Technical Notes for Newbeams: Difference between revisions

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<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:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:33:42 UTC</tt>.<br>

: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:37:53 UTC</tt>.<br>

: The original revision id was <tt>~~311619734~~</tt>.<br>

: The original revision id was <tt>311620124</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>

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In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:

0 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 ~~_ _ _ _ _ _ _ _ _~~ _ _ _ _ _ _ _

0 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _

For a grand total of 24 tones out of 46 (not counting octaves). Although this is ~~slightly~~ more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was ~~not consciously~~ thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy!

For a grand total of 24 tones out of 46 (not counting octaves). Although this is more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.

==Jellybear==

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In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:<br />

<br />

0 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 ~~_ _ _ _ _ _ _ _ _~~ _ _ _ _ _ _ _<br />

0 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _<br />

<br />

For a grand total of 24 tones out of 46 (not counting octaves). Although this is ~~slightly~~ more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was ~~not consciously~~ thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy!<br />

For a grand total of 24 tones out of 46 (not counting octaves). Although this is more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.<br />

<br />

<h2 id="toc2"><a name="x-Jellybear"></a>Jellybear</h2>

@@ Line 1: / Line 1: @@
 <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:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:33:42 UTC</tt>.<br>
+: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:37:53 UTC</tt>.<br>
-: The original revision id was <tt>311619734</tt>.<br>
+: The original revision id was <tt>311620124</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>
@@ Line 33: / Line 33: @@
 In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:
-_ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
+_ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _
-For a grand total of 24 tones out of 46 (not counting octaves). Although this is slightly more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was not consciously thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy!
+For a grand total of 24 tones out of 46 (not counting octaves). Although this is more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.
 ==Jellybear==
@@ Line 148: / Line 148: @@
 In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:&lt;br /&gt;
 &lt;br /&gt;
-_ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _&lt;br /&gt;
+_ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _&lt;br /&gt;
 &lt;br /&gt;
-For a grand total of 24 tones out of 46 (not counting octaves). Although this is slightly more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was not consciously thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy!&lt;br /&gt;
+For a grand total of 24 tones out of 46 (not counting octaves). Although this is more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.&lt;br /&gt;
 &lt;br /&gt;
 &lt;!-- ws:start:WikiTextHeadingRule:4:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc2"&gt;&lt;a name="x-Jellybear"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:4 --&gt;Jellybear&lt;/h2&gt;