Python reference?

@@samsoa19 Of course!

One must become proficient in generation of Pythonic, super-Pythonic, and sub-Pythonic scales.

As the Duchess of Louest Input commanding the Ministry of Funny Walks as they Pertain to Bass Guitar and Bass Fiddle Playing, I commend you.

@@AlexandraMcCloud 🤣🤣🤣

Honestly, I've been learning about this stuff for a while and I still can't completely keep up with a video like this.

It's not your fault, I've studied meantone, superpyth and other tunings very closely for years and this guy just kinda glossed over without explaining anything well. Not a good intro for people who actually wanna learn what he's talking about but it's okay if you just wanna hear microtonal stuff

You are correct. It's just fun to keep using the same notation to see what happens.

Thank you for your feedback! I appreciate it. I did think about animating the transition between the line and the circle with the piano visual, but my Blender skills just aren't there yet. In the rig I'm using the pitches actually do not fall in the middle of the white keys while they do fall in the middle of the black keys. I chose this visualization for aesthetic reasons. If I were to redo the video for clarity I would use a sector based visual to fan out all of the pitches equally. Notation for flatward fifths depends on the application. I'm mainly working in a digital environment where I find it important that muscle memory from 12edo piano translates to meaningful structures in the tuning of my choice. In my day-to-day composing I treat the symbols # and b as abstract indicators of distance along the chain of fifths and use midi channel data to distinguish between them in my DAW. I think there's a plugin for fifth based tuning for Musescore which is handy if you use the program to render the sound as well, but would be confusing as a performance instruction as you mention. I'm looking forward to your video! I haven't yet collaborated with other musicians in a xen context so it would be instructive to know what to look out for. I hear Juhani Nuorvala has had success using notehead shapes and easy note names like ”square B flat”, ”triangle F”, etc.. See you in my next video!

When is this upcoming video coming or have i just missed it?

Episode Title: "Badge of Betrayal" The team at the BAU is called in to investigate a case involving a young woman named Sarah who is being stalked by a man with a badge. As they delve deeper into the case, they discover that the stalker is actually a diplomat with diplomatic immunity, making it difficult for Sarah to get help. The stalker, named George, uses his position and power to manipulate and gaslight Sarah, driving her to the brink of madness. But things take a dark turn when George starts pressuring Sarah to commit acts of mass genocide, threatening the lives of countless innocent people. As the team races against the clock to stop George and save Sarah from his clutches, they uncover a vast network of criminal organizations, including cartels and even government agencies like the NSA, that are aiding George in his twisted mission. With their resources limited and time running out, the team must find a way to outsmart George and his cohorts before it's too late. Will they be able to bring justice to Sarah and prevent a catastrophic tragedy, or will their efforts be thwarted by the very system meant to protect them? Find out in this heart-pounding episode of Criminal Minds. _______&-----+ As the team uncovers the complex web of deceit surrounding Sarah and George, they stumble upon a shocking revelation. Sarah, the victim who had been relentlessly pursued by George, was actually a mysterious figure known as the "Angel of All" by those in the criminal underworld. She had been secretly working to thwart George's nefarious plans and save innocent lives from his manipulation and control. Sarah, aka the Angel of All, possessed a unique and powerful ability to manipulate gravity, making her an indispensable force in maintaining the world's balance. However, her powers came at a great cost, as she was gravely ill and her life was intricately tied to the stability of the world's gravitational forces. If she were to perish, chaos and destruction would ensue, as the world would spiral into disarray without her. Unfortunately, a sinister group known as the "O.H. Club," fueled by their own selfish agendas, had managed to silence Sarah and prevent her from using her powers to maintain order. They had manipulated key players in the world's power structures to ensure that Sarah's voice was never heard, forcing an imminent and catastrophic end to everything she had worked so hard to protect. The team at the BAU realizes that they are not only racing against time to stop George and his criminal associates but also facing a moral dilemma of epic proportions. Will they be able to defy the O.H. Club's influence, give Sarah a chance to save the world, and uncover the truth behind George's sinister motives? Or will they be forced to make a devastating choice that could lead to the extinction of humanity as they know it? The stakes have never been higher in this intense and thought-provoking episode of Criminal Minds. As the BAU team continues their investigation into Sarah, they come across another group of individuals with extraordinary powers known as the Charmed Ones. The Charmed Ones, three sisters who are descendants of a long line of powerful witches, have been battling evil forces for years and protecting the world from devastation. When the BAU team learns of the Charmed Ones' existence, they realize that Sarah's abilities and the powers of the Charmed Ones are interconnected. Together, they hold the key to restoring balance and preventing the impending chaos that looms over the world. With the clock ticking and the O.H. Club's influence growing stronger, the BAU team joins forces with the Charmed Ones to confront George and his criminal allies. Using their unique powers and skills, the team and the Charmed Ones work together to thwart George's plans and expose the true extent of the O.H. Club's manipulation. In a final showdown, Sarah, the Angel of All, unleashes her full power, supported by the Charmed Ones and the BAU team, to defeat George and restore peace to the world. As the dust settles and the threat is neutralized, the world is safe once again, thanks to the combined efforts of Sarah, the Charmed Ones, and the BAU team. The episode concludes with a sense of hope and unity, as the Charmed Ones and the BAU team come together to celebrate their victory and reaffirm their commitment to protecting the world from darkness. As they stand united, ready to face whatever challenges come their way, a new era of collaboration and cooperation between these powerful individuals begins, ensuring that the world remains safe from harm. The cover image features a powerful and mysterious figure, Sarah, standing tall and resolute, holding a sword aloft in one hand. The sword shimmers with an otherworldly glow, symbolizing Sarah's ability to manipulate gravity and maintain balance in the world. Behind her, a twisted and dark snake is coiling around the sword, representing the deceit and treachery she has faced. The background is a mix of light and dark elements, signifying the constant struggle between good and evil that Sarah must navigate. The title "The Snake's Word" is emblazoned across the top, adding a sense of intrigue and mystery to the image.

​@@romeolz I don't think he ever published it, after a quick scan.

Just use 12 tet and modify notes to be different if you're going to be so extreme

Glad it was helpful!

I agree with your nitpick. If I were to redo the video I would make it more clear, but at the time of making it I decided to get flashy instead of informative.

@@lumi-musictheory3476 😂! Again though, great illustrations of the interrelationships between such a great diversity of tunings!

29 is a fun tuning. Instead of focusing on fifth you get more mileage from the fact that the nearly pure fourth is 12 steps of 29-tone. For instance, using 4\29 as the generator (the fourth divided into 3 equal steps) you get a nice alternative to the porcupine temperament.

@@lumi-musictheory3476 That's a cool way of looking at it. I'm interested in it from more of a drone guitar type of perspective. Having those microtones droning against an open low B of a baritone is intriguing to me. I'd love to use them as sorta blue notes that don't fit the scale.

@@somepunkinthecomments471That's just B minor?

@@user-ze7sj4qy6q You are absolutely correct. That was a massive blunder on my part. Sometimes the simple things slide right past me. I fixed my comment. Thank you.

@@somepunkinthecomments471 hahaha i do the same thing. i fw the content of ur comment tho i am also into drop tunings, drones, microtones, blue notes etc lol

Based on the tuning of the intervals some harmonics can clash in quite dissonant ways. 12edo works reasonable well with almost all timbres, but some of the featured tunings do not agree with my ears if the timbre features the fifth or the tenth harmonic for example. I tried to design instruments that sound best in the context they are featured in. By the way, it is possible to design a harmonic timbre that sounds as dissonant as possible when played as a 12edo major chord. The effect is somewhat hilarious. I might make a video about it one day.

@@lumi-musictheory3476 oh how do you create these different timbres? i assumed it’s by altering which harmonics show up in the acoustic overtones and to what intensity, but what software do you use for this?

@@alexr3912 I use Bitwig and design the instruments myself in the Poly Grid. When I want more control over the timbre I start by stacking Sine wave oscillators with the frequency multiplier set to 1,2,3,4,5,6,7, etc. and mixing them together. Then I either phase modulate the oscillators or replace them with other waveforms until I get the sound I like. The important point is to doodle withing the tuning of your choice. Designing a something that sounds good in 12edo may not be ideal for 17edo or whatever your working with.

@@lumi-musictheory3476 Time to make a 12-EDO Prank. :]

@@lumi-musictheory3476 It would be nice to experiment with a timbre especially highlighting many prime harmonics, like e.g. the 2nd, 3rd, 5th, 7th, 11th and 13th harmonics. And try it out in some really accurate temperament, like 87edo.

Another good approximation to quarter-comma meantone is 143EDO, which is very slightly flat (while 205EDO is very slightly sharp). The Xenharmonic Wiki has this information but doesn't make it easy to find (you have to know the EDO number to go to or find it in a table of approximations of a key interval). I haven't found any EDO between 31EDO and 143EDO that provides a better approximation of quarter-comma meantone than 31EDO. (I am almost tempted to make an interval approximation EDO finder spreadsheet.)

The Xen-Calc web app that the Xenharmonic Wiki links to from pages for intervals actually revealed that before you get all the way to 143EDO, 112EDO very closely approximates quarter-comma meantone. Unfortunately, Xen-Calc quits showing closely approximating EDO values after 120, so I can't absolutely swear that another one doesn't occur in between. Unfortunately, although Xen-Calc will show statistics for higher EDO values (like 143EDO and even 205EDO), it doesn't seem to let you systematically search those beyond 120EDO for approximations to specified intervals (I even tried manually typing the values into the "hiEDO field in the URL, but entering anything >120 actually results in setting the high limit to 6). Both 112EDO and 143EDO are fractional cents flat of quarter-comma meantone, and 205EDO is almost spot-on, just very slightly sharp of it, compared to 31EDO, which is still in the fractional cent range but enough sharp to count more like 20/83-comma meantone.

EDO approximations of 1/4 comma meantone with decreasing absolute error: 0, 1, 2, 5, 7, 12, 19, 31, 112, 143, 174, 205, 584, 789 EDO approximations of 1/4 comma meantone with decreasing relative error: 1, 2, 5, 7, 12, 19, 31, 174, 205, 789, 2572, 3361, 9294, 12655

no they don't

Scales were generated using Scale Workshop and imported to Bitwig as .scl files.

@@lumi-musictheory3476 that sounds complicated. But I bet I can figure it out.

@@johnnyroman3888 Tha last time I checked Logic Pro X could only do detunings of 12edo, but that was years ago.

oddsounds mts

@@lumi-musictheory3476 I was able to do it using softsynths from Garritan as a 3rd party instrument. Garritan supports scl. files.

I disagree with any irony. I play drums and maths geometric patterns and even plain whole numbers, (not only fractions) are what describes some of the most beautiful structures in the known world and in and of the cosmos. So why do some people cling to the idea that numbers are some how separate from emotional connection? I think this type of thinking derives in origin from a Pop culture trope that seems to suggest that science and math or logic are somehow inferior to poetry or art but that's just silly and any artist of basic technical ability would laugh because without math painters could not accurately show depth or vanishing point or even represent light and shadow interplay on any imagined curved surface...so why again is it strange that numbers are involved in provoking emotional engagement?

Not only music but sound itself is completely full of mathematically described parameters. And not only temporal frequency vibration cycles and amplitudes but timbre and rhythms are made of numbers. Light shines just as sound vibrates. So if light shines on something that triggers emotions, is not that light integral to the experience of the perception? And is not light simply a unit of energy packed into an occillation of magnetism taking place where math is needed to figure out relativistic time units related to mass/acceleration and involves both gravity energy mass time and space and aren't these things inherently of an emotional nature when perceived by human consciousness?

@@subfragment I don't disagree with what you are saying. But there is feeling and then there is "feeling." Meaning, the sound AND feel of say the song "Holy Wars" by Megadeth is VERY, VERY different primal feeling... it conjures things inside of the listener... assuming the listener understands the message of metal. Take a band like Muse and Radiohead. Muse, IMHO, is for those who cannot comprehend what is happening in Radiohead. Muse, to me sounds forced, mathematical, boring. The IRONY is, Radiohead is probably MORE methodical and MUCH more, for lack of a better word 'educated' in music theory. That's due to Jonny Greenwood's understanding of the feelings certain musical notes/structures/combinations conjure up. This is a very interesting and timeless conversation. At the end of the day... it’s alright, it’s music, and music only.

who told you that music is considered to project feelings?

I don't think you know what "ironic" means

I watched it again and I see that the black ticks are supposed to be the black notes (sharps/flats) but why so small compared to the white notes? It brings an unhelpful distortion to the graph.

​@@julianpinn5018 its a piano

It’s a piano keyboard wrapped into a circle

You only had to watch the video for 51 more seconds

Just let me know your contact details and I'll get in touch. You can drop them in a SoundCloud private message if you like: soundcloud.com/frostburn

I am not. Which timestamp was this?

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I'm on Facebook as "Lumi Pakkanen" or in Discord as frostburn#8033. You can also send me message in SoundCloud: soundcloud.com/frostburn