surge-tuning

Surge-Tuning: Advanced Tuning and Mapping for Surge Synthesizer

Surge-Tuning is a Rust crate designed to provide advanced tuning and mapping functionality for the Surge Synthesizer system. It offers a variety of tuning and keyboard mapping capabilities, allowing for a wide range of musical scales and temperaments.

Tokens and Mathematical Ideas

• Tone: Represents a musical tone with a specific frequency. The frequency can be calculated using the formula f = 440 * 2^((n - 69)/12), where f is the frequency in Hz, and n is the MIDI note number.

• TunerHandle and MaybeOwningTunerHandle: Handles for managing access to a SurgeTuner instance.

• KeyboardMapping and Scale: These structures define custom keyboard mappings and musical scales for the synthesizer, allowing for alternative tuning systems and microtonal music.

• n2p and n2pinv: Functions to convert between MIDI note numbers and pitch in a custom tuning system. The conversion between note numbers and pitch can be represented by a mapping function M(n), where n is the MIDI note number and M(n) is the pitch in a custom tuning system.

• note_to_omega and pitch2omega: Functions for converting between pitch and angular frequency (omega). The angular frequency can be calculated as ω = 2 * π * f, where ω is the angular frequency and f is the frequency in Hz.

• retune_to_scale and retune_to_standard_tuning: Functions for retuning the synthesizer to a custom scale or the standard 12-tone equal temperament.

• remap_to_keyboard and remap_to_standard_keyboard: Functions for remapping the keyboard layout according to a custom keyboard mapping or the standard keyboard layout.

• SurgeTuner: The main struct for managing tuning and keyboard mapping within the Surge Synthesizer system.

• TuningTables: A struct that contains precomputed tables for tuning conversions.

• SurgeTuning: A high-level wrapper around the SurgeTuner, providing a simplified interface for managing tuning within the Surge Synthesizer system.

By implementing the Surge-Tuning crate, the Surge Synthesizer system gains a powerful and flexible set of tools for working with custom tuning systems and keyboard mappings, enabling a wide range of musical possibilities beyond the standard 12-tone equal temperament.

User:

could you teach me more about custom tunings in the context of electronic music?

Assistant:

Certainly! Custom tunings, also known as alternative tunings or microtonal tunings, are tuning systems that differ from the standard 12-tone equal temperament (12-TET) commonly used in Western music. In electronic music, custom tunings can be used to explore a variety of musical expressions, including exotic scales, unique harmonic relationships, and alternative musical structures.

Electronic music provides a fertile ground for experimenting with custom tunings because synthesizers and digital audio workstations (DAWs) offer a high degree of control over pitch and tuning. Here are some key concepts related to custom tunings in electronic music:

• Microtonal scales: Microtonal scales are scales that use intervals smaller than a semitone, which is the smallest interval in 12-TET. These scales can feature any number of notes per octave and can be used to create unique harmonic and melodic structures. Examples include the 19-tone equal temperament, 31-tone equal temperament, and the Bohlen-Pierce scale.

• Just intonation: Just intonation is a tuning system based on whole number ratios, which creates pure-sounding intervals and harmonies. It is often used in electronic music to create lush and consonant chords or explore alternative harmonic relationships. Just intonation can be achieved by tuning the intervals between notes using simple frequency ratios, such as 3:2 for a perfect fifth or 5:4 for a major third.

• Non-octave scales: Most Western music is based on the octave, where pitches are repeated at double or half the frequency. However, custom tunings can also explore non-octave scales, where the interval between the lowest and highest notes is not an octave. Examples include the Bohlen-Pierce scale, which uses a 3:1 frequency ratio instead of the 2:1 octave ratio.

• Dynamic tuning: In electronic music, custom tunings can be applied dynamically, allowing for real-time modulation of the tuning system. This can be used for expressive effects, such as gliding between different tuning systems, or creating evolving harmonic landscapes.

To work with custom tunings in electronic music, you'll need synthesizers or software that support alternative tuning systems. Some popular synthesizers and DAWs that support custom tunings include Surge, Serum, Kontakt, Ableton Live, and Logic Pro. These tools typically allow you to import or create custom tuning files, such as Scala files (.scl), to define your desired tuning system. You can then assign these tunings to your instruments and explore the creative possibilities of alternative tuning systems in your music.

User:

thanks! could you teach me some more about the various tunings we know about? how many of them are there? what are their use cases? how are they structured mathematically?

Assistant:

There are countless tuning systems, as they can be created and customized according to different criteria, mathematical relationships, or cultural contexts. Here, I'll describe some of the more well-known tunings, their use cases, and their mathematical structure.

• 12-tone equal temperament (12-TET): This is the most common tuning system in Western music. It divides the octave into 12 equal parts, with each note's frequency being a multiple of the twelfth root of 2 (2^(1/12)) times the frequency of the previous note. It allows for easy transposition and modulation between keys, but some intervals are not perfectly consonant due to the approximations required for equal division.

• Just intonation: As mentioned earlier, just intonation is based on whole number ratios between frequencies, such as 3:2 (perfect fifth) and 5:4 (major third). The use of simple ratios results in pure-sounding intervals and harmonies. It is often used in early music, Indian classical music, and contemporary compositions that explore alternative harmonic relationships.

• Meantone temperament: This tuning system is a compromise between just intonation and equal temperament. It aims to provide more accurate approximations of pure intervals, particularly the major third (5:4 ratio). Meantone temperament is used in various historical keyboard instruments like harpsichords and organs, and can be found in music from the Renaissance and Baroque periods.

• Pythagorean tuning: Based on the work of the ancient Greek mathematician Pythagoras, this tuning system uses the 3:2 ratio (perfect fifth) to generate all other pitches. While it results in pure-sounding perfect fifths, it creates less consonant thirds, making it more suitable for certain types of music like monophonic chants and modal melodies.

• 19-tone equal temperament (19-TET): This system divides the octave into 19 equal parts, resulting in smaller intervals than 12-TET. It provides a closer approximation to just intonation intervals and allows for more complex and exotic scales. The 19-TET has been used in some experimental and contemporary music compositions.

• 31-tone equal temperament (31-TET): Similar to 19-TET, this system divides the octave into 31 equal parts. It provides even better approximations to just intonation intervals and allows for a greater variety of microtonal scales. Some composers, like Adriaan Fokker, have explored the possibilities of 31-TET in their work.

• Bohlen-Pierce scale: As mentioned earlier, this is a non-octave scale based on a 3:1 frequency ratio instead of the 2:1 octave ratio. It divides the "tritave" (3:1 ratio) into 13 equal parts and has been used in some experimental and electronic music compositions.

These are just a few examples of the numerous tuning systems that exist. The use cases and mathematical structures vary, depending on the goals and aesthetics of the composers or musicians using them. The exploration of alternative tunings can open up new sonic possibilities and enrich the musical experience for both creators and listeners.

User:

how do these tunings change the possible scales within each tuning? am i correct that a tuning is a higher level of abstraction than a scale?

Assistant:

Yes, you are correct that a tuning is a higher level of abstraction than a scale. A tuning system defines the relationships between the pitches within an octave or other interval, while a scale is a specific selection of pitches from that tuning system, usually ordered by ascending or descending pitch.

Different tuning systems can lead to different possible scales within each tuning. For instance, in the 12-tone equal temperament (12-TET) system, there are many different scales, such as the major scale, natural minor scale, and various modes like Dorian, Mixolydian, and Phrygian. These scales all share the same underlying tuning system but have different patterns of whole and half steps.

When you switch to a different tuning system, like just intonation, the scales within that tuning will have different interval structures and relationships between pitches compared to those in the 12-TET system. This can lead to new scales with unique sonic qualities.

For example, in just intonation, you might create a scale based on the harmonic series, where the frequencies of the pitches are integer multiples of a fundamental frequency.

This would result in different interval sizes than those found in the 12-TET system, leading to a distinct harmonic and melodic character.

In microtonal tuning systems, such as 19-TET or 31-TET, the scales can be even more diverse, as the smaller intervals allow for a greater variety of pitch combinations. This can lead to new and exotic scales that aren't possible within the 12-TET system.

In summary, the tuning system sets the foundation for the possible scales within each tuning. Changing the tuning system will change the possible scales and their properties, opening up new musical possibilities and textures.

2> could you describe for me 5 different scales for each tuning?

Certainly! Here's a brief description of five different scales for each of the following tuning systems: 12-TET (12-tone equal temperament), just intonation, 19-TET, and 31-TET. Please note that some of these scales might not be as common or well-known as others, especially in microtonal tuning systems.

12-TET:

1. Major Scale: The most common scale in Western music, consisting of whole, whole, half, whole, whole, whole, half steps (e.g., C, D, E, F, G, A, B, C).

2. Natural Minor Scale: A scale that has a minor quality, consisting of whole, half, whole, whole, half, whole, whole steps (e.g., A, B, C, D, E, F, G, A).

3. Dorian Mode: A minor scale with a raised sixth degree, consisting of whole, half, whole, whole, whole, half, whole steps (e.g., D, E, F, G, A, B, C, D).

4. Mixolydian Mode: A major scale with a lowered seventh degree, consisting of whole, whole, half, whole, whole, half, whole steps (e.g., G, A, B, C, D, E, F, G).

5. Pentatonic Scale: A five-note scale, often used in various musical traditions around the world, consisting of the major scale without the fourth and seventh degrees (e.g., C, D, E, G, A, C).

Just Intonation:

1. Pythagorean Diatonic Scale: A scale based on the Pythagorean tuning system, which uses a 3:2 perfect fifth as the basis for generating other pitches (e.g., C, D, E, F, G, A, B, C).

2. Ptolemy's Intense Diatonic Scale: A just intonation scale that uses the 5-limit tuning, creating pure major thirds (e.g., C, D, E, F, G, A, B, C).

3. Harmonic Series Scale: A scale based on the natural harmonic series, with pitches as integer multiples of the fundamental frequency.

4. 5-Limit Just Major Pentatonic: A five-note scale in just intonation, similar to the 12-TET major pentatonic scale, but with pure intervals (e.g., C, D, E, G, A, C).

5. Partch's 11-Limit Tonality Diamond: A scale based on the tuning system created by Harry Partch, which uses 11-limit just intonation to generate pitches.

19-TET:

1. 19-TET Major Scale: A major scale in 19-TET tuning, with slightly different interval sizes than the 12-TET major scale (e.g., C, D, E, F, G, A, B, C).

2. 19-TET Harmonic Minor Scale: A harmonic minor scale in 19-TET tuning, featuring a raised seventh degree (e.g., A, B, C, D, E, F, G#, A).

3. 19-TET Double Harmonic Scale: A scale in 19-TET tuning that features augmented seconds and a raised seventh degree (e.g., C, Db, E, F, G, Ab, B, C).

4. 19-TET Diminished Scale: A symmetrical scale in 19-TET tuning that alternates whole and half steps (e.g., C, D, Eb, F, Gb, Ab, A, B, C).

3> thanks! which tunings are considered the most useful for electronic music?

In electronic music, the most commonly used tuning is the 12-tone equal temperament (12-TET) system, as it is the standard tuning system for most modern synthesizers, MIDI controllers, and digital audio workstations (DAWs). However, electronic musicians who want to explore alternative tuning systems or incorporate microtonality in their work may find the following tunings particularly useful:

1. Just Intonation: This tuning system is based on simple whole number ratios and provides purer, more consonant intervals. It can be used to create more harmonically rich electronic music, especially when working with drones or ambient textures.

2. 19-TET (19-tone equal temperament): This tuning system divides the octave into 19 equal steps, offering a closer approximation of just intonation than 12-TET while still being relatively accessible. It can be used to create more exotic and unique harmonic progressions and melodic lines.

3. 31-TET (31-tone equal temperament): With 31 equal divisions of the octave, this tuning system provides an even better approximation of just intonation and offers a wide range of microtonal intervals. It can be useful for electronic musicians who want to delve deeper into microtonal music.

4. 24-TET (quarter-tone system): This tuning system divides the octave into 24 equal parts, effectively halving the step size of 12-TET. It offers a range of quarter-tone intervals, which can be used to create unusual and innovative harmonies and melodies.

5. Bohlen–Pierce tuning: This tuning system is based on a 3:1 frequency ratio instead of the traditional 2:1 octave. It can be used to create electronic music with a distinct and unconventional harmonic structure.

These tuning systems are by no means exhaustive, and there are many more options to explore. The choice of tuning system ultimately depends on the musician's artistic goals and the specific sound they are trying to achieve.

4> could you show me as many others as you can?

There are numerous tuning systems and scales that have been developed throughout history and across cultures. Here are some additional examples:

1. Pythagorean tuning: This ancient Greek tuning system is based on the pure 3:2 ratio (perfect fifth) and 2:1 ratio (octave). It can create interesting harmonies and melodic structures, especially for electronic music with a focus on drones or modal melodies.

2. Meantone temperament: This historical tuning system attempts to achieve pure 5:4 major thirds. It was used in Western music from the Renaissance to the Baroque period and offers a distinctive and expressive harmonic character.

3. 22-TET (22-tone equal temperament): This tuning system divides the octave into 22 equal steps, offering a unique set of intervals and harmonies. It is used in some Indian classical music traditions and can be employed in electronic music to create exotic sounds.

4. 17-TET (17-tone equal temperament): With 17 equal divisions of the octave, this tuning system provides an interesting set of microtonal intervals and harmonies. It can be used for electronic music that seeks to explore unusual melodic and harmonic possibilities.

5. 53-TET (53-tone equal temperament): This highly precise tuning system closely approximates just intonation and offers a large number of microtonal intervals. It can be used in electronic music that aims for extreme precision and a wide variety of tonal colors.

6. Wendy Carlos' Alpha, Beta, and Gamma scales: These scales are based on non-octave-repeating scales with unique interval structures. They offer unconventional harmonic possibilities and can be used for electronic music that seeks to break away from traditional tonal systems.

7. Hexany: A six-note scale derived from the harmonic series, based on the work of American composer and music theorist Harry Partch. It can be used for electronic music that incorporates just intonation and alternative harmonies.

8. Pelog and Slendro: Traditional Indonesian gamelan scales that offer unique and non-Western interval structures. They can be used for electronic music that incorporates world music elements and non-Western harmony.

These are just a few examples of the many tuning systems and scales available to electronic musicians. The choice of tuning system and scale ultimately depends on the desired musical effect and the specific sounds the composer or producer wishes to explore.

5> thanks! from an engineering perspective, how do we design a tool which can handle the wide variety of tunings we have available to us?

To design a tool that can handle a wide variety of tunings, you'll want to make sure it's flexible, modular, and user-friendly. Here are some key considerations for building such a tool:

1. Flexible data structures: Use data structures that can store and manipulate various tunings and scales. For example, a tuning could be represented as an array or list of frequency ratios or cent values, and a scale could be a list of indices or steps within a tuning.

2. Tuning and scale import/export: Provide import and export functionality for common tuning and scale file formats like Scala (.scl), TUN (.tun), and MIDI Tuning Standard (.mts). This will enable users to work with a wide variety of pre-existing tunings and scales, as well as share their custom tunings with others.

3. User interface: Create a user interface that allows users to easily select, modify, and create tunings and scales. This may include options for selecting from a list of presets, entering frequency ratios or cent values manually, or importing and exporting custom tunings and scales.

4. Real-time pitch adjustment: Implement real-time pitch adjustment algorithms that can retune the output of your tool according to the selected tuning and scale. This can be done using various techniques, such as pitch-shifting, granular synthesis, or wavetable synthesis.

5. MIDI integration: Provide MIDI integration so that the tool can be used with a wide range of hardware and software synthesizers, samplers, and sequencers. This may involve sending MIDI messages for pitch bend or implementing the MIDI Tuning Standard.

6. Modularity: Design the tool in a modular way, so that it can be easily integrated with other audio processing tools, DAWs, or synthesizers. This can be achieved by developing the tool as a plugin (VST, AU, AAX, etc.) or using a modular programming environment like Max/MSP, Pure Data, or Reaktor.

7. Documentation and tutorials: Provide clear documentation and tutorials for users to understand the capabilities of the tool and how to use it effectively. This may include information on the available tunings and scales, how to create custom tunings, and how to integrate the tool with other software and hardware.

By following these guidelines, you can develop a tool that supports a wide variety of tunings and scales, opening up new possibilities for electronic musicians and composers to explore alternative tuning systems and create unique sonic landscapes.

6> what about for an individual tuning? how do we design it from a mathematical/programming perspective?

Designing an individual tuning from a mathematical and programming perspective involves defining the frequency ratios or cent values that determine the relationships between the pitches in the tuning system. Here are some steps to guide you through this process:

1. Choose the number of notes per octave: Decide how many notes you want to have in your tuning system within an octave. For example, you might choose 12 notes for an equal temperament system, or a different number for alternative tuning systems like 19-tone equal temperament or just intonation-based systems.

2. Define the frequency ratios or cent values: Determine the frequency ratios or cent values that define the relationships between the pitches in your tuning system. For equal temperament systems, you can calculate the frequency ratios using the following formula:

   • Frequency ratio = 2^(n/N), where 'n' is the note index (0 to N-1) and 'N' is the number of notes per octave.

   Alternatively, you can define the relationships in cents, where 1 cent represents 1/1200 of an octave. In this case, the cent value for each note can be calculated as:

   • Cent value = 1200 * (n/N), where 'n' is the note index (0 to N-1) and 'N' is the number of notes per octave.

   For just intonation or other non-equal temperament systems, you'll need to define the frequency ratios or cent values based on the specific harmonic relationships you want to achieve.

3. Create a data structure to store the tuning: Store the frequency ratios or cent values in a data structure, such as an array or list. This will allow you to easily access and manipulate the tuning data in your program.

4. Implement pitch conversion functions: Develop functions that can convert between note numbers (e.g., MIDI note numbers) and frequencies, based on the tuning system you've defined. These functions should take into account the reference frequency (e.g., A4 = 440 Hz) and the frequency ratios or cent values you've defined for your tuning system. For example:

   • Note number to frequency: Given a note number, calculate its frequency using the reference frequency and the tuning data (frequency ratios or cent values).

   • Frequency to note number: Given a frequency, calculate the closest note number using the reference frequency and the tuning data.

5. Handle octave transpositions: Implement functions that can handle octave transpositions, making sure to preserve the relationships between pitches as defined by your tuning system. This can be done by multiplying or dividing the frequency ratios by 2, or adding or subtracting 1200 cents for each octave transposed.

By following these steps, you can design and implement an individual tuning system from a mathematical and programming perspective, providing a solid foundation for creating music that uses alternative tuning systems.

7> how do we make sure our tuning corresponds to the audio samples we have selected for our song?

To ensure that your tuning corresponds to the audio samples you've selected for your song, you'll need to retune the samples according to the tuning system you've chosen. Here are the steps to follow:

1. Determine the original pitch of each sample: Identify the original pitch or note of each audio sample. You may find this information in the sample's metadata, or you might need to analyze the sample using a pitch detection algorithm.

2. Implement pitch-shifting: Develop or integrate a pitch-shifting algorithm into your program that allows you to change the pitch of the audio samples without affecting their duration. There are several pitch-shifting techniques available, such as granular synthesis, phase vocoder, or the SOLA (Synchronous Overlap and Add) method.

3. Calculate the target pitch: For each audio sample, determine the target pitch based on the original pitch and the desired tuning system. Use the pitch conversion functions you've implemented for the tuning system (e.g., note number to frequency) to calculate the target frequency.

4. Retune the samples: Apply the pitch-shifting algorithm to each audio sample, adjusting its pitch to match the target frequency determined in the previous step. This will ensure that the sample's pitch aligns with the tuning system you've chosen for your song.

5. Verify the tuning: Check that the retuned samples correspond to the desired tuning by analyzing their pitches after the pitch-shifting process. This can be done using a pitch detection algorithm or by comparing the retuned samples' frequencies to the target frequencies.

6. Integrate the retuned samples: Use the retuned audio samples in your song or audio project, making sure to preserve the relationships between pitches as defined by your tuning system. When playing back the samples, the playback engine should take into account the tuning system and any additional pitch adjustments (e.g., MIDI note events) to ensure the correct pitches are played.

By following these steps, you can make sure your chosen tuning system corresponds to the audio samples you've selected for your song, creating a coherent and harmonically consistent musical piece.

8> could you show me how to do each of these steps in detail? is there a way to do the whole process automatically?