - Original comment:

Wikispaces>kai.lugheidh: Imported revision 608990879 - Original comment:

Wikispaces>kai.lugheidh: Imported revision 608982615 - Original comment:

Wikispaces>kai.lugheidh: Imported revision 608982469 - Original comment:

Wikispaces>kai.lugheidh: Imported revision 608982465 - Original comment: