Hi Chuckk, I've been working in sensory dissonance and maybe you will find interesting the patch I'm attaching. It's a modified version of Plomp & Levelt dissonance curves for sinewaves.
Bye...
Julian Villegas
University of Aizu Synthetic Worlds Laboratory Aizu - Wakamatsu Fukushima Japan 965 - 8580
Me pregunto de un modo pensativo Que significa ser colombiano? No se le respondi. Es un acto de fe JLB.
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This is interesting, but I don't quite comprehend. Shouldn't there be a dip at 600/400, for the 3/2 ratio? Here's Harry Partch's version: http://users.rcn.com/dante.interport/bride.html If that's the same thing you mean.
On 5/25/06, Julian Villegas julovi@yahoo.com wrote:
Hi Chuckk, I've been working in sensory dissonance and maybe you will find interesting the patch I'm attaching. It's a modified version of Plomp & Levelt dissonance curves for sinewaves.
Bye...
Julian Villegas
University of Aizu Synthetic Worlds Laboratory Aizu - Wakamatsu Fukushima Japan 965 - 8580
Me pregunto de un modo pensativo Que significa ser colombiano? No se le respondi. Es un acto de fe JLB.
Ring'em or ping'em. Make PC-to-phone calls as low as 1¢/min with Yahoo! Messenger with Voice.
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Hi, Julian,
I started playing with the sensory dissonance curves patch, and I modified it to plot the one octave dissonance graph for up to 6 frequencies. The important part of doing this, in particular, is to look at how the spectrum of the instrument influences the set of intervals in a tuning over which the instrument is most consonant. See William Sethares' Tuning Timbre Spectrum Scale for details....and maybe some revisions on my approach here.
-- Chuck
Sorry, that last post is still a little buggy. I'm not sure where the bug is....and there's just a whole lot of calculations in there...I'll get it right later.. Chuck
On 6/3/06, Charles Henry czhenry@gmail.com wrote:
Hi, Julian,
I started playing with the sensory dissonance curves patch, and I modified it to plot the one octave dissonance graph for up to 6 frequencies. The important part of doing this, in particular, is to look at how the spectrum of the instrument influences the set of intervals in a tuning over which the instrument is most consonant. See William Sethares' Tuning Timbre Spectrum Scale for details....and maybe some revisions on my approach here.
-- Chuck