Fantastic! How did I miss this?!?!? Right up my alley.

Bongo fury😂❤ 4:06

Soooooo cool!!! I’ve been wanting to get into analogue instruments + modular and this is so inspiring! Also see Sarah Belle Reid and her trumpet (MIGSI) for more cool stuff like this!

@sarabellereid

Very cool

so aweseome. love the buchla and the tanbour, epic.

Really beautiful. And your voice! Can we have hours breakdowns of your Buchla patches processed through this same patch please!

Awesome ☺♥♪

Thanks for the breakdown. Amazing per usual!

thiswas a recommendation out of the blue from youtube but man, this is so cool!

Hey! First video I watched of yours. Beautiful sounds and very relaxing and interesting walk through the system. Will check out your other vids!

The 287e looks like an Interesting approach; certainly the results speak for themselves. Thank you for the demo!

Many thanks for sharing! I enjoyed this a lot! 👌

Absolutely loving this right now! Such a fun view, and would love to learn more about your process. Many thanks for sharing, and again, lots of love for our recent conversation on IG. Cheers from Germany, Patrick

This is lovely.

Very cool !!!!

lovely

Thought evoking!! 😊😊😊😊

Sounds so good ! Nice one sir !

Great idea! Sounds lovely

Lovely!

I’ll try to locate that, I divided an octave into sevenths and use all but the 4th and 7th tuning based on materials I’ve read. I’ll try to find the reference you’ve suggested.

Gamelan scale sounds beautiful. But how did you implement it? I can't seem to find anything useful.

Lovely work on this piece !

if only I could afford that keyboard..........

cool bass sound

Many thanks for sharing! How long did you spent on creating this patch / eco-system? Cheers!

Great piece.

Very nice!

Superb. As usual.

Love this 🌞

So for the purposes of Just Intonation on the 251e, converting interval ratios to cents is not helpful. One needs to apply the ratio to a common base frequency to arrive at the interval's frequency then using a meter set each stage CV to achieve that frequency for that oscillator. Am I getting close?

stunning!

so unbelievably sweet

Crazy good!!!!

Okay, I think I have a better understanding. Your notes indicate that you wanted to use the 7-limit tuning as you are focused on the number 7, but you needed more candidates for your scale so you also relied on some 11-limit tuning intervals. You then create your scale by placing your 7 primary intervals on the axis of your tonality "diamond". You then calculated the distance between intervals following the diagonal until two on opposing axis intersect. This distance is just "x-interval" minus "y-interval" but since we are working with ratios and fractions, we divide the smaller fraction into the larger fraction; which is accomplished by multiplying the inverse of the smaller ratio times the larger ratio. This distance also becomes a consonant ratio that will will be converted into a frequency and used in your scale. This is the purpose of this exercise, to create a scale, I used all of these giving me 45 frequencies that work together with very little dissonance. Thanks for putting this together.

Thank you for steering me to this presentation, it's fantastic. I do have a couple of questions. I know you are working with heptatonic scales but how did you land on these particular intervals? How did you determine all the possible intervals within this scale? What is the significance of tracing the diagonal, which in your example gave us a major third. What is your point; is it that when a sequence moves from 7/5 to 7/4 it will sound like a major third? Are these leading candidates for opposing sequences? On the other hand, are you saying when the sequences land on intervals at the same time, we get a new tone as the result of the two tones being played at the same time some are disonate which resolve to consonant tone qualities? On the spreadsheet, is TWG1&2 oscillator set at a higher frequency than CWG1&2? at 560hz, the cents are vastly different. In the end, I'd love to create beautiful scales such as this one, but for all I have studied I can't figure out where to begin. Thanks for all your help...

love this sequence, I tried it super high with a C6 tonic and the square wave from the 258e (thanks for getting me hooked on it). Slowed it down a little, added some time domain, and it begins to sound a little haunting like tubular bells. I just can't figure out how you choose the intervals you choose. Any advice?

Nabbed one. 🌞

01:30 Very good..

That "impro" was better than some finished sets i've seen, that was a good one

so much to take on board. First Just Intonation; do I have the right conversions? 10/9=182, 7/6=267, 27/20=520, 3/2=702, 8/5=813, 9/5=1018 because I can't figure out how they translate to (4.1., 4.0., 3.7., 3.5., 4.4., 4.2., and 3.7) also curious stage 2 is 3.7. and stage 3 is 3.7 (no cents). I love your stuff it is very advanced and I'd like to learn. On a separate but related point, the 251 generates 1 semitones for every .1 volt; which therefore takes 1.2 volts to get to 1 octave, so your 4.1. setting is 3 octaves leaving .5 which is 27/20 or .5 and 20 cents. I was only able to figure this one and the 3.7. but that is it. Any help would be appreciated, I know this is nearly 4 years old. But this is a lesson in JI and the 251. All the best...

252e just looks so cool

very cool .. now i want this thing 🤑

Fantastic. I love my 296e. It’s the videos you posted on MW that made me realize what this module was, and that I absolutely needed one. New worlds open up!

Your music is captivating. I love the arcane meeting the modern with tanbour fusion. And the microtonal synthesis

Very nice!

Nice one! It's great to see/hear more ancient traditional instruments juxtaposed with modern electronics. I've just done a piece with modular and Turkish Bağlama Saz! All the best,

Oh you are shattering my self-worth entirely 😂 That means I only own 5% of them!

love it. Super musicianship.