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 Forum index » How-tos » Micro Tuning
Hermode tuning
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ffransis



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PostPosted: Mon Oct 04, 2004 11:08 am    Post subject: Hermode tuning Reply with quote  Mark this post and the followings unread

Does anyone out there have experience with Hermode tuning, and if so, would they like to share this with the forum? I know that Hermode tuning is implemented in the Access Virus synths, but have never had the opportunity to try one out. Technical comments, including the difficulty or otherwise of implementing the tuning, processing overheads, latency, etc, would be appreciated.
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play



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PostPosted: Mon Oct 04, 2004 12:48 pm    Post subject: Reply with quote  Mark this post and the followings unread

I hadn't heard of this until you mentioned it but I checked out hermode.com and a few postings on other forums. It doesn't like it would be difficult too implement in some kind of modular software environment. It basically uses a lookup table to determine how many cents to bump the incoming midi note with different tables for different keys. You could also create a slider that would limit the range of this adjusted value or scale down the ratio for more or less "pure" tuning.

I'm not sure I understand this though. There is a lot of talk about how it's like a string quartet or a choir because these musicians use their ears to slightly modify the pitch they are playing or singing to create a more perfect chord. But I've always thought that the beauty of these acoustic instruments comes from the high number of partials, not the purity of the tone.

I could be confused. I haven't heard an example of this tuning.
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ffransis



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PostPosted: Mon Oct 04, 2004 1:02 pm    Post subject: Reply with quote  Mark this post and the followings unread

play wrote:
I'm not sure I understand this though. There is a lot of talk about how it's like a string quartet or a choir because these musicians use their ears to slightly modify the pitch they are playing or singing to create a more perfect chord. But I've always thought that the beauty of these acoustic instruments comes from the high number of partials, not the purity of the tone.


That spectral richness is only part of it. In addition, string players intonate on the fly, and the pure (just) intervals they obtain are musically pleasing. Ditto singers.

I started this intonation and temperament discussion on electro-music.com after calling on Clavia to implement microtuning in their Nord G2 modular synths, in the form of just intonation and non-equal temperaments. I'm now wondering how feasible it would be for them to add Hermode tuning. Not that they've agreed yet to consider any microtuning, but... I've still to buy a G2, and am not inclined to until I at least know that microtuning will become available in a (near) future software update.
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seraph
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PostPosted: Mon Oct 04, 2004 1:26 pm    Post subject: Reply with quote  Mark this post and the followings unread

Access Music wrote:
 Pure Tuning


For centuries we have been playing musical instruments that are out of tune...
Ever since the emergence of polyphonic instruments, including all keyboards as well as fretted instruments such as the lute and guitar, tuning has always been a compromise. Several attempts from the 16th-18th centuries to standardise the temperament (tuning) of church organs and virginals helped a little, but they were battling against the mighty laws of physics.

First suggested in 1636, our modern “Equal Temperament” was only in common use from the late 18th century onwards because it was considered much too much of a compromise at the time. Despite it’s one advantage (the freedom to play in any key), Equal Temperament simply dilutes the fundamental problem, spreading it across all the notes in the octave.
Experienced singers and string players use “just” intonation – they adapt to any keys and modulations (key changes) because they have infinitely variable control over pitch. Within certain limits, the pitch of wind instruments can also be varied by adjusting embouchure (lip position/tension). A group of musicians instinctively approaches a common overtone structure, minimizing the “friction” between all the voices in a chord. This results in the wonderfully rich but compact sound of symphony orchestras or gospel choirs.

Unfortunately, real time intonation was not a feasible proposition for makers of keyboard instrument. Finding a usable method of performing fine adjustments to each and every note seemed physically impossible, especially when playing polyphonically.
These days, digital musical instruments can automate this process. The Pure Tuning (aka. Hermode) algorithm analyses chords and immediately adjusts the pitch of each note so that the prominent harmonics line up. Especially for normal synthesizer sounds, the difference between Equal Temperament and Pure Tuning may appear to be rather subtle at first (though this difference can be accentuated – see below):
Select the factory preset C126 (-Init-) on your Virus. Turn the Detune value down to 7 to make the phasing between the two oscillators nice and slow. Play a few simple major chords, or just a C-major triad if you prefer, and vary the PureTuning Intensity parameter.

At 127, PureTuning is fully on: The chord is well intonated (like a choir) and does not exhibit any beating between notes. This may seem a little unusual at first, but it sounds perfectly “straight” and correct after you have familiarized yourself with the effect. Setting PureTuning back to zero (“Equal”) switches it off again: The chord is beating and, after comparing the two extremes, this original setting sound equally unusual. The chord now appears to be tuned rather oddly, not quite pure enough, slightly spoiled compared with the maximum setting.
Astonishingly, this is the very same Equal Temperament we have been hearing all our lives...

check those .mp3 files at:
http://www.access-music.de/events/06-2003/os6.php4

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Last edited by seraph on Mon Sep 08, 2008 11:46 pm; edited 1 time in total
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ffransis



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PostPosted: Mon Oct 04, 2004 1:38 pm    Post subject: Reply with quote  Mark this post and the followings unread

seraph wrote:
check those .mp3 files at:
http://www.access-music.de/events/06-2003/os6.php4


I'd heard those mp3 clips before, but they serve only as a brief introduction to just intonation (JI). I've been using JI and various "historical" temperaments on acoustic instruments for years now, but I'd like to know how an adaptive tuning technique like Hermode tuning works on synthesisers, and specifically how it works (or otherwise) from a musician's perspective.
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seraph
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PostPosted: Thu Oct 07, 2004 2:08 am    Post subject: Reply with quote  Mark this post and the followings unread

Emagic Logic Pro 7 supports Hermode Tuning (HMT) for its
internal audio instruments (except Ultrabeat where it doesn't make
sense).

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XpanderXT



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PostPosted: Mon Sep 08, 2008 10:56 pm    Post subject: Reply with quote  Mark this post and the followings unread

I have Logic and like Hermode Tuning. I'm not a big fan of their synths though and would love to have Hermode tuning on my other plug in's, my Waldorf XT(the microwave 2 ahs Hermode, the XT doesn't), my Oberheim Xpander and my Arturia Origin.
Any ideas?
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PostPosted: Mon Sep 08, 2008 11:58 pm    Post subject: Reply with quote  Mark this post and the followings unread

I think you can assign hermode or other available tunings only to internal sounds.
To retune other virtual or hardware synths you need other applications.

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XpanderXT



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PostPosted: Thu Sep 11, 2008 11:25 am    Post subject: Reply with quote  Mark this post and the followings unread

seraph wrote:
I think you can assign hermode or other available tunings only to internal sounds.
To retune other virtual or hardware synths you need other applications.


Do you have any applications that you suggest? Mac OS
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PostPosted: Thu Sep 11, 2008 11:52 am    Post subject: Reply with quote  Mark this post and the followings unread

XpanderXT wrote:

Do you have any applications that you suggest? Mac OS


Very Happy of course Exclamation
http://www.nonoctave.com/tuning/LilMissScaleOven/
by X.J.Scott
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Very Happy

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Octahedra



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PostPosted: Thu Mar 26, 2009 9:36 am    Post subject: Reply with quote  Mark this post and the followings unread

My Virus is the oldest model that supports this pure tuning feature - in fact it was added to the OS over a year after I bought the thing...

I've only checked out the pure tuning quite recently, and found it almost impossible to use with the amount of 'evil' chords I put in these days. It's a global setting that applies to all parts, and as the Virus is my biggest and best multitimbral sound source, it's doing most of the work in most of my tracks.

Often it only takes one or two (deliberate) dissonant intervals between simultaneous notes (regardless of which parts they're in) to throw the whole thing off - it then sets some of the other notes to pitches that are miles off. Not exotic, just awful.

So it seems you can only use it in music that's ultra-consonant all the time. The only workaround I can think of is to arrange your music so that the Virus parts always have consonant intervals with each other, and the notes that would cause problems are played on other synths. It'd just be a bit of a pain having to use my main synth in such a restricted way...

Gordon
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Rykhaard



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PostPosted: Thu Mar 26, 2009 10:09 am    Post subject: Reply with quote  Mark this post and the followings unread

Mmmm. So - who's going to be the 1st person to come up with a Hermode capable MIDI to CV converter?? Smile
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Octahedra



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PostPosted: Thu Mar 26, 2009 10:32 am    Post subject: Reply with quote  Mark this post and the followings unread

Rykhaard wrote:
Mmmm. So - who's going to be the 1st person to come up with a Hermode capable MIDI to CV converter?? Smile


Very Happy

I think the Hermode system has to be polyphonic - it only deviates from 12ET when it detects the intervals in your chords. So it could be built into an analog polysynth, but not really applicable to modulars...

If you wanted a realtime micro-tuning midi converter with a fixed preprogrammed scale though, they do exist. You could then convert that to CV in the usual way.

Gordon
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Rykhaard



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PostPosted: Thu Mar 26, 2009 12:02 pm    Post subject: Reply with quote  Mark this post and the followings unread

Octahedra wrote:
Rykhaard wrote:
Mmmm. So - who's going to be the 1st person to come up with a Hermode capable MIDI to CV converter?? Smile


Very Happy

I think the Hermode system has to be polyphonic - it only deviates from 12ET when it detects the intervals in your chords. So it could be built into an analog polysynth, but not really applicable to modulars...

If you wanted a realtime micro-tuning midi converter with a fixed preprogrammed scale though, they do exist. You could then convert that to CV in the usual way.

Gordon


Doh! Bugger. Sad Since I started building my noise machine back at the end of February, I've been VERY interested in getting into other tunings (as well as no tuning format, period) and am now especially interested in the Hermode tuning.

$300 U.S. for the TBX1. Minor ouch at the moment but cool to see THAT machine being out! Smile
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seraph
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PostPosted: Thu Mar 26, 2009 12:33 pm    Post subject: Reply with quote  Mark this post and the followings unread

if you had a Mac you could spend much less for a more powerful application called LMSO

or try the freely downloadable Windows application Scala.

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PostPosted: Fri Mar 27, 2009 3:33 am    Post subject: Reply with quote  Mark this post and the followings unread

seraph wrote:
if you had a Mac you could spend much less for a more powerful application called LMSO

or try the freely downloadable Windows application Scala.


I've used Scala to retune my DX11. One idea for an upcoming project involves 4 different harmonic series scales (32 notes each, total 128) combined into a single full-keyboard scale, and so far it doesn't come out right when transferred to the synth, even with a keyboard mapping file. I'm still working on that one.

If you're interested in realtime microtuning (hardware or software) that uses pitch bend to get non-12ET notes, you might find you need a separate midi port for each microtonal part. Polyphony is limited to the number of parts on the receiving synth.

One thing the hardware systems (TBX / TPX) offer is scales of more than 128 notes. The downside is that the scale has to be spread across multiple midi channels; they aren't multitimbral and they tend to hog an entire midi port.

When I got my computer I had no idea I'd be wanting extra midi outs for this kind of reason...

Gordon
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