Timbral tuning: Difference between revisions

Wikispaces>kai.lugheidh
**Imported revision 608990879 - Original comment: **
Wikispaces>kai.lugheidh
**Imported revision 610762773 - Original comment: **
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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>2017-03-17 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>
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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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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">&lt;html&gt;&lt;head&gt;&lt;title&gt;Generalized overtone tuning&lt;/title&gt;&lt;/head&gt;&lt;body&gt;[In need of a better name perhaps]&lt;br /&gt;
<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">&lt;html&gt;&lt;head&gt;&lt;title&gt;Generalized overtone tuning&lt;/title&gt;&lt;/head&gt;&lt;body&gt;[In need of a better name perhaps]&lt;br /&gt;
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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 &amp;quot;real-world&amp;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 &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation"&gt;just&lt;/a&gt; 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 &lt;a class="wiki_link" href="/Bill%20Sethares"&gt;Bill Sethares&lt;/a&gt;.&lt;br /&gt;
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 &amp;quot;real-world&amp;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 &lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Just%20intonation"&gt;just&lt;/a&gt; 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 &lt;a class="wiki_link" href="/Bill%20Sethares"&gt;Bill Sethares&lt;/a&gt;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;Works and Examples and Things&lt;/strong&gt;&lt;br /&gt;
&lt;strong&gt;Works and Examples and Things&lt;/strong&gt;&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;&lt;a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow"&gt;The Hyperpiano&lt;/a&gt; by Kevin Hobby and Bill Sethares&lt;/li&gt;&lt;/ul&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>
&lt;ul&gt;&lt;li&gt;&lt;a class="wiki_link_ext" href="https://www.youtube.com/watch?v=xcSod-sj2CE" rel="nofollow"&gt;The Hyperpiano&lt;/a&gt; by Kevin Hobby and Bill Sethares&lt;/li&gt;&lt;li&gt;&lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/kai-metalbar-nonoct"&gt;A non-octave &amp;quot;tonality diamond&amp;quot;&lt;/a&gt; based on the spectrum of a metal bar free to vibrate at both ends&lt;/li&gt;&lt;/ul&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>