Linear vs. Exp = Pitch vs. Frequency

Paul Nugteren van p_nugteren_van at hotmail.com
Wed Apr 21 16:16:59 CEST 1999


>This, getting back to the original discussion, is why Jorgen said:
>
>>>Linear detuning in most cases sound far better than exponential, 
because 
>the  
>>>beating rate will stay the same, no matter what note you play.
>
>With "Linear Detuning", that is, a detuning control that does not 
respond to 
>control voltage in an exponential manner, you could slightly detune 
your 
>VCO's by a specified amount of Hertz, for instance, 1Hz, as in the 
above 
>example, and they would always beat at a rate of one time per 
second, no 
>matter what note or what octave you played.  In most cases, this is 
more 
>musically desirable than having the beat rate change with the pitch.
>
>I hope this helps.
>
>Michael Bacich
>
>(BTW, this is a great thread!)
>


>From an subjective point of view (the ear and brain) I think that 
exponential detuning is more desirable. 

Let me explain: Try to play chords in the lowest ranges of the 
keyboard (or on an piano); I bet you won't like it at all; the 
frequencies of the notes are too much "stacked" together creating a 
blur of sound where no chords are recongnized properly by the 
ear/brain.

If you play further up it will al sound fine, the further you play 
the more notes you can cram together in a chord and it will still 
sound good.

If you look at detuning; detunig two oscs to 220/221 Hz a certain 
chorusing will apear, the beating will be 1 times a second. You're 
absolutely right if you say the beating will be twice as fast at 
440/442. But the "fatness" the chorusing brought will be the same as 
with 220/221. 

Conclusion the beating or chorusing of two oscs should be relative, 
the disadvantage of this is that you'll get a sampler-like sound 
(which I don't like) but that's with al relative modulations. The 
point is what sounds more natural; linear detuning or exp. detuning. 

Maybe that's why all those (early) digital synths sounded cold and 
unnatural compared tp analog instruments.


Paul

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