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Making microtonal music on Linux computers

This article explains some software and hardware I used to write a few of my albums. The workstation runs Linux, Bitwig Studio and various audio plugins. I also cover many alternative software choices here as your preferences might differ to mine.

[The old article about my previous workflow for making microtonal music with Ableton Live is still available though quite out of date as Ableton have improved their microtonal support in recent years.]

Illustration of a penguin holding a microtonal keyboard with longing expression

Overview

Hardware

You could probably get away with using a few year old laptop for sure. I have some kind of Intel Core i7 and 16GB DDR4 RAM.

If you want to record in from microphones or hardware synths then you’ll also want to get an audio interface. I just got a cheap one that said it was USB class compliant. 2 ins, 2 outs.

Photo of an AXiS-49 MIDI keyboard showing an array of hexagonal keys

USB MIDI keyboards seemed to universally work for me on Linux. Isomorphic keyboards such as my C-Thru AXiS-49 work well for microtonal music because scale and chord fingerings remain the same in each key, whereas a standard MIDI keyboard requires you to learn a different fingering for each key. The keys are all nerdy lil hexagons, it’s cute. It just plugs in via USB and my system recognises it instantly as a MIDI input device.

I bought a second hand M-Audio Keystation 88es from Gumtree for 50 quid. Good deals can be had if you buy used. It’s my preferred MIDI controller; I even prefer it over the AXiS-49! There’s something about the traditional 1-D style keyboard that feels natural to play.

Which Linux distro?

Which Linux distribution is a personal preference and I can’t hope to do the question justice. To replicate my setup you want any Debian-based distro so you can use the KXStudio repository (more about the KXStudio suite of tools later).

Screenshot of Bitwig Studio and Cadence on a computer running KDE Neon operating system

The distro I’m using is KDE Neon which is based on Ubuntu. I find KDE Plasma to be familiar, fast, with possibly too many options for customisation. Of course audio software demands that your desktop environment be as lightweight as possible. XFCE and MATE are two other lightweight and popular desktop environments worth trying.

If you just want sane defaults for audio work then Ubuntu Studio gives you get the low latency kernel and other audio tweaks set up by default. Think they have PipeWire now and of course KDE so I’m thinking to switch to Ubuntu Studio next time I nuke and pave.

For Arch-based distros, the AUR has an impressive selection of audio software.

General setup and audio tools

I’ve been using KXStudio applications to deal with audio on my Linux music workstation. There are quite a few tools in KXStudio so here are the ones I find especially useful:

Cadence

Cadence is a set of tools for audio production all in one application. It performs system checks, manages JACK, calls other tools and make system tweaks. It launches automatically when I boot, so I can then launch my DAW and get straight to doing music.

Carla

Carla is a plugin host that can load up various Linux synths and effects. There’s even a way to load Windows VSTs with it but I haven’t taken the time to figure that out – I’m happy with Linux-native software currently. The reason Carla is so crucial for me is that it can be loaded not just as a standalone app but also as a Linux VST. This is extremely useful if your DAW only supports VST plugins but you want to use LV2 plugins too – Carla acts as a VST-LV2 bridge in this case.

KXStudio repository

You can install the KXStudio apps by first setting up the KXStudio repo in your package manager. The repo also contains a large number of music plugins so you can install them via your package manager rather than compiling manually. This is so useful! It even contains all the u-he Linux synths (you still need to pay for a license as they are proprietary) and Zyn-Fusion (the new interface for ZynAddSubFX)!

General setup

When doing any kind of real-time audio processing or recording, you’ll want to use the low latency kernel rather than the generic kernel. This may help prevent crackling and reduce your system’s audio I/O latency. If you’re using a distro that is designed for audio work such as Ubuntu Studio then you already have this kernel. Otherwise if you’re using a generic distro you should search online for how to install and use the low latency Linux kernel.

You should also add your user to the audio group. This gives your Linux user permission to use desktop audio devices.

Digital Audio Workstations (DAWs)

These days I’m using Bitwig Studio as my DAW. I will explain why below and also mention a few alternatives.

Bitwig Studio

As a former Ableton user I found it easy to switch over to Bitwig Studio. Bitwig has a native Linux version which works well with the apps I installed from KXStudio. It is not free software – you buy a license and then get 1 year of upgrades. You can continue to use your copy after the license expires but you don’t get feature updates until you redo the license.

Bitwig Studio supports Linux VST plugins, but note that it does not support Linux LV2 plugins. This is disappointing because many libre audio plugins use the LV2 standard and not VST. And this is why the Carla plugin host is so essential – it allows me to bridge LV2 plugins into Bitwig Studio!

Editing polyphonic pitch-bend using Bitwig Studio's piano roll

Bitwig’s built-in synths support MPE polyphonic pitch-bend. Its piano roll allows you to detune each note individually using an intuitive interface. That does entail a lot of manual work but gives you unprecedented pitch control in a polyphonic setting. MPE is also quite future proof being that it’s part of the MIDI 2.0 spec. I’m waiting to see if future synths will work seamlessly with Bitwig’s implementation of polyphonic pitch-bend.

Some people will prefer using Bitwig’s polyphonic pitch-bend over my usual approach (which is to use plugins that can import tuning files – more on that further below)!

There are various alternatives to Bitwig Studio and I’ll mention a few below.

Ardour

Ardour is one of the most widely used free-and-open-source DAWs for Linux. Supports MIDI and synth plugins, so you can use plugins to get microtones.

Reaper

Screenshot of Reaper DAW

Reaper – I am told by many many people that it is simply the best DAW around. Its native Linux build is stable enough for serious use. The license is cheaper than most proprietary DAWs and the demo version gives full access to all features, including saving and loading projects, so you can try it fully before committing to support the devs.

Reaper also lets you customise the key colours and layout of the piano roll. This is one of those issues that only microtonalists seem to understand is useful!

Renoise

Renoise is a tracker style DAW that runs natively on Linux and can be microtuned using the SCL to XRNI tool. It also supports plugins so you can get at those microtones that way.

LMMS

LMMS comes bundled with a modified version of ZynAddSubFX, so if you’re an LMMS user you already have a powerful microtonal synth to play around with.

Plugins and softsynths

Many synths don’t support microtonal tunings (they are locked in to 12-tone equal temperament) so we’re only looking at synths that support custom tunings. Often times the synths that come bundled with your DAW don’t support it but there are exceptions, try it and see.

If you use synth plugins that have built-in microtonal support then it doesn’t matter which DAW you use, as long as your DAW supports plugins. Below is a showcase of Linux-native plugins with support for microtonal tunings.

Surge XT

Screenshot of Surge synthesizer

Surge XT is a powerful open-source synth with an excellent implementation of microtonal tuning via .scl and .kbm files. It’s cross-platform and can run as an LV2 or VST plugin. You can also use it with VCV rack.

Vital

One to watch out for – Vital is a wavetable synth currently in development as of October 2019. It will support microtonal tuning via .tun or .scl file and will also be free and open source. The same developer created the Helm synth so I’m expecting good things.

TAL-Sampler

My sampler plugin of choice because it’s fun to play, not overly complicated and supports microtuning by tun file, MTS-ESP or MPE. That’s three ways to choose to get at those tunings!

Pianoteq

Modartt’s Pianoteq is well known in the music world for its rather good piano sound. It’s a physically-modelled piano – this has some benefits over sample-based pianos. First, it has a tiny footprint of just a few megabytes storage, as opposed to the gigs and gigs often required by sample-based pianos. Second, you can tweak the parameters of the physical model to get interesting variants on the typical piano sound. Here’s an example that will interest microtonalists: you could design a piano with quietened even harmonics (e.g. harmonics 2, 4, 6, etc.) so that the timbre will blend better with the Bohlen-Pierce scale (this scale features primarily odd harmonics). This kind of sound design possibility is pure excitement for nerds like me.

Pianoteq is a good example of how developers should implement Scala files support. It supports .scl files but also the .kbm format that allows the user to create any specific full-keyboard microtuning. Additionally they provide a tone circle graphic that allows you to visualise how the overtones of the piano timbre align with your tuning. That’s not necessary to have, but is a really nice feature.

Tip: on the tuning screen you usually must enable the ‘Full Rebuild’ option otherwise a great many tunings will sound unnatural and un-piano-like.

MTS-ESP is also supported as a method of microtuning, but last time I checked it had some sound quality issues. I’m recommending Scala files instead if you want to tune it.

Pianoteq supports Linux, macOS and Windows natively so it’s a good plugin for almost anybody who wants to write microtonal piano music. Just note that the Stage version has no microtonal support; you’ll need to get the Standard or Pro version if you want to retune the piano.

u-he plugins

Screenshot of u-he ACEScreenshot of u-he BazilleScreenshot of u-he DivaScreenshot of u-he Hive2Screenshot of u-he ReproScreenshot of u-he Zebra2

ACE – virtual semi-modular synthesizer
Bazille – virtual modular synthesizer
Diva – virtual analog synthesizer
Hive2 – wavetable synthesizer
Repro – virtual analog synthesizer
Zebra2 – various synthesizer

Many of the u-he synths have Linux versions available and can be microtuned using .tun file import.

Please be aware the Linux versions of our plug-ins are still considered beta. While the plug-ins are stable, we are not able to provide the same level of support for these products as we do for the macOS and Windows versions. Support is provided via the Linux and u-he communities on our forum.

I have a license for ACE and was using it on Windows for a few years. It’s nice to know that I can continue using it on my new setup.

EP MK1

Screenshot of Mike Moreno EP MK1

EP MK1 is a free, physically-modeled electric piano plugin by Mike Moreno Audio. It has two methods for microtuning – you can dial in any equal temperament you want via the interface or you can load a text file containing a list of frequencies. The text file can be easily generated by Scale Workshop (I’m not sure if any other tuning software supports Pure Data text files).

I think EP MK1’s electric piano simulation is actually pretty usable within a mix. And with the recent addition of support for Pure Data text files it’s possible to tune every MIDI note to an arbitrary frequency. I finally have good reason to use this plugin on my next album.

Zyn-Fusion (ZynAddSubFX)

Screenshot of Zyn-Fusion synth plugin

Zyn-Fusion is a powerful synth capable of additive, subtractive, FM and PM synthesis. Really though you want this because its thick PADsynth sound can’t be imitated elsewhere. Zyn-Fusion can be microtuned by importing Scala (.scl) files and keymap (.kbm) files. Alternatively you can enter tuning data directly via the UI which might be helpful to some. While the developer of the new UI put so much effort into it, I feel like Zyn-Fusion still bugs out a lot and has rough edges. So I don’t really recommend this synth plugin anymore but it’s worthy of mention.

v1 Suite

The v1 plugins (except for drumkv1) all support microtuning via .scl file.

synthv1 – a subtractive synth
samplv1 – a polyphonic sampler
padthv1 – an additive synth based on Paul Nasca’s PADsynth algorithm

As far as I’m aware samplv1 is the only microtonal-capable sampler plugin for Linux, so you will want to grab this!

kbm files are supported which means these synths can do full-keyboard microtuning. Your tuning can be saved per-instance or optionally saved as a system setting (in case you want to always use the same microtonal tuning in every instance).

This same developer also created the Qtractor DAW for Linux.

Amsynth

Amsynth is a subtractive synth and it’s quite easy to use.

Pure Data + Camomile

Pure Data is a visual programming environment for audio similar to Max/MSP. It is free and very powerful.

Camomile is a VST wrapper for Pure Data patches. In other words, it allows you to turn your Pd creations into VSTs that you can load in to your DAW! It is cross-platform, so your creations can run on Linux, macOS and Windows.

The combination of Pure Data and Camomile is comparable to Max 4 Live.

Calf Audio Vinyl

Vinyl by Calf Audio is a vinyl emulation audio effect. So what, you ask. Well, it has one useful feature called ‘drone’ which applies an oscillating pitch-drifting to whatever audio you feed into it. If you dial in a lot of ‘drone’ you can recreate that warbly lo-fi tape-wow sound, or if you use just a little you can add a subtle intonation drift that will add interest to an otherwise perfectly accurate digital synth sound. Those of you who have composed just intonation music using digital synths will know the buzzing periodicity/phase-locking kinda sound. Just a little ‘drone’ adds enough error to the intonation to prevent that buzzing from happening.

Tuning software

Most synths don’t provide any interface for customising your own microtonal scales – instead they load a tuning file that you have to create yourself. For that, you’ll need some special software.

Scale Workshop

If you’re just getting started, try Scale Workshop – it can generate microtonal scales and export to a variety of tuning file formats. It’s free and open-source (MIT license). Because it runs in your web browser it doesn’t require installation. It works well on Linux, Windows, macOS, iOS and Android.

Scala

For serious experimenters, you might want to graduate from Scale Workshop and use Scala. It’s also free, and can be installed by following the instructions on their official website. It’s not as user friendly as the alternatives but it has about ten thousand cool features hidden away.

If you want to re-tune hardware synths or use MIDI Tuning Standard then you will want to get Scala and not Scale Workshop!

Load the tuning file into your chosen synth

This is the important bit!! Once you have created a tuning file using Scala or Scale Workshop, simply load it up in your synth of choice. Read your synth’s user manual for how to do this. Now you can jam away in your chosen microtuning.

Proof this all works

This year I released ‘Horixens‘, an album of microtonal electronic music. Tracks 1, 2, 3, 4, 7, 8, 9 are produced, mixed and mastered on Linux with Bitwig Studio. Tracks 5 and 6 were produced on my old Windows/Ableton rig but mixed and mastered on Linux.

Are you making music on Linux, or making any kind of microtonal music? Let me know in the comments what works for you and how you got it running! Everybody has a different workflow and we can all learn something from one another.

My thoughts on desktop Linux

My first experience with Linux was Fedora Core 3 in the early 2000s. It was neat but I wanted to play Stepmania and Rollercoaster Tycoon so I stuck with Windows. Later I got into music production. Again, Windows stuck. The spell was broken by Windows 10 which is literally so bad. I got back into Linux and saw how much it had matured. That’s when I committed to it.

(I do use a MacBook Pro at work which is pretty good but has various issues of its own).

The swap over to Linux was a gradual process as I had to learn a few things but I think I ended up with a solid system. Whenever I boot up the old Windows machine to revisit old projects I am quickly reminded how often my previous systems crashes on Ableton+Windows.

One issue remains with Linux that many audio software developers still target only Windows and macOS. I see this trend slowly reversing – and I have so much appreciation for developers who add support for native Linux. Have supported a few of these devs myself by purchasing their tools and sending in detailed bug reports when needed. Big respect to you all.

More articles by Sevish about making microtonal computer music


What you’re referring to as Linux, is in fact, GNU/Linux, or as I’ve recently taken to calling it, GNU plus Linux plus KDE plus JACK plus Bitwig Studio plus Carla plus Scale Workshop plus Surge XT.

Making microtonal scales with Scale Workshop 1.0

A new web app called Scale Workshop allows you to design and play your own microtonal scales. You can also tune various other synthesizers with it. It has just reached version 1.0 and is now recommended for use by the wider musician community.

Scale Workshop has these aims in mind:

  • Scale creation. Use the tools to generate and modify tunings automatically, or manually input your own.
  • Import Scala and AnaMark tunings. Yes it works with that amazing 4000+ scale library that’s floating around the internet.
  • Export the most popular tuning formats easily. Converting .scl files and .tun files is fast. It also exports tuning files for Kontakt, Max/MSP and PureData.
  • No installation required. Scale Workshop runs in your web browser on Windows, macOS, iOS, Android and Linux.
  • Free and open-source. The software costs nothing and it is MIT licensed. Volunteers have already contributed new features and bug fixes on our GitHub repository. Feature requests and bug reports are welcome from anybody.

What else does Scale Workshop do?

Scale Workshop puts a polyphonic synth right inside your browser. You can audition and perform your scales by playing with a connected MIDI controller, QWERTY keyboard, or by using the touch-screen overlay.

Convert scl files and convert tun files to various tuning formats. Export formats include Scala .scl/.kbm, AnaMark TUN, Native Instruments Kontakt tuning script, Max/MSP coll text format and Pure Data text format.

Share your scales with other people by copy-and-pasting the URL in your address bar while working on your scale. The recipient will instantly see your scale information and can play it using their keyboard. This is invaluable for communicating your tuning ideas with others, or allowing your musical collaborators to export your tuning in whatever format they prefer. Try it out.

Display frequencies, cents and decimal values for your tuning across all 128 MIDI notes.

List of supported synths

Note that this list is incomplete.

Via AnaMark TUN (.tun)

  • Big Tick Angelina
  • Big Tick Rhino
  • Camel Audio Alchemy 1.x
  • Humanoid Sound Systems Enzyme
  • LinPlug Alpha
  • LinPlug CRX4
  • LinPlug MorphoX
  • LinPlug Octopus
  • LinPlug Organ 3
  • LinPlug SaxLab
  • LinPlug Spectral
  • Mark Henning AnaMark
  • PolyGAS
  • Spectrasonics Omnisphere
  • TAL BassLine-101
  • TAL Sampler
  • TAL U-NO-LX
  • u-he ACE
  • u-he Bazille
  • u-he Diva
  • u-he Hive
  • u-he Zebra
  • VAZ Modular
  • VAZ Plus
  • Virtual CZ
  • Xfer Serum

Via Scala .scl/.kbm

  • amsynth
  • Applied Acoustics Chromaphone 2
  • Applied Acoustics Lounge Lizard EP-4
  • Applied Acoustics String Studio VS-2
  • Applied Acoustics Ultra Analog VA-2
  • Cakewalk Dimension Pro
  • Cakewalk Rapture Pro
  • Cakewalk Z3TA+2
  • Garritan Personal Orchestra 4
  • Imageline Harmor
  • kv331audio Synthmaster and Synthmaster One
  • Key Tuner JSFX Script
  • Madrona Labs Aalto
  • Madrona Labs Kaivo
  • Madrona Labs Virta
  • Modartt Pianoteq
  • padthv1
  • Plogue Alter/Ego
  • Plogue Chipsounds
  • Plogue Sforzando
  • PolyGAS
  • Reveal Sound Spire
  • samplv1
  • synthv1
  • UVI Falcon
  • ZynAddSubFX
  • Zyn-Fusion

Others

  • Max/MSP (via text file you can load into the coll object)
  • PureData (via text file you can load into the text object)
  • Native Instruments Kontakt (via text file you can load into the Kontakt script editor)

A personal note

This has been a labour of love for almost 2 years – I hope that many people will find it useful! If you want to share any work you’ve created with Scale Workshop then I’d love to hear about it.

Now that Scale Workshop is in a stable state, I am going to focus my attention back on composing new music and hosting the Now&Xen microtonal podcast.

 

Open Scale Workshop in a new window

 

amsynth 1.8.0 adds support for microtonal tunings

Of all the software synths in the world, very few of them support microtonal scales. If you are a musician using Linux and open source software then your options are even fewer. It’s for that reason that I want to celebrate the news that amsynth 1.8.0 adds support for microtonal tunings!

amsynth is a virtual analog synthesizer that runs as a standalone or VST, LV2 or DSSI plugin. Its sonic characteristic is similar to other popular digital VA instruments – fantastic for leads, basses and stabby chords. It’s light on the DSP and the controls are very easy to understand, so amsynth will rightfully earn a place in my toolkit once I move my music production machine over to Linux.

Installing

The easiest way to get amsynth if you’re on a Debian-based distro is to add the KXStudio repositories and then install via apt. Assuming you already have the KXStudio repos on your system, simply run the following command:

sudo apt install amsynth

If you’re unable to use the above, download the source for amsynth 1.8.0 and build it.

Tuning amsynth

Once you have amsynth up and running, microtunings can be loaded by right clicking the interface and selecting a .scl file. In addition, you can load up a .kbm file for custom key mappings.

If you need some Scala tuning files (.scl) to play with, generate some with my Scale Workshop browser tool, or install Scala itself. Scala is extremely powerful, though you need to install it to your PC along with all its dependencies.

Full-keyboard microtuning

Developers, TAKE NOTE of what amsynth developer Nick Dowell has achieved here – .scl and .kbm formats are BOTH supported. .scl files specify the intervals in the scale, and .kbm specify the base tuning of the scale, whether it is A = 440 Hz or something else entirely.

Without supporting both of these formats, a synth could barely be said to support microtonal scales at all. I’m so pleased that amsynth gets this right.

The future

Judging by this page on amsynth’s GitHub, it looks like amsynth may become cross-platform in the future. Should this ever happen, then Windows and Mac users would also have access to this nifty, free and microtonal instrument too. I look forward to this and will follow amsynth’s progress into the future.

How to invent your own musical scales using Scala

[Update Jan 2023: This article is quite old now. If you’re looking for something more user-friendly than Scala, try Scale Workshop. If you want to learn more about Scala, read on!]

When you want to edit photos, there’s Photoshop. When you want to listen to music there’s iTunes (if you’re a pro at life, there’s foobar2000). When you want to create your own musical scales, opening up endless possibility in harmonic and melodic expression, there is Scala. Scala is a multi-purpose toolkit for everything related to tunings, scales and microtonality. You have a hardware synth that you want to retune? Scala will do it. Or a softsynth? Scala can export the tuning files required to make that happen. Want to generate all kinds of crazy scales that you can use to compose new music? Scala has near infinite options for you to play with. Want to experiment with world music and historical scales? There’s a database of thousands on the Scala website.Scala tuning softwareThis is a beginner-level tutorial which deals with scale creation and microtonality in a practical way. I can’t attempt to cover everything Scala can do here. But you’ll learn some fundamentals.First I’ll show you how to create equal scales, then I’ll show you how to create just scales. If you don’t know what the difference is, just follow the tutorial from beginning to end, and read some of the links later to fill in the gaps of your knowledge. By the end of this tutorial you will have invented some of your own musical scales!

Equal Temperament scales

Equal temperaments are scales that divide an octave into some number of equally big pieces. The 12 note scale of Western music is an example, as each semitone is of equal size. So you already have experience with equal temperament scales and didn’t know it.In Scala, equal temperaments are trivially easy to create!A popular thing that beginning microtonalists like to do is to try quarter tones. The quarter tone scale divides the octave into 24 notes. Let’s make the scale in Scala. Load up Scala, type this line into the text field at the bottom, then hit enter:

equal 24

Explanation: When you type the command equal, followed by a number, Scala will produce an equal-tempered scale with that number of notes in an octave.But it looks like nothing happened after we hit enter. We still need to check that the scale was created correctly. So type:

show

This will show you the tuning data for the equal temperament scale you just created. As below:

  0:          1/1               0.000000 unison, perfect prime  1:         50.000 cents      50.000000  2:        100.000 cents     100.000000  3:        150.000 cents     150.000000  4:        200.000 cents     200.000000  5:        250.000 cents     250.000000  6:        300.000 cents     300.000000  7:        350.000 cents     350.000000  8:        400.000 cents     400.000000  9:        450.000 cents     450.000000 10:        500.000 cents     500.000000 11:        550.000 cents     550.000000 12:        600.000 cents     600.000000 13:        650.000 cents     650.000000 14:        700.000 cents     700.000000 15:        750.000 cents     750.000000 16:        800.000 cents     800.000000 17:        850.000 cents     850.000000 18:        900.000 cents     900.000000 19:        950.000 cents     950.000000 20:       1000.000 cents    1000.000000 21:       1050.000 cents    1050.000000 22:       1100.000 cents    1100.000000 23:       1150.000 cents    1150.000000 24:          2/1            1200.000000 octave

Explanation: The equal command that we just used has produced 24 items for us (24 notes in our scale). The  show command lets us see those 24. Each of these shows some number of “cents.” The cent is a measurement of how wide or narrow an interval is. Notice that each interval in our 24-equal scale goes up by 50 cents. 50 cents is exactly one quarter tone. 100 cents makes up a semitone, and 1200 the whole octave. Cents are a useful measurement to get your head around if you want to compare tunings with each other.That’s enough staring at numbers. Time to hear these quarter tones for the first time. On the Scala interface you’ll see a button which says play. Click that button!Chromatic ClavierHere’s the “chromatic clavier!” You can use this to try out your scale using your PC’s built in MIDI synth. A very handy tool indeed. Play using your mouse, or use the Sound Settings button to set up a MIDI keyboard controller.

Exercises

  1. Find some cool chords in the quarter tone scale which don’t exist in the normal Western scale.
  2. Create other equal tempered scales using the equal command that we used to create the quarter tone scale. Try any number you like, but make sure you play and listen to them using the chromatic clavier. Here are some numbers you can try which are known to give interesting musical results: 5, 13, 17, 22.

 

Equal Temperament scales (no octaves)

In the first part, we divided an octave into some number of equal parts. Amazingly, we are not limited to dividing octaves. We can choose to divide other intervals instead, such as a perfect fifth or whatever you like. But what’s the point?Every note in a non-octave scale has a unique identity. Consider that we know a note A as a note oscillating at 440 Hz, or some octave above (880 Hz, 1760 Hz) or below (220 Hz, 110 Hz, 55 Hz). If our scale doesn’t include octaves, then a note A won’t have any other counterparts higher or lower in the scale. This means that, as we climb up or down into different registers, we keep hitting unique note identities which haven’t been heard elsewhere in the scale!This approach is extremely fruitful for new sounds, sonorities and progressions. However composition technique must change drastically. For starters, there are no more chord inversions, since you can’t raise any notes up or down an octave. Of course, this makes voicing difficult too. But you gain a very wide variety of intervals to play with, and it will challenge and grow you as a composer to exploit non-octave scales. Just try it and see.Here’s how we do it. We’re going to create a scale which divides a perfect twelfth (an octave plus a fifth) into 13 equally spaced parts.

equal 13 3/1

Explanation: The equal command tells Scala that we’ll be making a scale where all notes are the same size. The number 13 shows that we want 13 notes. And that weird fraction on the end? That’s the big interval that will be split into 13 equal parts. Think of it as a pseudo-octave.Why 3/1? For now just take my word for it. 3/1 is a perfect twelfth. So rather than repeating at the 8th (octave), we’re repeating at the twelfth.Notice, if we don’t include the number 3/1, then Scala will assume that this is an octave based scale. (An octave, by the way, can be expressed as 2/1).Let’s see the cents values for the scale we created:

show

And the result:

  0:          1/1               0.000000 unison, perfect prime  1:        146.304 cents     146.304231  2:        292.608 cents     292.608462  3:        438.913 cents     438.912693  4:        585.217 cents     585.216923  5:        731.521 cents     731.521154  6:        877.825 cents     877.825385  7:       1024.130 cents    1024.129616  8:       1170.434 cents    1170.433847  9:       1316.738 cents    1316.738078 10:       1463.042 cents    1463.042308 11:       1609.347 cents    1609.346539 12:       1755.651 cents    1755.650770 13:          3/1            1901.955001 perfect 12th

Can you remember how many cents are in an octave?The answer is 1200 cents. Looking at the above list of intervals, we can see there’s no value too close to 1200 cents at all. But there’s this nasty 1170 cents interval that’s gonna sound noticeably flatter than an octave. On the other hand, that perfect twelfth at 1901.955 cents, is purely in tune. Whatever this scale is, it doesn’t represent anything we’re used to in Western music. There’s no perfect fifth, no octave…The scale we’ve just created is none other than the Bohlen-Pierce scale, a famous non-octave scale with many interesting properties. It sounds very alien until you have taken time to immerse yourself in it. Jam with the chromatic clavier and hear it for yourself (remember, just click the play button on the Scala interface to do this).

Exercises

  1. Try some other scales which divide the perfect twelfth. Use the same method as above, but replace the number 13 with any number you feel like.
  2. The perfect fifth is a ratio of 3/2. With this knowledge, try out some scales which divide the perfect fifth.
  3. Search for Bohlen-Pierce music on YouTube, and hear other people’s approaches to the scale. But only after you have tried to explore this unusual tonal territory for yourself.

Just Intonation scales

The topic of just intonation (JI) is deserving of several books in its own right. It is an old mathemusical theory in which many cultures have their own take.What could a name like “just intonation” mean… If you think of “just” as meaning fair, right, exact, and perfect – and intonation of course having to do with the accuracy and flavour of the pitch – then you should get the general idea. Just intonation is a tuning system that uses exact, perfect intervals.In fact, the pitches of just intonation are made up of ratios. Think of numbers such as 2/1, 3/2, or 15/8. (These intervals are an octave, perfect fifth and major seventh, respectively).

Just one quick way of making just intonation scales

Time to get creative! There are many ways to go about making your own just scale, but here’s one way that can get you exploring quickly.On the main Scala window, click on the Input button to open up the Input Current Scale window. Here you can enter the pitches you want to use. In this case we’ll enter some fractions at random, following some simple guidelines.

  1. Put one fraction per line.
  2. The last line should be 2/1. This makes sure that your scale repeats at the octave.
  3. To ensure that every pitch fits within a single octave, make sure that the numerator of each fraction is greater than the denominator, but less than double the value of the denominator.(For example 3/2 is okay. 1/2 isn’t okay because the numerator is less than the denominator. 5/2 isn’t okay because the numerator is greater than double the denominator.)
  4. The pure “JI effect” is generally stronger with simpler ratios, so avoid complicated fractions such as 51227/29096 and keep things simple.

Below are a few examples that follow the above guidelines.

ji-example-1 ji-example-2 ji-example-3

You can also use Kyle Gann’s anatomy of an octave to find some interesting numbers to plug in.Once you’re done, hit OK and you’ll be taken back to the main Scala window. At this point you will find 9 times out of 10 that Scala says “Scale is not monotonic ascending.” If you saw this message then it means that the pitches of your scale are in a weird order. To fix this issue, tap the Edit button on the main Scala window, tap the Ascending button, and finally click OK.Let’s take a quick look at what you made:

show

Take a quick look at the interesting names that Scala gives to the ratios you randomly chose.Now it’s time to hear your scale! Hit the Play button to show the Chromatic Clavier. You can hold shift when you click to hold multiple notes down and hear that solid JI sound.Alternatively you can play your scale using a connected MIDI controller or MIDI keyboard. To do this just click the Relay button on Scala’s main window and then click the Start Relaying button.Repeat this process of JI scale creation a few times, each time playing your scale using a keyboard to get a feel for the unique musicality of each one.Once you become comfortable with this process and you get to know certain ratios that you love the sound of then you can start to ignore the guidelines I gave before.

Further reading about just intonation

Now you know how to come up with a just intonation scale of your own. But you still might not know why you would want to use just intonation. There are many differing opinions out there and it’s easy to find them using Google. And I recommend you spend a lazy afternoon doing just that. Here are a few suggestions:

Further exercises

  1. Load up various scales from the Scala scale database. Use the command show to display the tuning data (boring numbers) for a scale. Is it meaningful to you?
  2. Jam with each scale. Is it meaningful now?
  3. Pick the weirdest scale you can find from the Scala scale database and jam until it sounds normal.
  4. This tutorial has only shown you how to create and play scales within Scala. Now learn to use your creations in other synths by reading my tutorial on exporting scales in Scala.
  5. Explore other tuning software. There is CSE and LMSO (for Mac OS X) and alt-tuner (for Reaper). Find what works best for you.