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Hermode Tuning

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  • Werner Mohrlok
    Dear Members, After a long time... The first reason why I am writing is: I sometimes read comments to our technology at these sites and it seems to me that not
    Message 1 of 36 , Nov 21, 2010
    Dear Members,

    After a long time...

    The first reason why I am writing is: I sometimes read comments to our
    technology at these sites and it seems to me that not all commentators have
    comprehended how Hermode Tuning works. Some comments are incorrect. So
    please allow me to explain it in brief words.

    The second reason is: We have posted on our website some musical files which
    could be interesting for testing your ears. See the annotations below.

    Firstly: Hermode Tuning is written for a self-regulating tuning at
    electronic musical instruments and virtual instruments like sequencers
    combined with samplers, synths and so on.
    The presumption is that the referring music is multi voiced, written in
    western tradition, basing in chords and note combinations with thirds and
    fifths intervals. Hermode Tuning controls in real time, even at sequencers.
    It isn't prospective, this would bring less or nothing. The main problems of
    controlling the frequencies are caused by the incompatibility in principle
    of fifths and thirds when bringing them to just intonation. Hermode Tuning
    analyzes chords and note combinations and brings them to just intonation if
    any possible. The programme starts at every new not-on or note-off message
    and it combines three requirements: Optimal rapprochement to just
    intonation/ inaudible retuning steps/ frequency positions as near as
    possible to the line of equal temperament.
    Imagine that the default straight horizontal line of E.T. will be moved to a
    serpent, changing its figure ongoing, than you will get an idea how it
    works. The tuning values of this serpent are partial higher and partial
    deeper than the line of E.T. The average of all these deviations remains as
    near as possible to the value "0".
    Weighting inaudible retuning steps means that not in every moment the
    frequency ratios will be absolutely in accordance with the values of just
    intonation. At successive note combinations with four and more notes it can
    happen that the retuning steps have do be corrected in opposite.
    Besides, it is possible to reduce by default the depth of the correction
    values. In this way Hermode Tuning is more or less a "living temperament".
    Some commentators claimed that Hermode Tuning is 3/5 limited. This is not
    correct. Correct is: One of our programme modes controls also to "natural
    sevenths" as soon as major seventh chords occur. But you all know: This
    natural seventh can cause audible retuning steps at harmonic sequences from
    subdominant chords to dominant-seventh chords. Therefore one has to weight
    carefully whether one should activate this mode.

    Now to the musical files. You will find them at:
    www.hermode.com/html/hermode-tuning-examples_en.html

    Some of them are created wit a note editing programme "Capella", these files
    are a little stiff. Nevertheless I recommend for the opening of ears: Listen
    firstly to "Vom Himmel hoch" as the contrast between just intonation and
    E.T. there is very distinct.
    Additionally I recommend listen to Haydn's symphony no. 103, 1st movement.
    There in the introduction the single voiced bass line is broken three times
    by a chord sequence "dominant seventh" to "major tonica". The file "hermode"
    is edited in 3/5 limit, therefore the chords sequence sound
    "dissonant-consonat". The file "hermode 7th" is edited with the "natural
    seventh", therefore this sequences sound "nearly consonant - consonant". The
    file "tempered" is in E.T and sounds "dissonant-dissonant". In abstract I
    prefer the 3/5 limit version, but indeed, with natural seventh it sounds
    very impressive.
    Last but not least listen to the two movements of Mozart's Piano Concerto KV
    488. The example "hermode" controls both, orchestra and piano, to just
    intonation. The file "hmtmix" controls the orchestra to just intonation, the
    piano remains in E.T. This last version is somehow in accordance with the
    real situation of human musicians on a well educated orchestra. Besides it
    shows that Hermode Tuning at such combinations is compatible to E.T. - and
    it sounds better than the all-E.T.-example.

    Sorry, the orchestra samples are basing in a very little sample library,
    therefore the orchestral sound and the dynamic progressions sound not
    optimal. But actually I don't posses a better library.

    Best

    Werner Mohrlok
  • Carl Lumma
    ... It is the keyboard shown here: http://www.c-thru-music.com/cgi/?page=prod_axis-49 It is just a MIDI controller. I am using it with various software synths
    Message 36 of 36 , Nov 22, 2010
      --- In tuning@yahoogroups.com, "Werner Mohrlok" <wmohrlok@...> wrote:
      >
      > .. a microtonal keyboard controller? - May I ask whether your
      > keyboard supports tuning messages? And - if yes - which type
      > of keyboard is it?

      It is the keyboard shown here:

      http://www.c-thru-music.com/cgi/?page=prod_axis-49

      It is just a MIDI controller. I am using it with various
      software synths that support the Scala .scl format for
      tuning control. In particular, I am exploring 22-tone
      equal temperament.

      -Carl
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