PreenFM > preenfm2 and preenfm3
preenfm3 : v1.03 (Toltekradiation/pvig : "vosim" algos + CC + fix)
JeffS:
Xavier,
A little hard to explain, it would be easy with video/audio.
I loaded a 19-tone-per-octave Scala tuning.
Since there are 19 notes inside an octave that means that, for instance, 13 midi note numbers, say #60 through #72, which normally make an octave, now are less than an octave. 60 is still C4 let's say, but 72 is not C5 but more like G4-quarter-sharp or so. What the FM3 is doing now is giving 19 notes in a row, perfectly, from C3 up the keyboard to F#4 [midi number 66], then leaves G4 through B4 [midi note numbers 67 through 71] silent--nothing happens. Then when I get to C5 [midi note number 72] it sounds the upper octave of the 19-note chromatic scale I was playing. That note would normally have come with midi note #67 [that is, the key G4], and there would be no silent notes.
I hope that makes sense. What it seems like to me is that the software is applying the principle used for scales with **fewer** than 12 notes per octave, in which case it makes perfect sense to omit notes, in other words to leave silent keys.
If this is still unclear I might try to do a short video.
JeffS:
--- Quote ---I don't understand that. Is it something i broke in 0.97 ?
What do you mean by "every key you play in has the big gap in a different spot" ?
--- End quote ---
I'm not sure about the issue of .97 vs. the ones before.
I just mean that if you have 5 silent keys, as happens for example with 19-EDO at the moment, then if the chord or interval you play contains that gap, then it will be a much larger PHYSICAL interval [the fingers will have to reach much farther] than if it is played on a portion of the keyboard without that gap of silent notes. For example, in the scenario I described in my post just above, a 19th-tone step sounds between C4 and C#4 [midi notes 60 and 61] while the same interval, a 19th-tone step, would be between F#4 and C5 [midi note numbers 66 and 72]. The same interval in both cases, but played in very very different ways, which is not the normal implementation.
lokki:
--- Quote ---I don't understand that. Is it something i broke in 0.97 ?
What do you mean by "every key you play in has the big gap in a different spot" ?
--- End quote ---
the term key is ambiguous here. JeffS is talking about key in a musical sense, as in "do-mineur" or "fa-major" not about a key you hit. so really its more something like tonality.
so with his issue that means that the silent notes he described will be from F# to C, now if he plays in C (DO) 19-EDO the gap comes shortly before the octave (the octave would be the g) but if he plays in D (RE) 19-EDO the gap comes in earlier making all fingering very inconsistent. the worst example would be F# (FA# or FI?) 19-EDO since that would essentially just play one note and then have a big gap before you get the next note on C5
i guess you mapped the scala files centered at C, and if you have more then 12 notes per octave it leaves the rest of the second used octave empty only to begin on the next c again. what JeffS is proposing (and what makes much more sense for these kind of tunings) is a continuous mapping of the 19 notes over the 12 keys.
start at midi note 0 through 18 for the first "19-Octave", then 19 to 37 will be the next etc.
Xavier:
Thanks for the explanation.
On the preenfm, Scala mapping has 2 options : Keyboard, and Continu(ous).
Keyboard starts each scale on a C on the keyboard then leaves some gap. (Every 2 C when > 12 notes in the scale.)
Continuous fixes the middle C then maps each note frequency continuously on every note.
How is it different from the Continuous mapping ?
lokki:
continuous is the perfect option for him, he was just not aware of it i guess (and neither was i, since i never used scala files, i just tried to help understand the problem)
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