All tuning standards are arbitrary. Even numbers, odd numbers, whole numbers, decimals, fractions, etc make no difference because they are all based on an entirely unnatural unit of time based loosely on the (non-fixed) length of time the earth takes to revolve around the sun and later standard-locked to the more precise decay of a cesium atom. Seconds do not exist in nature. They are an agreed-upon standard, just as A=440 is an agreed-upon standard. Hertz is not a natural thing. It is a man-made reference based on a man-made unit of time. Fractions of a hertz unit are no more or less correct or natural than whole-numbered units. It's just a way for us to communicate in a standard way.
In terms of sound, an individual instrument or singer may sound more or less pleasing at a particular tuning due to resonance or range. It may get even be true of a particular piece of music in a particular room. (Although what is more pleasing to one person may be less pleasing to another, as this is a matter of subjective tastes.)
When it comes to pre-recorded audio samples, I can't imagine digitally manipulating the pitch after would yield the same acoustic properties in terms of resonance. I also don't think it would produce the same qualities as "straining" an instrument with slightly more tension, or relaxing it by reducing the tension. The only place I can imagine digital pitch manipulation changing the sound in a tangible way would be hermode or, in the case of a piano changing the temperament, where the relationships between notes are altered.
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My personal mumbo jumbo is that recording in different tuning standards is someone analgous to shifting the key: the color of the sound can change.
I've done a LOT of 432hz recording, and even released an album of original solo piano music done in this standard.
I see different benifits to experimenting with tuning standards, and admittedly the many of them are commercial benifits.
For anyone interested in their own perceptive ability feel free to take this test I made for Youtube:
Another video of a piano in 432hz is here. I legitimately believe it adds a bit more weight in this standard, without putting it in the heroic key of E-flat:
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Include my vote for lower (and higher) tuning. A432 would be useful for careful reproduction of mid-19th century Italian opera and some Baroque repertorie (for example, Bach's 'chamber pitch'). From A415 (or even A409) to A430 would be great for music from Baroque to Classical. A466 would be Bach's 'choir pitch', useful for organ and cornetto music.
Adding these extremes would let Chamber Strings and Historical instruments play at the same pitch of their ancestors, and would make mixing with replica instruments much easier.
Paolo
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Include my vote for lower (and higher) tuning. A432 would be useful for careful reproduction of mid-19th century Italian opera and some Baroque repertorie (for example, Bach's 'chamber pitch'). From A415 (or even A409) to A430 would be great for music from Baroque to Classical. A466 would be Bach's 'choir pitch', useful for organ and cornetto music.
Adding these extremes would let Chamber Strings and Historical instruments play at the same pitch of their ancestors, and would make mixing with replica instruments much easier.
Paolo
It ssem to me as if it's already all there:
- "Lower (and higher tuning)"?
Just make use of the pitchwheel CC and you can easily raise or lower the tuning however you want to.
- pitch reproduction of "mid-19th century Italian opera and some Baroque repertorie", "music from Baroque to Classical", " organ and cornetto music" ?
Make use of the "Matrix-Scale" Frature in the Matrix Tab of VI and load that certain historicly correct tuning yo need.
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Steffen, the pitchbend trick can be easy with a single instrument, but not if you are simulating the full Lully's orchestra. It can done, but it is quite laborius.
Historical temperaments are, if I'm not wrong, applied to the relative pitches, after you find the correct diapason. So, whether you are working with A440 or A415, they should preserve the same relation between notes in a scale.
Paolo
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Just download VI from the MyVSL downloads section. It comes with all VSL's instruments. You don't need the pro version to do this.
It probably should be said that The Vienna Imperial has its own player. It does not work within The Vienna Instruments Player or The Vienna Instruments Pro Player...
Just an FYI.
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Steffen, the pitchbend trick can be easy with a single instrument, but not if you are simulating the full Lully's orchestra. It can done, but it is quite laborius.
Paolo
It sem to be a matter of copy and paste if you set the pitch for one instrument just copy that CC-Value ant paste it to the tracks of all other instruments whlie to do this in VI would be at least as tedious since you have to set this likewise for each instrument seperatly ( if not even for each Matrix of each VI-Instance which would be even more tedious).
OK I admit it would be for your need a bit smarter to do that either in your Sequencer or in VE something like a global masterpitch. (I even dont really know if there isn't already something like this) but at least you can at least achieve what you want - it is not impossible 😉
