╒════════════════════════════════════════════════════════════════════════════╕ __ __ __ __ ___ |\/| / \ |__) |__) |__| /\ |__) | |__ | | \__/ | \ | | | /~~\ |__) |___ |___ ╘════════════════════════════════════════════════════════════════════════════╛ Morphable by Sevish 2022 ___ ___ __ ___ | |__| |__ |\/| /\ | \ |\/| | | |__ | | | |___ | | /~~\ |__/ | | | |___ |___ 11ed2 - 109.090909c Named after a one mile stretch of the A217 road which temporarily goes up to the national speed limit. A favourite spot for the local boy racers. I wanted this track to capture that kind of intensity. The bassline here is the first thing I've recorded off my Korg Monologue. ___ ___ __ __ ___ |__ \ / |__ |__) \ / / \ |\ | |__ |___ \/ |___ | \ | \__/ | \| |___ Rational - 15/14, 17/14, 19/14, 3/2 Some tunings have an inherent jazziness, I think this is definitely try of tunings that repeat at 3/2. The reason why is that you can so easily stack different kinds of thirds to get these big extensions. But with a just intonation scale like this you get a different vibe at the same time. This tuning is basically the harmonic segment 14:15:17:19:21. Lots of fun to be had with this kind of tuning so I recommend them. __ | /\ | | |\ | / ` |__| |___ /~~\ \__/ | \| \__, | | 53ed2 - 22.641509c Yes I'm using the full gamut of 53ed2. Not sure if every single note gets used but it will be close. The opening is an example of a staircase progression, where one voice in the harmony descends chromatically from chord to chord. In this case the chromatic steps are very small because there are 53 notes in the octave. ___ __ __ __ __ ___ \ / |__ /\ |__| / _` |__) / \ / \ \ / |__ | |___ /~~\ | | \__> | \ \__/ \__/ \/ |___ 26ed2 - 46.153846c My intention here was to make something sound so 80s that it hurts. This was the outcome. 26ed2 was chosen here because I wanted access to fairly normal sounding major and minor chords but also overtonal stuff like 8:9:10:11:12. Basically I used 26ed2 with the same mindset that I have been using with 22ed2 for years. Likely to explore 26ed2 more in future. Lyrics: Oh yeah, oh yeah, Sensei, Random __ __ ___ ___ ___ __ __ __ |__) /\ | |\ | |__) | | | |__ | \ <__\ <__\ | \ /~~\ | | \| | | | | |___ |__/ .__/ .__/ Rational - 11/10, 6/5, 27/20, 3/2 99 here means the soft ice cream, not any kind of nerdy tuning. In fact the tuning is another of those just intonation scales that repeat at the fifth. This time the harmonics are 20:22:24:27:30. ___ __ ___ | |__) | | /\ \ / | | | |\/| | | \ | | /~~\ \/ | \__/ | | Rational - 9/8, 5/4, 11/8, 3/2, 5/3, 7/4, 2/1, 9/4, 5/2, 11/4, 3/1 I guess the theme with all the just intonation scales I've used on this album is that all of them are non-octave. But this track is slightly different in that the scale repeats at the twelfth (3/1) rather than the fifth (3/2). If you play over a wide range, there is a sense that the low registers and high registers are in a different key. But everything just kinda works out. The various bends in this album are actually tuning-aware polyphonic pitch bends - these haven't been easily achievable until recently but I got the effect working with Entonal Studio. If you pay attention, you'll hear some of the gliding vocal-ish sounds criss crossing over each other and hitting exact just ratios on the way. __ __ __ /__` |\/| /\ /__` |__| | |\ | / _` .__/ | | /~~\ .__/ | | | | \| \__> 22ed2 - 54.545454c 22ed2 is that old friend. A tuning for when I want to make some music but not concerned which tuning. __ __ __ __ ___ __ /__` /\ / ` / ` /\ | \ |__ /__` .__/ /~~\ \__, \__, /~~\ |__/ |___ .__/ 13ed3 (plus octaves) - 146.304231c 13ed3 is a fun equal temperament that includes the Bohlen-Pierce scale as a subset . My preferred approach when working with 13ed3 is to allow octave transpositions at any time. To get at those octave transpositions, I automate the oscillator octave +/- parameter in the synth. You'll hear that in the sub bass of this track. It's said that you should try and use timbres based on mostly odd harmonics (e.g. clarinets, square waves) to enhance the effect of Bohlen-Pierce harmony. In my practical experience, when using 13ed3 fully and not restricting yourself to the modes of the Bohlen-Pierce scale, it's not necessary to limit yourself in this way. Just use whatever sounds work best with the track. __ __ __ __ ) __ ___ ___ ___ |__) / \ / ` |__/ / \ /__` | |__| |__ |\/| |__ | \ \__/ \__, | \ \__/ .__/ | | | |___ | | |___ 22ed2 - 54.545454c Dedicated to Rocko. Thanks for listening Sevish