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 Public Group,
 1888 members
Ethno2 microtunings
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 I'll try here to give an idea of the type of tunings you can find in Ethno2.There are 155 tunings, classed by geographic areas :AFRICA (20)MIDDLE EAST (13)PERSIA (10)INDIA (20)EAST ASIA (15)SOUTHEAST ASIA (12)INDONESIA (13)OCEANIA (12)SOUTH AMERICA (10)NORTH AMERICA (12)EUROPE (18)Their list and descriptions, along with the abbreviations code I provided, is absent of the manual and folders  but I will send it to the competition participants or other Ethno owners.The geographic classification suggests a simple nomenclature that would be something like :AF  ME  PER  IA  EA  SEA  IO  OCE  SA  NA  EU or similar, followed by the tuning number =ex. "EU 13" would help you to find back the "Chiffonie" tuning.A second menu provides the same tunings but classed by "Scale systems" which are :welltemperaments (13)meantone (18)extended fifths (8)quartertones (7)chromatic (17)heptatonic (46)hexatonic (8)pentatonic (23)multisystem (15)All tunings are mapped to 12 notes per octave, it means that a heptatonic scale for example will have double notes (either identical or more often with pertinent small commas variations), that fill the rest of the keys.In most mappings, white keys or black keys if not both propose comprehensive heptatonic, versus pentatonic scales.All tunings are in extended JI, however my conception of "extended JI" might be a little different from the usual, as I litterally have no prime limits in these tunings. There are also a few "low numbers" JI tunings, but most of the material are what I call "harmonic temperaments".These apply specific acoustic properties such as : differential coherence spectral coherence harmonic coïncidences equalbeating synchronous beating fractal consistencyTo illustrate this I will just take one example, a basic superpyth tuning in the "extended fifths" family :! soria.scl!12 from a 17notes cycle, equalbeating extended fifths (705.5685 c.) sequence12!481/4454011/35602067/17801133/8909503/7120128/89533/356723/445754/4451233/7121703/8902/1! Airos recurrent sequence x^3 = 13  8x, Dudon 2008! Eqb of fourths, and septimal minor thirds with harmonic 7ths :! 8(4  3x) = 3x^3  7 = (32x^3  56x)/13! Airos fourths of 494.4315 c. (approx. 640/481),! cycle here starting from the neutral sixth (Akoron = 723/445)! c with the 13th harmonic : (13 * 890)  9503 = 2067, etc.This is an example of a recurrent sequence that shows several of the acoustic properties I described : from a fourth having a particular differential coherence with 13/8, it has several synchronousbeating relations between factors 3, 7 and 13, gives also a less than one cent approximation of 13/12 (7 fifths ~52/3), and generates a closeto17edo cycle.So for many reasons I was not surprised to hear its evident resonances with Persian music.      Jacques
On Wed Apr 14, 2010 Torsten Anders wrote :
Dear Jacques,Could you please send us a list of all the original Ethno2microtunings?Hi Torsten,I can, but it's just a list of names  see if that inspires you !This one has also the Scala description lines, it should be better.Most abbreviations are evident but in case here are the ones I use.I reply to your question on the MIDIcontrolled parameters later.      JacquesJI : Just Intonation, specifically, the extended version of Just Intonation whose scales have no special harmonic limit.H : Harmonic, for example, h7 stands for the seventh harmonic overtone.HT : Harmonic Temperament (usually temperaments are by definition, nonharmonic), however, because all tunings here are in Just Intonation, these tunings are considered to be "rational" or "harmonic" temperaments.HWT : Harmonic Well Temperament. While a Meantone temperament carries optimal qualities along an open spiral and shows a rupture point, a WellTemperament describes a closed cycle, passing by different renditions but without forbidden tonalities.HL : Harmonic Limit, for example, 19L means that all intervals have frequency ratios which use prime factors no higher than 19, etc.C : Differentiallycoherent, or Differential Coherence. This means that difference tones generated by consecutive intervals, or others, belong to the scale ; this is a special quality for these scales, which has been verified in many traditional scales.EqB : Equal Beating. When certain types of intervals (for example thirds, fourths, etc.) show beatings that share the same pulsation beat rates, this is a special quality of such scales, and has proven to be the case in many historical tunings.9EDO, 24EDO, 31EDO, etc. : 9Equal Divisions of the Octave, 24Equal Divisions of the Octave, 31Equal Divisions of the Octave, etc. Idem with :7ET, 12ET, 19ET, etc. : Equal Temperaments of 7, 12 or 19, etc., tones per octave.AFRICA1 Bala semifourth Burkinabe typical semifourth pentatonic bala feast scale2 Valiha Typical Malagasy neutral diatonic scale, equalbeating on minor triads3 Mandinka Guinean Balafon circular tuning, c neutral diatonic interpretation4 Aka Cylfscale (Baka sequencepentatonic Slendro plus pure fifths)5 Baka Baka typical circular semifourth pentatonic, also acceptable Slendro6 12 of 19ht 12 of 19tones harmonic temperament, ending in a Slendro on black keys7 Bambara Typical pentatonic balafon ceremonial tuning from Mali or Burkina Faso8 GnawaPelog Gnawa scale with Pelog variations (Pelog on white keys, Gnawa on black keys)9 Marovany Typical Malagasy scale, neutral diatonic, multiways c and eqb10 Kora snd Kora tuning in the Mandinka semineutral diatonic style11 Korachimere Kora diatonic scale, slightly neutral, h.5 c & eqb12 Quasieq hepta Quasiequiheptatonic Chopi bala tuning, c second intervals13 Amlak Amlak major thirds sequence, chromatic matrix for Ethiopian scales14 Timbila Mozambican bala semineutral c & eqb diatonic tuning15 Palabre Triseptimal circular c & eqb pentatonic with 4 soft commas16 Mauri Mauritanian pentatonic scale, plus ornaments (JI interpretation)17 Rebab Folkstyle pentatonic from defective neutral diatonic c sequence18 Baziguzuk Quartertones pentatonic scale with very low numbers19 Aksand Quartertones Aksaka fractal sequence20 Isrep Fractal modified diminished seventh chord sequenceMIDDLE EAST1 3limit with429 Harmonic halfPythagorean comma temperament, 10 pure fourths from D2 Melkis Sequence of 11 Melkis fourths (c of minor thirds) from D3 Rast matrix Neutral third sequence, Rast on white keys and other maqamat4 RastMohajira Rast and Mohajira templates, differentiallycoherent quartertones set5 Egyptian Rast Egyptian style Rast c heptaphone6 Bayati in D Bayati (or Husayni) tetrachords in D and A7 Suleimean Fractal meantone for Turkish Rast with secondscoherent Segah tetrachords8 Byzantine Byzantine scale and Turkish Hijaz in C9 Sabac Differentialcoherent version of Maqam Saba in C10 SabaBusalik Bayati/Saba/Abusalik tetrachords, c related11 Saqqara Scale of a ney flute from ancient Egypt found in Saqqara12 Sumer Neutral diatonic soft Rast scale with Ishku c variations13 Zurna Quartertone scale with tonic transposition on a Turkish SegahPERSIA1 Soria 12 from a 17notes cycle, extended equalbeating fifths (705.57 c.) sequence2 SNBuzurg Decaphonic system inspired by medieval Persian mode Buzurg (Safi alDin)3 Shur Dastgah Shur Dastgah differential coherence interpretation4 Mahur Dastgah Persian Dastgah Mahur JI interpretation5 Segah Persian Dastgah Segah JI interpretation6 Homayun Dastgah Homayun in G, JI interpretation7 AvazeAfshari AvazeAfshari c JI interpretation8 Segah subh Inversed Dudon Neutral Diatonic (mediants of major and minor)9 Mounos Mounos extended fifths c sequence, quasiseptimal minor diatonic scale10 Ifbis Fractal Ifbis differentiallycoherent 12 tones sequenceINDIA1 Coherent shrutis 12 of the 22 shrutis (cycle of fifths from A to D), modal c with C or 2C2 Bhairavi Bhairavi That morning and anytime raga (with additional D and F#)3 Bhairav Bhairav That early morning raga (17th harmonic vadisamvadi model)4 Kalyana Kalyana That early at night raga5 Chandrakaus Raga Chandrakaus from Bb on black keys, other version from D on white keys6 Todi Todi That morning raga (with G = Todi ; without G = Gujari Todi)7 Marva Marva That sunset raga, differentiallycoherent version8 Shri Rag Purvi That after sunset indian raga9 Darbari Kanada Darbari Kanada (midnight raga)10 Gayakapriya South indian Raga Gayakapriya, also found in Ethiopia11 Bhavapriya Raga Bhavapriya (South indian) or Bhavani (North indian)12 Kanakangi Raga Kanakangi (South indian)13 Satara Rajasthani double flute differentiallycoherent tuning with drone pipe14 Bhatiyar Early morning North indian raga, with both Ma (F and F#)15 Kirvanti Raga Kirvanti (known also as Hungarian Gypsy scale)16 Madhuvanti Madhuvanti (also called Ambika) late evening raga17 Jog Raga Jog with (ascent only) additional 15/818 Lalit Dawntime North indian Raga, without fifth (Madhyama tuning)19 Purvi Purvi That sunset time raga, neutral interpretation20 Nila Falsely major shrutis bluette (Madyama tuning)EAST ASIA1 Guzheng Guzheng cithara optimal tuning in F, triple eqb of minor and major triads2 Dantranh DanTranh cithara tuning in C, Vietnamese variation notes F# and C+3 Okna hwt Harmonic welltemperament for Mongolian lute4 NanKouan NanKouan (medieval chinese ballade) scale interpretation5 Skisni hwt Triple eqb sequence from C to B, optimal major chords on white keys6 Comptine h3 1/4 pyth. comma meantone sequence between G and B, plus 8 pure fifths7 Overunder ht Cycle of fifths, one half above 3/2, the other below (meantone)8 Tibet Differentiallycoherent minor pentatonic9 Hiroyoshi Japanese koto most famous mode (also Ethiopian minor scale, etc.)10 Shaku Japanese Shakuhachi scale, c interpretation11 Kumoyoshi 19l Japanese famous mode, c 17+19th harmonics interpretation12 Hoomi Hoomi singing scale in F/F# (black keys), or in C & G, CFGAC eqb sequence13 Harmonics Natural harmonics from 12 to 24 (= from C to next octave)14 Tao Biseptime pentatonic (2 septimal tones interleaved with 3 semifourths)15 Crying commas Pentatonic differentiallycoherent scale with commas glissandoSOUTHEAST ASIA1 Evan Thai Evan differentiallycoherent double Thai heptaphone2 Saung Gauk Typical diatonic heptaphone played on the Saung gauk (burmese harp)3 Fong Differentiallycoherent Thai scale, with inversing double seventh note4 Sapaan 7 tones from a sequence of Sapaan very low fifths (in theory 680.015678 c.)5 Simdek 7 tones from a sequence of Simdek very low fifths (in theory 676.485575 c.)6 Piphat GazelleNaggar c series + comma 953960, major mode7 NungPhan1 7 tones from a sequence of NungPhan very low fifths (679.5604542 c.)8 NungPhan2 7 tones from a sequence of NungPhan very low fifths (679.5604542 c.)9 Siam 97 Black keys = 5quasiedo, white keys = 7quasiedo fractal sequences10 Pule Typical Burmese scale frame, compatible with modes Pule, Thanyu, Autpyin11 Thanyu Typical Burmese diatonic minoroptimized for modes Thanyu and Pule12 Piphat minor GazelleNaggar c series + comma 953960, minor modeINDONESIA1 Slendro matrix Matrix for 7limit slendros from Lou Harrison, of the five types N M A S J2 Slendra Cylf scale (Baka sequence pentatonic Slendro plus pure fifths)3 JogedBumbung Typical Balinese grantang and tingklik (bamboo xylophones) slendro tuning4 Natte Natte series from 28 to 151, pentatonic sequence out of 7 consecutive tones5 Cometslendro1 Five septimal tone comets (quasi autocoherent intervals) in one octave6 Cometslendro2 Five septimal tone comets (quasi autocoherent intervals) in one octave7 Septimal 2 Slendro made of five septimal tones (8/7), separated by two commas8 Septimal 3 Five 8/7 or close approximations separated by three commas9 Pelog 35 JI c Pelog with factors 5, 13, 35 and complements10 Pelog 59 JI c Pelog with factors 5, 11, 59 and complements11 Pelog ambiguous Differentialcoherent 5 notes Pelog, ambiguous tonic between C & E12 GuluNem 5 tones Pelog, sequence of very low Gulunem fifths (about 5/9 of an octave)13 Myriadgerm Spicy Slendro with large commas, c and triple eqb recurrent sequenceOCEANIA1 Hawaiian Eqb lapsteelstyle Major 6th chords (C:E:G:A:C:E) full meantone sequence2 Lucie Sequence of 11 fractal Lucie meantone fifths from Eb3 Smallest numbers Chromatic scale achieved with smallest possible numbers4 Tit’fleur Differentiallycoherent semineutral diatonic, small numbers5 Sireine F Sequence of 11 Sireine low meantone fifths from F6 Subharmonics Subharmonics from 24 to 127 Areare women 1 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation8 Areare women 2 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation9 Areare tapping tubes 'Are'are tapping bamboo tubes as collected by Hugo Zemp in 197710 Aluna Low major thirds autocoherent tetrachord diatonic extrapolation11 Didjeridu Ambiant microglissando (centered in F) plus neutral fourths on black keys12 TangataManu Semineutral diatonic tetrachords, c related around 13 and 77SOUTH AMERICA1 Jobim Minor triadstriple eqb, 1/5 syntonic comma meantone, full 12 tones scale2 Atlantis Triple eqb of minor triads + septimal sevenths meantone sequence from Eb3 Diatess Sequence of 11 Diatess (c of minor thirds) meantone fifths from Eb4 Armadillo hwt Triple eqb sequence from C to B, optimal major chords on white keys5 Tango hwt Fractal Melkis lowest numbers HWT fifths sequence, from D6 Chromatic subh. Chromatic subharmonic scale using smallest possible numbers7 Brazil Triple eqb minor triads 1/5 syntonic comma meantone, limited to 8 tones8 Harmonic minor "Harmonic" minor scale, also raga Kiravani, Pilu, etc.9 Quechua Differentiallycoherent Quechua pentatonic tuning interpretation10 Liane Class1 differentiallycoherent interleaved intervals, hexatonic scaleNORTH AMERICA1 Ray Eqb of all Maj 6th blues or country chords, full meantone sequence from Eb2 19limit Rocky hwt 19limit welltemp, C to B achieving eqb of bluesy DEGtype chords3 Appalachian Synchronous beating quasi1/4 syntonic comma meantone temperament4 Countrysongs Equalbeating CDEG chords (and all transpositions) meantone sequence5 Jamlak Cycle of fifths developped around a 19limit Amlak sequence6 Slendro Mmeant. Wilson Metameantone from Bb to F# extended in a Slendro M on black keys7 Meancaline 12 of 19tones quasiequal meantone HT with c semifourths on black keys8 Country Blues Differentiallycoherent 12 tones country blues scale9 Lakota American native flute and singing JI c interpretation10 Jazz Modal jazz in 7 tones, with differential coherence variations11 Mississippi Minor blues c chromatic selection, with 19limit commas12 Harry Hommage to Harry Partch, 20th c. Just Intonation pioneer (19011974)EUROPE1 Werckmeister3 eb Harmonic equalbeating metaversion of the famous Well Temperament2 Comptine 1/4 pyth. comma meantone sequence from C to E, completed by 8 pure fifths3 Michemine Triple equalbeating of all minor triads meantone sequence from Eb4 Melkis 3f Sequence of 6 Melkis fourths from G, then 3 pure fourths between C# and E5 Kellner eb JI version of Anton Kellner 1/5 Pyth.c welltemp, based on Skisni sequence6 Skisni Triple equalbeating sequence of eleven 1/5 Pyth c. meantone fifths from Eb7 Golden h7 eqb 12 of 19/31/50 etc... Golden meantone harmonic 7c and eqb version8 Flamenca Flamenco chromatic scale around the 17th harmonic, in A (= guitar)9 Didymus 7harmonic limit Greek style type of scale and rich in commas10 Tielenka Tielenka (Romanian harmonic flute) scale and ornaments JI imitation11 Aulos Double clarinet c version of Ptolemy's Diatonon Homalon12 Mougi Tsiganstyle raga, based on the 19/16 minor third c properties13 Chiffonie HurdyGurdy variation on fractal Gazelle sequence (Rebab tuning)14 Balkani Typical Balkani minormajor folk mode, JI interpretation15 Romios Folk music heptaphone from the Balkans, JI interpretation16 Kanonaki Typical Kanonaki Greek tetrachords set, with optional ornaments17 Napolitan Napolitan scale, class1 differential coherence ; whole tone scale by omitting C18 Synchronous 12 Synchronousbeating alternative to 12ET (default tuning) Dear Jacques,
Thanks for this list!
I read that there were two categories, a category of geographic areas
and "Scale systems". Is the second category already part of this list
you send?
Also, you mention EDOs (ETs) in your list of terms: I understand that
always only a subset of 12 different pitches per octave is available
of, say, 19EDO, 22EDO, 31EDO, and 41EDO? Is is possible to
manually specify this subset?
Thank you!
Best wishes,
Torsten

Torsten Anders
Interdisciplinary Centre for Computer Music Research
University of Plymouth
Office: +441752586219
Private: +441752558917
http://strasheela.sourceforge.net
http://www.torstenanders.de
On 15.04.2010, at 12:03, Jacques Dudon wrote:
>
> On Wed Apr 14, 2010 Torsten Anders wrote :
>
>
>
>> Dear Jacques,
>>
>> Could you please send us a list of all the original Ethno2
>> microtunings?
>
> Hi Torsten,
> I can, but it's just a list of names  see if that inspires you !
> This one has also the Scala description lines, it should be better.
> Most abbreviations are evident but in case here are the ones I use.
> I reply to your question on the MIDIcontrolled parameters later.
>       
> Jacques
>
>
> JI : Just Intonation, specifically, the extended version of Just
> Intonation whose scales have no special harmonic limit.
> H : Harmonic, for example, h7 stands for the seventh harmonic
> overtone.
> HT : Harmonic Temperament (usually temperaments are by definition,
> nonharmonic), however, because all tunings here are in Just
> Intonation, these tunings are considered to be "rational" or
> "harmonic" temperaments.
> HWT : Harmonic Well Temperament. While a Meantone temperament
> carries optimal qualities along an open spiral and shows a rupture
> point, a WellTemperament describes a closed cycle, passing by
> different renditions but without forbidden tonalities.
> HL : Harmonic Limit, for example, 19L means that all intervals
> have frequency ratios which use prime factors no higher than 19, etc.
> C : Differentiallycoherent, or Differential Coherence. This means
> that difference tones generated by consecutive intervals, or others,
> belong to the scale ; this is a special quality for these scales,
> which has been verified in many traditional scales.
> EqB : Equal Beating. When certain types of intervals (for example
> thirds, fourths, etc.) show beatings that share the same pulsation
> beat rates, this is a special quality of such scales, and has proven
> to be the case in many historical tunings.
>
> 9EDO, 24EDO, 31EDO, etc. : 9Equal Divisions of the Octave, 24
> Equal Divisions of the Octave, 31Equal Divisions of the Octave,
> etc. Idem with :
>
> 7ET, 12ET, 19ET, etc. : Equal Temperaments of 7, 12 or 19, etc.,
> tones per octave.
>
> AFRICA
>
> 1 Bala semifourth Burkinabe typical semifourth pentatonic bala feast
> scale
> 2 Valiha Typical Malagasy neutral diatonic scale, equalbeating on
> minor triads
> 3 Mandinka Guinean Balafon circular tuning, c neutral diatonic
> interpretation
> 4 Aka Cylfscale (Baka sequencepentatonic Slendro plus pure fifths)
> 5 Baka Baka typical circular semifourth pentatonic, also acceptable
> Slendro
> 6 12 of 19ht 12 of 19tones harmonic temperament, ending in a
> Slendro on black keys
> 7 Bambara Typical pentatonic balafon ceremonial tuning from Mali or
> Burkina Faso
> 8 GnawaPelog Gnawa scale with Pelog variations (Pelog on white
> keys, Gnawa on black keys)
> 9 Marovany Typical Malagasy scale, neutral diatonic, multiways c
> and eqb
> 10 Kora snd Kora tuning in the Mandinka semineutral diatonic style
> 11 Korachimere Kora diatonic scale, slightly neutral, h.5 c & eqb
> 12 Quasieq hepta Quasiequiheptatonic Chopi bala tuning, c second
> intervals
> 13 Amlak Amlak major thirds sequence, chromatic matrix for
> Ethiopian scales
> 14 Timbila Mozambican bala semineutral c & eqb diatonic tuning
> 15 Palabre Triseptimal circular c & eqb pentatonic with 4 soft
> commas
> 16 Mauri Mauritanian pentatonic scale, plus ornaments (JI
> interpretation)
> 17 Rebab Folkstyle pentatonic from defective neutral diatonic c
> sequence
> 18 Baziguzuk Quartertones pentatonic scale with very low numbers
> 19 Aksand Quartertones Aksaka fractal sequence
> 20 Isrep Fractal modified diminished seventh chord sequence
>
>
> MIDDLE EAST
>
> 1 3limit with429 Harmonic halfPythagorean comma temperament, 10
> pure fourths from D
> 2 Melkis Sequence of 11 Melkis fourths (c of minor thirds) from D
> 3 Rast matrix Neutral third sequence, Rast on white keys and other
> maqamat
> 4 RastMohajira Rast and Mohajira templates, differentiallycoherent
> quartertones set
> 5 Egyptian Rast Egyptian style Rast c heptaphone
> 6 Bayati in D Bayati (or Husayni) tetrachords in D and A
> 7 Suleimean Fractal meantone for Turkish Rast with secondscoherent
> Segah tetrachords
> 8 Byzantine Byzantine scale and Turkish Hijaz in C
> 9 Sabac Differentialcoherent version of Maqam Saba in C
> 10 SabaBusalik Bayati/Saba/Abusalik tetrachords, c related
> 11 Saqqara Scale of a ney flute from ancient Egypt found in Saqqara
> 12 Sumer Neutral diatonic soft Rast scale with Ishku c variations
> 13 Zurna Quartertone scale with tonic transposition on a Turkish
> Segah
>
>
> PERSIA
>
> 1 Soria 12 from a 17notes cycle, extended equalbeating fifths
> (705.57 c.) sequence
> 2 SNBuzurg Decaphonic system inspired by medieval Persian mode
> Buzurg (Safi alDin)
> 3 Shur Dastgah Shur Dastgah differential coherence interpretation
> 4 Mahur Dastgah Persian Dastgah Mahur JI interpretation
> 5 Segah Persian Dastgah Segah JI interpretation
> 6 Homayun Dastgah Homayun in G, JI interpretation
> 7 AvazeAfshari AvazeAfshari c JI interpretation
> 8 Segah subh Inversed Dudon Neutral Diatonic (mediants of major and
> minor)
> 9 Mounos Mounos extended fifths c sequence, quasiseptimal minor
> diatonic scale
> 10 Ifbis Fractal Ifbis differentiallycoherent 12 tones sequence
>
>
> INDIA
>
> 1 Coherent shrutis 12 of the 22 shrutis (cycle of fifths from A to
> D), modal c with C or 2C
> 2 Bhairavi Bhairavi That morning and anytime raga (with additional
> D and F#)
> 3 Bhairav Bhairav That early morning raga (17th harmonic vadi
> samvadi model)
> 4 Kalyana Kalyana That early at night raga
> 5 Chandrakaus Raga Chandrakaus from Bb on black keys, other version
> from D on white keys
> 6 Todi Todi That morning raga (with G = Todi ; without G = Gujari
> Todi)
> 7 Marva Marva That sunset raga, differentiallycoherent version
> 8 Shri Rag Purvi That after sunset indian raga
> 9 Darbari Kanada Darbari Kanada (midnight raga)
> 10 Gayakapriya South indian Raga Gayakapriya, also found in Ethiopia
> 11 Bhavapriya Raga Bhavapriya (South indian) or Bhavani (North indian)
> 12 Kanakangi Raga Kanakangi (South indian)
> 13 Satara Rajasthani double flute differentiallycoherent tuning
> with drone pipe
> 14 Bhatiyar Early morning North indian raga, with both Ma (F and F#)
> 15 Kirvanti Raga Kirvanti (known also as Hungarian Gypsy scale)
> 16 Madhuvanti Madhuvanti (also called Ambika) late evening raga
> 17 Jog Raga Jog with (ascent only) additional 15/8
> 18 Lalit Dawntime North indian Raga, without fifth (Madhyama tuning)
> 19 Purvi Purvi That sunset time raga, neutral interpretation
> 20 Nila Falsely major shrutis bluette (Madyama tuning)
>
>
> EAST ASIA
>
> 1 Guzheng Guzheng cithara optimal tuning in F, triple eqb of minor
> and major triads
> 2 Dantranh DanTranh cithara tuning in C, Vietnamese variation
> notes F# and C+
> 3 Okna hwt Harmonic welltemperament for Mongolian lute
> 4 NanKouan NanKouan (medieval chinese ballade) scale interpretation
> 5 Skisni hwt Triple eqb sequence from C to B, optimal major chords
> on white keys
> 6 Comptine h3 1/4 pyth. comma meantone sequence between G and B,
> plus 8 pure fifths
> 7 Overunder ht Cycle of fifths, one half above 3/2, the other below
> (meantone)
> 8 Tibet Differentiallycoherent minor pentatonic
> 9 Hiroyoshi Japanese koto most famous mode (also Ethiopian minor
> scale, etc.)
> 10 Shaku Japanese Shakuhachi scale, c interpretation
> 11 Kumoyoshi 19l Japanese famous mode, c 17+19th harmonics
> interpretation
> 12 Hoomi Hoomi singing scale in F/F# (black keys), or in C & G,
> CFGAC eqb sequence
> 13 Harmonics Natural harmonics from 12 to 24 (= from C to next octave)
> 14 Tao Biseptime pentatonic (2 septimal tones interleaved with 3
> semifourths)
> 15 Crying commas Pentatonic differentiallycoherent scale with
> commas glissando
>
>
> SOUTHEAST ASIA
>
> 1 Evan Thai Evan differentiallycoherent double Thai heptaphone
> 2 Saung Gauk Typical diatonic heptaphone played on the Saung gauk
> (burmese harp)
> 3 Fong Differentiallycoherent Thai scale, with inversing double
> seventh note
> 4 Sapaan 7 tones from a sequence of Sapaan very low fifths (in
> theory 680.015678 c.)
> 5 Simdek 7 tones from a sequence of Simdek very low fifths (in
> theory 676.485575 c.)
> 6 Piphat GazelleNaggar c series + comma 953960, major mode
> 7 NungPhan1 7 tones from a sequence of NungPhan very low fifths
> (679.5604542 c.)
> 8 NungPhan2 7 tones from a sequence of NungPhan very low fifths
> (679.5604542 c.)
> 9 Siam 97 Black keys = 5quasiedo, white keys = 7quasiedo
> fractal sequences
> 10 Pule Typical Burmese scale frame, compatible with modes Pule,
> Thanyu, Autpyin
> 11 Thanyu Typical Burmese diatonic minoroptimized for modes Thanyu
> and Pule
> 12 Piphat minor GazelleNaggar c series + comma 953960, minor mode
>
>
> INDONESIA
>
> 1 Slendro matrix Matrix for 7limit slendros from Lou Harrison, of
> the five types N M A S J
> 2 Slendra Cylf scale (Baka sequence pentatonic Slendro plus pure
> fifths)
> 3 JogedBumbung Typical Balinese grantang and tingklik (bamboo
> xylophones) slendro tuning
> 4 Natte Natte series from 28 to 151, pentatonic sequence out of 7
> consecutive tones
> 5 Cometslendro1 Five septimal tone comets (quasi autocoherent
> intervals) in one octave
> 6 Cometslendro2 Five septimal tone comets (quasi autocoherent
> intervals) in one octave
> 7 Septimal 2 Slendro made of five septimal tones (8/7), separated
> by two commas
> 8 Septimal 3 Five 8/7 or close approximations separated by three
> commas
> 9 Pelog 35 JI c Pelog with factors 5, 13, 35 and complements
> 10 Pelog 59 JI c Pelog with factors 5, 11, 59 and complements
> 11 Pelog ambiguous Differentialcoherent 5 notes Pelog, ambiguous
> tonic between C & E
> 12 GuluNem 5 tones Pelog, sequence of very low Gulunem fifths
> (about 5/9 of an octave)
> 13 Myriadgerm Spicy Slendro with large commas, c and triple eqb
> recurrent sequence
>
>
> OCEANIA
>
> 1 Hawaiian Eqb lapsteelstyle Major 6th chords (C:E:G:A:C:E) full
> meantone sequence
> 2 Lucie Sequence of 11 fractal Lucie meantone fifths from Eb
> 3 Smallest numbers Chromatic scale achieved with smallest possible
> numbers
> 4 Tit’fleur Differentiallycoherent semineutral diatonic, small
> numbers
> 5 Sireine F Sequence of 11 Sireine low meantone fifths from F
> 6 Subharmonics Subharmonics from 24 to 12
> 7 Areare women 1 'Are'are women songs as collected by Hugo Zemp in
> 1977, JI interpretation
> 8 Areare women 2 'Are'are women songs as collected by Hugo Zemp in
> 1977, JI interpretation
> 9 Areare tapping tubes 'Are'are tapping bamboo tubes as collected
> by Hugo Zemp in 1977
> 10 Aluna Low major thirds autocoherent tetrachord diatonic
> extrapolation
> 11 Didjeridu Ambiant microglissando (centered in F) plus neutral
> fourths on black keys
> 12 TangataManu Semineutral diatonic tetrachords, c related around
> 13 and 77
>
>
> SOUTH AMERICA
>
> 1 Jobim Minor triadstriple eqb, 1/5 syntonic comma meantone,
> full 12 tones scale
> 2 Atlantis Triple eqb of minor triads + septimal sevenths meantone
> sequence from Eb
> 3 Diatess Sequence of 11 Diatess (c of minor thirds) meantone
> fifths from Eb
> 4 Armadillo hwt Triple eqb sequence from C to B, optimal major
> chords on white keys
> 5 Tango hwt Fractal Melkis lowest numbers HWT fifths sequence, from D
> 6 Chromatic subh. Chromatic subharmonic scale using smallest
> possible numbers
> 7 Brazil Triple eqb minor triads 1/5 syntonic comma meantone,
> limited to 8 tones
> 8 Harmonic minor "Harmonic" minor scale, also raga Kiravani, Pilu,
> etc.
> 9 Quechua Differentiallycoherent Quechua pentatonic tuning
> interpretation
> 10 Liane Class1 differentiallycoherent interleaved intervals,
> hexatonic scale
>
>
> NORTH AMERICA
>
> 1 Ray Eqb of all Maj 6th blues or country chords, full meantone
> sequence from Eb
> 2 19limit Rocky hwt 19limit welltemp, C to B achieving eqb of
> bluesy DEGtype chords
> 3 Appalachian Synchronous beating quasi1/4 syntonic comma meantone
> temperament
> 4 Countrysongs Equalbeating CDEG chords (and all transpositions)
> meantone sequence
> 5 Jamlak Cycle of fifths developped around a 19limit Amlak sequence
> 6 Slendro Mmeant. Wilson Metameantone from Bb to F# extended in a
> Slendro M on black keys
> 7 Meancaline 12 of 19tones quasiequal meantone HT with c
> semifourths on black keys
> 8 Country Blues Differentiallycoherent 12 tones country blues scale
> 9 Lakota American native flute and singing JI c interpretation
> 10 Jazz Modal jazz in 7 tones, with differential coherence variations
> 11 Mississippi Minor blues c chromatic selection, with 19limit
> commas
> 12 Harry Hommage to Harry Partch, 20th c. Just Intonation pioneer
> (19011974)
>
>
> EUROPE
>
> 1 Werckmeister3 eb Harmonic equalbeating metaversion of the famous
> Well Temperament
> 2 Comptine 1/4 pyth. comma meantone sequence from C to E, completed
> by 8 pure fifths
> 3 Michemine Triple equalbeating of all minor triads meantone
> sequence from Eb
> 4 Melkis 3f Sequence of 6 Melkis fourths from G, then 3 pure
> fourths between C# and E
> 5 Kellner eb JI version of Anton Kellner 1/5 Pyth.c welltemp,
> based on Skisni sequence
> 6 Skisni Triple equalbeating sequence of eleven 1/5 Pyth c.
> meantone fifths from Eb
> 7 Golden h7 eqb 12 of 19/31/50 etc... Golden meantone harmonic 7c
> and eqb version
> 8 Flamenca Flamenco chromatic scale around the 17th harmonic, in A
> (= guitar)
> 9 Didymus 7harmonic limit Greek style type of scale and rich in
> commas
> 10 Tielenka Tielenka (Romanian harmonic flute) scale and ornaments
> JI imitation
> 11 Aulos Double clarinet c version of Ptolemy's Diatonon Homalon
> 12 Mougi Tsiganstyle raga, based on the 19/16 minor third c
> properties
> 13 Chiffonie HurdyGurdy variation on fractal Gazelle sequence
> (Rebab tuning)
> 14 Balkani Typical Balkani minormajor folk mode, JI interpretation
> 15 Romios Folk music heptaphone from the Balkans, JI interpretation
> 16 Kanonaki Typical Kanonaki Greek tetrachords set, with optional
> ornaments
> 17 Napolitan Napolitan scale, class1 differential coherence ;
> whole tone scale by omitting C
> 18 Synchronous 12 Synchronousbeating alternative to 12ET (default
> tuning)
>
>
>
>
>
>  That's a really impressive list.I'd like to hear this Ethno2 thingy.hmm.On Apr 15, 2010, at 7:03 AM, Jacques Dudon wrote:
On Wed Apr 14, 2010 Torsten Anders wrote :
Dear Jacques,Could you please send us a list of all the original Ethno2microtunings?Hi Torsten,I can, but it's just a list of names  see if that inspires you !This one has also the Scala description lines, it should be better.Most abbreviations are evident but in case here are the ones I use.I reply to your question on the MIDIcontrolled parameters later.      JacquesJI : Just Intonation, specifically, the extended version of Just Intonation whose scales have no special harmonic limit.H : Harmonic, for example, h7 stands for the seventh harmonic overtone.HT : Harmonic Temperament (usually temperaments are by definition, nonharmonic) , however, because all tunings here are in Just Intonation, these tunings are considered to be "rational" or "harmonic" temperaments.HWT : Harmonic Well Temperament. While a Meantone temperament carries optimal qualities along an open spiral and shows a rupture point, a WellTemperament describes a closed cycle, passing by different renditions but without forbidden tonalities.HL : Harmonic Limit, for example, 19L means that all intervals have frequency ratios which use prime factors no higher than 19, etc.C : Differentially coherent, or Differential Coherence. This means that difference tones generated by consecutive intervals, or others, belong to the scale ; this is a special quality for these scales, which has been verified in many traditional scales.EqB : Equal Beating. When certain types of intervals (for example thirds, fourths, etc.) show beatings that share the same pulsation beat rates, this is a special quality of such scales, and has proven to be the case in many historical tunings.9EDO, 24EDO, 31EDO, etc. : 9Equal Divisions of the Octave, 24Equal Divisions of the Octave, 31Equal Divisions of the Octave, etc. Idem with :7ET, 12ET, 19ET, etc. : Equal Temperaments of 7, 12 or 19, etc., tones per octave.AFRICA1 Bala semifourth Burkinabe typical semifourth pentatonic bala feast scale2 Valiha Typical Malagasy neutral diatonic scale, equalbeating on minor triads3 Mandinka Guinean Balafon circular tuning, c neutral diatonic interpretation4 Aka Cylfscale (Baka sequencepentatonic Slendro plus pure fifths)5 Baka Baka typical circular semifourth pentatonic, also acceptable Slendro6 12 of 19ht 12 of 19tones harmonic temperament, ending in a Slendro on black keys7 Bambara Typical pentatonic balafon ceremonial tuning from Mali or Burkina Faso8 GnawaPelog Gnawa scale with Pelog variations (Pelog on white keys, Gnawa on black keys)9 Marovany Typical Malagasy scale, neutral diatonic, multiways c and eqb10 Kora snd Kora tuning in the Mandinka semineutral diatonic style11 Korachimere Kora diatonic scale, slightly neutral, h.5 c & eqb12 Quasieq hepta Quasiequiheptatoni c Chopi bala tuning, c second intervals13 Amlak Amlak major thirds sequence, chromatic matrix for Ethiopian scales14 Timbila Mozambican bala semineutral c & eqb diatonic tuning15 Palabre Triseptimal circular c & eqb pentatonic with 4 soft commas16 Mauri Mauritanian pentatonic scale, plus ornaments (JI interpretation)17 Rebab Folkstyle pentatonic from defective neutral diatonic c sequence18 Baziguzuk Quartertones pentatonic scale with very low numbers19 Aksand Quartertones Aksaka fractal sequence20 Isrep Fractal modified diminished seventh chord sequenceMIDDLE EAST1 3limit with429 Harmonic halfPythagorean comma temperament, 10 pure fourths from D2 Melkis Sequence of 11 Melkis fourths (c of minor thirds) from D3 Rast matrix Neutral third sequence, Rast on white keys and other maqamat4 RastMohajira Rast and Mohajira templates, differentially coherent quartertones set5 Egyptian Rast Egyptian style Rast c heptaphone6 Bayati in D Bayati (or Husayni) tetrachords in D and A7 Suleimean Fractal meantone for Turkish Rast with secondscoherent Segah tetrachords8 Byzantine Byzantine scale and Turkish Hijaz in C9 Sabac Differential coherent version of Maqam Saba in C10 SabaBusalik Bayati/Saba/ Abusalik tetrachords, c related11 Saqqara Scale of a ney flute from ancient Egypt found in Saqqara12 Sumer Neutral diatonic soft Rast scale with Ishku c variations13 Zurna Quartertone scale with tonic transposition on a Turkish SegahPERSIA1 Soria 12 from a 17notes cycle, extended equalbeating fifths (705.57 c.) sequence2 SNBuzurg Decaphonic system inspired by medieval Persian mode Buzurg (Safi alDin)3 Shur Dastgah Shur Dastgah differential coherence interpretation4 Mahur Dastgah Persian Dastgah Mahur JI interpretation5 Segah Persian Dastgah Segah JI interpretation6 Homayun Dastgah Homayun in G, JI interpretation7 AvazeAfshari AvazeAfshari c JI interpretation8 Segah subh Inversed Dudon Neutral Diatonic (mediants of major and minor)9 Mounos Mounos extended fifths c sequence, quasiseptimal minor diatonic scale10 Ifbis Fractal Ifbis differentially coherent 12 tones sequenceINDIA1 Coherent shrutis 12 of the 22 shrutis (cycle of fifths from A to D), modal c with C or 2C2 Bhairavi Bhairavi That morning and anytime raga (with additional D and F#)3 Bhairav Bhairav That early morning raga (17th harmonic vadisamvadi model)4 Kalyana Kalyana That early at night raga5 Chandrakaus Raga Chandrakaus from Bb on black keys, other version from D on white keys6 Todi Todi That morning raga (with G = Todi ; without G = Gujari Todi)7 Marva Marva That sunset raga, differentially coherent version8 Shri Rag Purvi That after sunset indian raga9 Darbari Kanada Darbari Kanada (midnight raga)10 Gayakapriya South indian Raga Gayakapriya, also found in Ethiopia11 Bhavapriya Raga Bhavapriya (South indian) or Bhavani (North indian)12 Kanakangi Raga Kanakangi (South indian)13 Satara Rajasthani double flute differentially coherent tuning with drone pipe14 Bhatiyar Early morning North indian raga, with both Ma (F and F#)15 Kirvanti Raga Kirvanti (known also as Hungarian Gypsy scale)16 Madhuvanti Madhuvanti (also called Ambika) late evening raga17 Jog Raga Jog with (ascent only) additional 15/818 Lalit Dawntime North indian Raga, without fifth (Madhyama tuning)19 Purvi Purvi That sunset time raga, neutral interpretation20 Nila Falsely major shrutis bluette (Madyama tuning)EAST ASIA1 Guzheng Guzheng cithara optimal tuning in F, triple eqb of minor and major triads2 Dantranh DanTranh cithara tuning in C, Vietnamese variation notes F# and C+3 Okna hwt Harmonic welltemperament for Mongolian lute4 NanKouan NanKouan (medieval chinese ballade) scale interpretation5 Skisni hwt Triple eqb sequence from C to B, optimal major chords on white keys6 Comptine h3 1/4 pyth. comma meantone sequence between G and B, plus 8 pure fifths7 Overunder ht Cycle of fifths, one half above 3/2, the other below (meantone)8 Tibet Differentially coherent minor pentatonic9 Hiroyoshi Japanese koto most famous mode (also Ethiopian minor scale, etc.)10 Shaku Japanese Shakuhachi scale, c interpretation11 Kumoyoshi 19l Japanese famous mode, c 17+19th harmonics interpretation12 Hoomi Hoomi singing scale in F/F# (black keys), or in C & G, CFGAC eqb sequence13 Harmonics Natural harmonics from 12 to 24 (= from C to next octave)14 Tao Biseptime pentatonic (2 septimal tones interleaved with 3 semifourths)15 Crying commas Pentatonic differentially coherent scale with commas glissandoSOUTHEAST ASIA1 Evan Thai Evan differentially coherent double Thai heptaphone2 Saung Gauk Typical diatonic heptaphone played on the Saung gauk (burmese harp)3 Fong Differentially coherent Thai scale, with inversing double seventh note4 Sapaan 7 tones from a sequence of Sapaan very low fifths (in theory 680.015678 c.)5 Simdek 7 tones from a sequence of Simdek very low fifths (in theory 676.485575 c.)6 Piphat GazelleNaggar c series + comma 953960, major mode7 NungPhan1 7 tones from a sequence of NungPhan very low fifths (679.5604542 c.)8 NungPhan2 7 tones from a sequence of NungPhan very low fifths (679.5604542 c.)9 Siam 97 Black keys = 5quasiedo, white keys = 7quasiedo fractal sequences10 Pule Typical Burmese scale frame, compatible with modes Pule, Thanyu, Autpyin11 Thanyu Typical Burmese diatonic minoroptimized for modes Thanyu and Pule12 Piphat minor GazelleNaggar c series + comma 953960, minor modeINDONESIA1 Slendro matrix Matrix for 7limit slendros from Lou Harrison, of the five types N M A S J2 Slendra Cylf scale (Baka sequence pentatonic Slendro plus pure fifths)3 JogedBumbung Typical Balinese grantang and tingklik (bamboo xylophones) slendro tuning4 Natte Natte series from 28 to 151, pentatonic sequence out of 7 consecutive tones5 Cometslendro1 Five septimal tone comets (quasi autocoherent intervals) in one octave6 Cometslendro2 Five septimal tone comets (quasi autocoherent intervals) in one octave7 Septimal 2 Slendro made of five septimal tones (8/7), separated by two commas8 Septimal 3 Five 8/7 or close approximations separated by three commas9 Pelog 35 JI c Pelog with factors 5, 13, 35 and complements10 Pelog 59 JI c Pelog with factors 5, 11, 59 and complements11 Pelog ambiguous Differential coherent 5 notes Pelog, ambiguous tonic between C & E12 GuluNem 5 tones Pelog, sequence of very low Gulunem fifths (about 5/9 of an octave)13 Myriadgerm Spicy Slendro with large commas, c and triple eqb recurrent sequenceOCEANIA1 Hawaiian Eqb lapsteelstyle Major 6th chords (C:E:G:A:C:E) full meantone sequence2 Lucie Sequence of 11 fractal Lucie meantone fifths from Eb3 Smallest numbers Chromatic scale achieved with smallest possible numbers4 Tit’fleur Differentially coherent semineutral diatonic, small numbers5 Sireine F Sequence of 11 Sireine low meantone fifths from F6 Subharmonics Subharmonics from 24 to 127 Areare women 1 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation8 Areare women 2 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation9 Areare tapping tubes 'Are'are tapping bamboo tubes as collected by Hugo Zemp in 197710 Aluna Low major thirds autocoherent tetrachord diatonic extrapolation11 Didjeridu Ambiant microglissando (centered in F) plus neutral fourths on black keys12 TangataManu Semineutral diatonic tetrachords, c related around 13 and 77SOUTH AMERICA1 Jobim Minor triadstriple eqb, 1/5 syntonic comma meantone, full 12 tones scale2 Atlantis Triple eqb of minor triads + septimal sevenths meantone sequence from Eb3 Diatess Sequence of 11 Diatess (c of minor thirds) meantone fifths from Eb4 Armadillo hwt Triple eqb sequence from C to B, optimal major chords on white keys5 Tango hwt Fractal Melkis lowest numbers HWT fifths sequence, from D6 Chromatic subh. Chromatic subharmonic scale using smallest possible numbers7 Brazil Triple eqb minor triads 1/5 syntonic comma meantone, limited to 8 tones8 Harmonic minor "Harmonic" minor scale, also raga Kiravani, Pilu, etc.9 Quechua Differentially coherent Quechua pentatonic tuning interpretation10 Liane Class1 differentially coherent interleaved intervals, hexatonic scaleNORTH AMERICA1 Ray Eqb of all Maj 6th blues or country chords, full meantone sequence from Eb2 19limit Rocky hwt 19limit welltemp, C to B achieving eqb of bluesy DEGtype chords3 Appalachian Synchronous beating quasi1/4 syntonic comma meantone temperament4 Countrysongs Equalbeating CDEG chords (and all transpositions) meantone sequence5 Jamlak Cycle of fifths developped around a 19limit Amlak sequence6 Slendro Mmeant. Wilson Metameantone from Bb to F# extended in a Slendro M on black keys7 Meancaline 12 of 19tones quasiequal meantone HT with c semifourths on black keys8 Country Blues Differentially coherent 12 tones country blues scale9 Lakota American native flute and singing JI c interpretation10 Jazz Modal jazz in 7 tones, with differential coherence variations11 Mississippi Minor blues c chromatic selection, with 19limit commas12 Harry Hommage to Harry Partch, 20th c. Just Intonation pioneer (19011974)EUROPE1 Werckmeister3 eb Harmonic equalbeating metaversion of the famous Well Temperament2 Comptine 1/4 pyth. comma meantone sequence from C to E, completed by 8 pure fifths3 Michemine Triple equalbeating of all minor triads meantone sequence from Eb4 Melkis 3f Sequence of 6 Melkis fourths from G, then 3 pure fourths between C# and E5 Kellner eb JI version of Anton Kellner 1/5 Pyth.c welltemp, based on Skisni sequence6 Skisni Triple equalbeating sequence of eleven 1/5 Pyth c. meantone fifths from Eb7 Golden h7 eqb 12 of 19/31/50 etc... Golden meantone harmonic 7c and eqb version8 Flamenca Flamenco chromatic scale around the 17th harmonic, in A (= guitar)9 Didymus 7harmonic limit Greek style type of scale and rich in commas10 Tielenka Tielenka (Romanian harmonic flute) scale and ornaments JI imitation11 Aulos Double clarinet c version of Ptolemy's Diatonon Homalon12 Mougi Tsiganstyle raga, based on the 19/16 minor third c properties13 Chiffonie HurdyGurdy variation on fractal Gazelle sequence (Rebab tuning)14 Balkani Typical Balkani minormajor folk mode, JI interpretation15 Romios Folk music heptaphone from the Balkans, JI interpretation16 Kanonaki Typical Kanonaki Greek tetrachords set, with optional ornaments17 Napolitan Napolitan scale, class1 differential coherence ; whole tone scale by omitting C18 Synchronous 12 Synchronous beating alternative to 12ET (default tuning)  On Thu Apr 15, 2010, Torsten Anders wrote :Dear Jacques,Thanks for this list!I read that there were two categories, a category of geographic areasand "Scale systems". Is the second category already part of this listyou send?Yes, only a different access.Also, you mention EDOs (ETs) in your list of terms: I understand thatalways only a subset of 12 different pitches per octave is availableof, say, 19EDO, 22EDO, 31EDO, and 41EDO? Is is possible tomanually specify this subset?Thank you!Best wishes,TorstenWhat you refer to is only a list of abbreviations, not a list of actual tunings.By writing your own Scala files you will have Ethno playing whatever you wish.About the mappings, my choice for the factory tunings was to propose only 12 tones per octave, for all scales. But Ethno2 accepts Scala files of 5 to 12 tones, plus 24 tones per octave in standard, and should normally accept any other user mappings, however I am not certain it works at present.As far as I remember, when I mentionned "12 of 17", "12 of 19", "12 of 22" or "12 of 50", etc., in each of these cycles the 12 tones where always from continuous sequences of fifths. And never from equal divisions, but I think you understood that.For the quartertones subsets (mostly in Middle East section), I use of course different mappings. For example the "Rast_matrix" is a continuous cycle of 11 neutral thirds.      Jacques
 Caleb wrote :That's a really impressive list.I'd like to hear this Ethno2 thingy.hmm.Only a small % of this planet's tunings  I would have done more, but I was asked to resume !Me too, I'd like to hear this thing now. May be you've noticed the actual MOTU demos aren't very microtonal.So, welcome ! There are some free boxes left !      Jacques
 That 'hmm' was the rare and rusty sound of me thinking.I went ahead and ordered the Ethno2.calebOn Apr 16, 2010, at 9:19 AM, Jacques Dudon wrote:
Caleb wrote :
That's a really impressive list.I'd like to hear this Ethno2 thingy.hmm.Only a small % of this planet's tunings  I would have done more, but I was asked to resume !Me too, I'd like to hear this thing now. May be you've noticed the actual MOTU demos aren't very microtonal.So, welcome ! There are some free boxes left !      Jacques On Fri Apr 16, 2010 Caleb Morgan wrote :
Really ? the AEH would have sent you one for free !That 'hmm' was the rare and rusty sound of me thinking.I went ahead and ordered the Ethno2.calebMay be you can resale yours and still be candidate...Anyway I hope you will participate to this funny competition...I remember hearing some of your music and it got me really interested.      Jacques
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