palimpsests

36 millimeters == 36mm != 36MM

yes, I am aware that conventional guitars have fundamental issues with intonation in equal temperament systems.

this has not prevented it from being a versatile instrument that is quite capable of being played “enough” in tune with ensembles of other instruments, such that the vast majority of people hear zero problems.

how is what we hear in music less relevant than whether or not a given instrument is not perfectly in tune, mathematically speaking, if that variation in tuning is imperceptible to human hearing?

the unit of measurement is called a “cent”.

there are 100 cents between each 1/2 step in 12-tone equal temperament.

the progression you are referring to is I-IV-bIII-bVI, where are all these chords are “power chords” i.e. dyads comprised of a root and fifth.

it is an awesome progression but violates absolutely nothing in music theory.

we can find examples of similar progressions across jazz and classical music, most of which was composed by folks who have mastered western tonal harmony.

relative to mathematical perfection, of course it’s all an approximation when a human instrumentalist is involved. that’s the nature of our physical reality.

the most important element here is how it sounds to our ears. not how closely it tracks to an equation.

how would you use this approach in practical application?

i haven’t met many working musicians who had much difficulty learning the relationships between different keys, how they connect to the circle of fifths (fourths), and key signatures.

i get that it can seem overwhelming and non-intuitive, but it’s really not that complicated once you spend time playing and practicing music that illuminates these relationships (like playing ii-V-I progressions in every key, going around the circle of fifths). very little memorization involved; moreso muscle memory and an accumulation of applied theory in context.

most of the musicians i know are jazz players, where being able to play in any key is a critical aspect of mastering the genre. all the classical musicians i know are professional orchestral musicians, and they don’t seem to have any difficulty either.

it depends on where it is on the fretboard.

the higher you go in frequency, the physical distance between each interval on the fretboard becomes smaller. so if a +/- 5 cent adjustment is 0.5 mm at the first “fret” after the nut, it will be something like be 0.1 mm when you are at the 7th “fret” location (i.e where the interval of perfect fifth, relative to the open string, is played).

wind and brass players adjust intonation via embouchure all the time…

likely 1/100,000 at most. more likely 1/1,000,000

the sandman (*) intervals aren’t coming from microtonal tuning… it’s dynamically modulated detuning in equal temperament, just as you say. it’s an extremely common type of modulation, especially if there are synthesizers involved.

* what an incredible show!

so slightly that it can be on the range of 0-5 cents, provided the instrument is sufficiently constructed and the player is sufficiently skilled.

this is why a guitar using equal temperment can play consistently in-tune with itself as well as with other instruments tuned in the same system. it’s not about perfection according to some abstract mathematical model.

the last reason you gave is exactly why open strings sound different. check out zero-fret guitars.

skilled instrumentalists are quite capable of consistently reproducing intervals in a given tuning system. particularly thirds in just intonation. it’s not an approximation. it’s one of the reasons we spend so much time learning ear training in conservatory.

including multiple methods for the user to detune oscillators is quite common on modern synthesizers, advanced or otherwise. it’s almost never a fixed amount of detuning.

one of those methods is called a “chorus” effect. this is extremely common across effect platforms and is not limited to synthesizers / keyboard-type instruments.

one of my favorite aspects of learning the tuba was when we covered logarithmic approximations via linear summing.

retuning via tape velocity modulation would be easiest if the instrument in question was consistently out of tune with the rest of the band - like if the sax was always 15 cents flat relative to the harmonic structure.

usually that’s not the case though. typically it’s individual notes. much harder to precisely and accurately modulate tape velocity (especially by hand).

are you saying that writing comments on various websites is equivalent to creating original content?

where do you draw the geographic lines between east and west?

it seems you left out a few words:

In my opinion, the top Indian movies are usually better than the best Western movies.

modern mastering does not optimize fidelity in a car at the expense of other modes of listening, and these articles do not indicate as such.

modern mastering does take into account a highly popular listening environment, to ensure that the mix sounds good there as well.

the second article you posted is talking about using a car as one of several environments in which to test a mix. because it’s a “known” reference in a real-world environment (your ears are used to listening to mastered music on a car stereo).

as the other poster noted, it’s not possible to hear each sample individually.

what is bassy reverb?

I am not carrying any weapons in this conversation.

Nobody is attacking you here.

Yet, I experience your interactions here as carrying defensiveness and un-checked assumptions. That is my experience. That is different from me saying, “you are defensive.”

I am having an experience in this dialogue that feels in opposition to one of the main principles encouraged in this board, which is that of graciousness and good intent. I do not feel you have been reading my comments from that kind of orientation. Perhaps you have and I have misconstrued.

Regardless, I really don’t care enough about this issue to continue engaging with you about it like this.

Take care.

Hi,

Thanks for explaining, I hear what you are saying about dedicated hardware giving much more control. In the case of this dot and an external monitor / display, and until the OS is updated, that definitely sounds like a great option.

Perhaps I was misreading what you are saying; regarding:

If the dot makes their setup unusable, then the situation prior to Monterey should also have made their setup unusable because the OS could have popped up an alert dialog at any time

It sounds like we are in disagreement around current un-usability because of (dot/notifications/etc) implying past un-usability. I get what you are saying in theory, and agree with you.

However, in my life experience, and many others in this thread, I am hearing counterexamples to this statement. The way in which I observed you responding to these statements is what invalidating _to me_. My felt experience is not "making things up".

I do not know your age and I am making no assumptions about that. The intention of my original comment was to: respectfully and kindly share the impact of how I have been receiving your comments, gain more understanding about your perspective on this issue, and offer an (obviously subjective) reflection to you about a communication pattern that I noticed in the comments here.

This sort of reflection is always coming from place of curiosity and so carries an implicit invitation to deepen into greater shared understanding and connection; I have no attachment to you receiving that reflection and I apologize if it did not land well for you. I understand these kind of things do not always translate so well in text.

there’s quite a few people here replying to you letting you know how there are indeed situations where A/V professionals have and are continuing to use built-in I/O. I have seen the same. A properly prepared machine is immune to the issues I’ve heard you describe in this thread (notifications, etc).

It sounds like there’s something about all of these responses that isn’t resonating with you because I see a pattern of responding and letting us know our experiences are essentially invalid, for some reason. Are you able to speak to why that’s important to you? Why does this seem so far-fetched / unbelievable to you?

this is partly because the muscles you engage, the angles at which you apply force are going to have slight or large differences from another player due to differences in biology and physiology. we are not all the same shape nor strength.

so of course the mental models are correlative _as well as_ causative e.g. "if you keep slamming your finger into the keys you will likely develop RSI and you will have drastically impeded your ability to control your tone or dynamics" <--- doesn't get much more causative than that.

furthermore, what you've asked for sounds like it would be receiving instructions like, "contract your pronator quadratus to 17%, rotate 34° to strike G3 at a 48.5° angle with your L ring finger, and here's all the angles and associated muscular tensions associated with each phalange that you'll need to master: ...." ? Is that what you mean?

I have yet to meet someone who is unable to receive postural feedback if it's not framed in terms of anatomy. Human movement locomotion does not come from conscious direction to move individual muscles, it's a much more integrated experience (e.g. "extend your right leg" -- want to guess how many coordinated actions of muscles and neurons are are involved in that?

I can appreciate that you have this personal opinion of the genre and I have a completely opposite experience.

I dig synthwave specifically for the eros and hard listening, and I'm in my mid 40s.

Are you suggesting that you've developed unit systems that are stronger and superior to what has been established in the field of physics?

Can you please share some examples other than adding specifiers about material e.g. 3 mg of plutonium, 5 L of argon, etc?

I can think of at least one other criterion for checking unit systems - ease of computation. See, for example, MKS vs Gaussian units.

“mic” when referring to microphones? It’s super common in the audio world and probably others like film.

Also it’s exactly the sequence of letters the word starts with, unlike the homonym “mike”.

Curious why this is getting to your pedantic side?

??

Half of 1 millisecond is 0.5 milliseconds.

Just because their published latency is the “smallest whole number” as you seem to be pointing to - doesn’t mean that it can’t be halved. What a strange thing to say.

Ableton measures latency down to the tenth of a millisecond. It’s really not a big deal.

It sounds like you are describing the source of his depression as being his relationship to the memory and impact of what was, for him, relatively too much time working throughout his life.

While the history here cannot be changed, the way he is relating to it can be changed. This is not necessarily very easy to do, but for most humans, a distinct possibility, with the right tools and resources.

The source may be able to be de-potentiated, the emotional charge these memories carry in his system may be unwound, which can have a great effect on his quality of life.