Timbral tuning
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- This revision was by author kai.lugheidh and made on 2017-03-16 19:12:02 UTC.
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[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 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
Original HTML content:
<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 "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 <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 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>