This is a sample of a metal kitchen mixing bowl. The first note (b, not perfect b) is unpitched and recorded as is. The following notes are the original note pitched up 1 semitone each time to achieve a 13 note scale b to b.
This is a chromatic scale synthesized from musescore, using the piano sound from fluidr3 soundfont. Edited on audacity for changing from stereo to mono 16-bit. The tempo is about 130bpm. The register of notes spans from c4 to b4.
Composed on the sigil scale c, c♯, e, f, g♯, a at 130 bpm. Wav. The sigil scale has 4 transpositions:. 1. C, c♯, e, f, g♯, a2. C♯, d, f, f♯, a, a♯3. D, d♯, f♯, g, a♯, b4. D♯, e, g, g♯, b, c. Left delay (phased) 25 ms.
*"Semitone" in the Bohlen-Pierce scale on C = Db to D or Bb to B. Just: 625/567 = 168.61 cents. Limit: 7-limit. MIDI pitch bend: 122,53 Title refers to number of semitones (unison=0).
Author: Created by User:Hyacinth (13:39, 1 September 2008) in Sibelius. A m2 on 104,78.
Low-pitched. Mono. Dry. Ascending chromatic scale played on the theremin. Saw-tooth, buzzy, giant robot steps. Recorded dry so you can add the effects you wish.
Recorded by the author! ताङ्ग. Microphone: lavalier microphoneside of maadal: smaller sidefingers used: index onlyhit type: open sound (leave the membrane right after hitting it). Wikipedia introduction:https://ne. Wikipedia. Org/wiki/मादल.
Regular diatonic tuning 72-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS. In 12-tone, T=200 cents and S=100 cents. In 72-tone, T=233.3 cents and S=16.6. This is that scale: C = 0 D = 233.3 E# = 466.6 F# = 483.3 G = 716.6 A = 950 B# = 1183.3 C = 1200
In the song i use this it is played over an e-minor. The scale is either harmonic minor on b or h. M. 5 on f#. Sorry, i forgot which one it was exactly.
Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).
Snippets from recordings of me playing the tanpura. Tuned to e flat, the notes from top to bottom are b flat, e flat, c, low e flat. In traditional indian tuning the root note in the scale is referred to as sa and is e flat in this scale the fifth note (b flat in this scale) is referred to as pa and the sixth note (c) is dha. I noticed that my first pack of tanpura samples has a bit of fuzzy white noise so in this pack i have equalized - i reduced all the very high frequencies which got rid of most of the white noise without affecting the low frequency sounds of the tanpura itself. Please note this is the tanpura part of an instrument called the swar sangam which combines the swarmandal (indian harp) and the tanpura, it is not a traditional tanpura and does sound slightly different.
Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.
Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).
Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).
Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).
Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).
5 7 9 chord on E, eight steps in the octave. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include eight steps in the octave, based on 5:7:9 and of which only the just version would be used. Traditional notation: E B♭ D.
Author: Created by Hyacinth (talk) 06:34, 25 November 2010 using Sibelius 5.
A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.
Author: Created by Hyacinth (talk) using Sibelius 5.
Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone
Short stabs on a scale c,d,e. . . To. . G,a,b. Fm synthesis. One sinewave oscillator output gets mashed by a another that's outputting a triangular wav. The oscillators are fed back into themselves and each other and 40 voices unison added to create a ubiquitous growl/yoy sound. On large speakers, or a decent pair of buds, the sinewave osc fundmental can be heard as sub-bass. Flstudio was used to host the synthmaker vsti oscillators and render the wav file.
Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.
