TY - JOUR
T1 - A MIDI sequencer that widens access to the compositional possibilities of novel tunings
AU - Prechtl, Anthony
AU - Milne, Andrew J.
AU - Holland, Simon
AU - Laney, Robin
AU - Sharp, David B.
PY - 2012
Y1 - 2012
N2 - A study was conducted to propose a new Dynamic Tonality MIDI sequencer, known as Hex. The new Dynamic Tonality MIDI sequencer aimed to make sequencing music in and across a large variety of novel tunings as simple as sequencing in twelve-tone equal temperament. It replaced the piano roll used in conventional MIDI sequencers with a two-dimensional lattice roll to enable the intuitive visualization and dynamic manipulation of tuning. The roll was compatible with the Dynamic Tonality line of software, which consisted of the microtonal synthesizers TransFormSynth, The Viking, and 2032. A button lattice was displayed in its own pane on the left side of the window in Hex, and horizontal lines were drawn from the center of each note to the right. These lines functioned as generalized note lanes similar to that in piano roll sequencers, with the added benefit that each note lane's height was always proportional to its pitch when the user changed the tuning.
AB - A study was conducted to propose a new Dynamic Tonality MIDI sequencer, known as Hex. The new Dynamic Tonality MIDI sequencer aimed to make sequencing music in and across a large variety of novel tunings as simple as sequencing in twelve-tone equal temperament. It replaced the piano roll used in conventional MIDI sequencers with a two-dimensional lattice roll to enable the intuitive visualization and dynamic manipulation of tuning. The roll was compatible with the Dynamic Tonality line of software, which consisted of the microtonal synthesizers TransFormSynth, The Viking, and 2032. A button lattice was displayed in its own pane on the left side of the window in Hex, and horizontal lines were drawn from the center of each note to the right. These lines functioned as generalized note lanes similar to that in piano roll sequencers, with the added benefit that each note lane's height was always proportional to its pitch when the user changed the tuning.
UR - http://handle.uws.edu.au:8081/1959.7/548555
UR - http://muse.jhu.edu/journals/computer_music_journal/v036/36.1.prechtl.html
U2 - 10.1162/COMJ_a_00104
DO - 10.1162/COMJ_a_00104
M3 - Article
SN - 0148-9267
VL - 36
SP - 42
EP - 54
JO - Computer Music Journal
JF - Computer Music Journal
IS - 1
ER -