@gblume said:
It is too bad that they know few or nothing in the complexity of tuning behavior in real orchestras.
Most orchestras know nothing about tuning either. [;)]
DG
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This leads to the question whether Hermode Tuning should create a programme variant with a living tuning still worse than equal temperament. In this way the tuning behavior of some amateur orchestras could be simulated.[;)]
BTW: Did you listen to our sond examples and did you realize the differences between Hermode Tuning and equal temperament? And - if yes - what's your impression?
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@gblume said:
This leads to the question whether Hermode Tuning should create a programme variant with a living tuning still worse than equal temperament. In this way the tuning behavior of some amateur orchestras could be simulated.
BTW: Did you listen to our sond examples and did you realize the differences between Hermode Tuning and equal temperament? And - if yes - what's your impression?
I haven't had time to listen to your examples yet, but broadly I agree that tuning is important, which is why I do a lot of tweaking with the Pitch Wheel.
DG
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I listened to the samples and think I could notice a more "pleasing" quality to the hermode tuning. I think this is an interesting piece of software that would be very valuable to have, as I have often wanted to make subtle variations of tuning. If this could be done as a normal function of the sequencing it would be great as another tool in avoiding the mechanical repetitious quality inherent in samples as well as creating a more natural sounding harmony.
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Using the ptchwheel... For a satisfying result you should possess 12 pitchwheels, each one controlling one of the 12 halftones of the octave and 14 hands (2 for the keys and 12 for the pitchwheels).Cuttlefishes could handle this, for a human musician it would be a problematic technology.
If ever you will find time to listen to our examples, please say me your impressions.
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Those examples sound very good.
I wish you had software that did not have to be within a DAW but could be used between whatever sequencer a person wants to use, and the sample playback. I like to use a sequencer on a computer separate from the sample playback computer which is Vienna Ensemble standalone. In this case it would be good to have something implementing your tuning program in between.
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I love the pure intonation in your examples. Is there any probability of Hermode ever becoming available in Digital Performer?
As a pianist, I'd be interested in hearing piano samples re-processed this way, so you'd hear resonances that are impossible in reality. (Except for, you know, guys like Lamont Young ...)
--Mark Arnest
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In abstract it is possible to implement Hermode Tuning into every electronic musical application. But when writing to the concerning companies we almost get no answer. And when speaking with the developers we get the impression that they don't understand the background or the significance of such a tool. Frankly, speaking with users of graphic applications and telling them that 16 or 32 millions of colors are better than 256 is a simple task. But making understanding that about 7,000 frequencies sound better than 128 is a hard work. Most people don't know how fine human ears are.
There is only one help: You write to the concerning company and make some pressure. I wish you many success.
BTW: Piantoq has announced us that they will implement Hermode Tuning occasionally. In case you are not fixed to MOTU, please write them and ask them.
www.pianoteq.com
AFAIK Vienna has a Boesendorfer piano at its disposal. In case they would decide to overtake Hermode Tuning you could use also this piano.
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William wrote the following post at Tue, Jan 12 2010 19:11:
I like to use a sequencer on a computer separate from the sample playback computer which is Vienna Ensemble standalone. In this case it would be good to have something implementing your tuning program in between.
We actually discuss this with Vienna. Maybe your statement will be helpful
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I agree. Players (orchestras) are always tuning themselves to each other while performing, and this would allow us to inject some of that "realness" that adds life to samples.
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gblume,
thanks for posting this and creating the examples on your webpage. To me the difference is glaringly obvious and I am strongly for implementing this system in VSL. The Hermode Tuning examples sound much more natural. For me it is an immediate emotional response, not an analytical one. It's like the HMT examples take a certain pressure of the listening experience and it makes it easy to just relax and get absorbed into the music - which is one thing that is often a challenge with music created with samples. I think this is an important step towards making sample based music more believable and emotionally compelling. I was aware of Hermode Tuning in Logic before and was frustrated that I could not use it fully.
I dread having to go back to my TMP samples now :-(
please VSL, implement this.
If licensing Hermode Tuning would cost serious extra money, I'd be happy to pay for an upgrade that includes it.
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The tuning dilema is well illustrated in preformance of Vln and Piano duos in pre atonal music. The Violinist instinctivly plays true 5th, leading tone 3-4 cents higher than a major 3rd, etc, while the pianist of course can't, so the two are never really in tune like a string quartet would be. Personally my head hurts after 15 min of duos or trios with piano.
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pianoguy wrote the following post at Fri, Jan 15 2010 23:26:
Last question (for now): How does your system deal with more complex tonal harmonies? For instance, one of Beethoven's "Diabelli" variations contains the chord E/G#/C/B-flat. Would it know that the root of the chord is "C," and adjust accordingly?
--Mark Arnest
This is a wise question. No, this harmony will not be corrected as it is a dissonant structure of an augmented triad, C-E-G# and it is not possible to tune the thirds C-E and E-G# to a pure ratio of 5/4 without bringing G#(Ab)-C to an extreme dissonant distance.But according to the proceding notes this harmonic structure mostly will not be tuned to exact equal temperament but to a slightly unequal tuning.
The background of this tuning behavior is a musical reason and a mathematical reason.
The musical one: Correcting the tuning to just intonation brings only consonant structures e.g. fifths, major thirds, major chords and minor chords to a better sound. Indeed, Hermode Tuning doesn't limit the tuning corrections to these harmonies, it corrects note combinations until 6 different simultaneous ringing notes "if there doesn't occur an internal conflict" as mentioned above. But such complex harmonies, even when being corrected, sound slightly different than with equal temperament, but they sond still dissonant
In case you will ask why we correct also such complex structures: This supports the horizontal stability. You know that in living music the harmonic structures don't follow each other clearly disjoined. The beginning and the ending of the notes overlap each other. Imagine a simple harmonic change from C-E-G to B-D-F#. At the passage from the first to the second structure there could occur for a short moment note combinations of e.g. C-E-G-F# to C-E-G-D-F# to E-B-D-F#. Everyone of this structure has to be and will be corrected in real time.
The mathematic reason: As already mentioned above some note combinations show ambiguos relations. BTW: Hermode Tuning doesn't position the root to equal temperament, correcting only the notes apart from that. All notes of every harmonic structure interact themselves. A major triad in its default position is tuned to (numbers shown as deviation in Cents from equal temperament) root +4, major third -10, fifth +6, a minor triad to root -6, minor third + 10, fifth -4. In both examples the som of deviation is 0. Depending of the effectvely played music this values could be slightly higher or deeper.
You said: Last question... but if any you have questions to this position method, ask please.
Additionally, visiting the following link could be helpful
www.hermode.com/html/tuning-history_en.html
There you will find presented at the end - see right at this page - an oversight over the four fundamental and different ideas in programme controlled tuning. The fourth of them shows Hermode Tuning and comparing its function by note examples and in comparision with the other ideas could be helpful.
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jammusique wrote the following post at Sun, Jan 17 2010 21:50:
The tuning dilema is well illustrated in preformance of Vln and Piano duos in pre atonal music. The Violinist instinctivly plays true 5th, leading tone 3-4 cents higher than a major 3rd, etc, while the pianist of course can't, so the two are never really in tune like a string quartet would be. Personally my head hurts after 15 min of duos or trios with piano.
Indeed, but it could happen that with such words we provoke all piano players. In earnest: Listening to such music can cause head hurts or not, depending of the personal musical experience. Making such music with a string or a wind instrument in common with a piano is gruelling.