**Production Notes**
Ooh, music maths. So, here we go.
Gb: 369,99 Hz.
Wrong microtone = 409,73 = plus 39,74 ct
Corrected frequency = 411,18 Hz = plus 41,19 ct
First I went for the sinewave approach, which turned out too bleak, as I couldn’t find a good musical idea. So I fired up iZotope Iris, added a piano sample and went somewhat crazy with the filters (in Iris, you can „paint“ filter frequencies in any loaded sample).
Tripled this layer. Made the two other layers a bit longer, so it takes roughly 2 minutes for the loops to repeat themselves.
Added a shortwave radio recording as „bed“. EQ, compressor, limiter. Done.
The name is the sum of all frequencies.
* * *
** Disquiet Junto Project 0214: Microtonal Errata**
The Assignment: Bring to the fore the distinction between two specific microtones.
Background: There’s a typo in the bible of microtones. The bible in question is Alain Danielou’s 1958 book Tableau Comparatif des Intervalles Musicaux. As reported recently by composer and critic Kyle Gann, “On the right-hand bottom corner of page 48, the interval listed as 569/512 should actually be 567/512.” We’re going to explore the sonic distinction between those two microtones.
Step 1: Choose a pitch and record three things: (a) a base pitch, (b) the mistaken microtone (569/512), and (c) the correct microtone (567/512). Here’s an example: Start with your base pitch (e.g., A440). To get the mistaken microtone, multiply the base pitch frequency by 567/512 (that is, raise the base pitch by one semitone plus 77.6 cents). To get the corrected microtone, multiply the base pitch by 569/512 (that is, one semitone plus 82.7 cents). For reference, here’s a handy conversion tool:
http://www.sengpielaudio.com/calculator-centsratio.htm
Step 2: Record a short piece of music employing the three tones (a, b, and c) from Step 1. Other tones are also welcome, certainly. The only request is that the emphasis in your piece should be on those three tones. The goal of the short piece should be to explore the distinction between the mistaken and correct microtones. Try this: Imagine someone reading about the errata in the Danielou book said, “What’s the big deal?” Your piece should, to the extent possible, answer that question in sound by shedding light on the gap between the two microtones.
Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.
Step 4: Annotate your track with a brief explanation of your approach and process.
Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.
Deadline: This project was posted in the mid-afternoon, California time, on Thursday, February 4, 2016, with a deadline of 11:59pm wherever you are on Monday, February 8, 2016.
Length: The length is up to you, though between 1 minute and 2 minutes is recommended.
(…)
More on this 214th weekly Disquiet Junto project (“The Assignment: Bring to the fore the distinction between two specific microtones”) at:
http://disquiet.com/0214
More on the Disquiet Junto at:
http://disquiet.com/junto/
Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
Subscribe to project announcements here:
http://tinyletter.com/disquiet-junto/
Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/
The image associated with this project is from Alain Danielou’s 1958 book Tableau Comparatif des Intervalles Musicaux, found via Kyle Gann. Major thanks to Ethan Hein (ethanhein.com) for helping word the project assignment.
Disquiet Junto by Marc Weidenbaum (Disquiet.com)
POB 210429 San Francisco, CA 94121-0429 USA
