Okay, about five or more years ago, I started composing with a synthesizer that turned out to be well-designed for what music theorists call just intonation (I called it "linear tuning" when I did not know any better), and recently, I asked myself, well...why don't I use one of FRACTINT's data ouputs, say the one designed for ACROSPIN and do the quantization for FRACTINT, too. Then I can get clean stereo wav files. The trouble is I do not really understand FRACTINT's quantization step. I could ignore it and come up with my own, perhaps. For instance, I've noticed that most serial tunes do not span more than two octaves, so I should probably consider the maximum of X and the minimum of X, then put negatives into the lower octave; same for Y on the right channel. I also hav a just intonation worked out that is twelve tones per octave, and curiously, the second octave is an inversion of the first octave (I will explain that in news:rec.music.theory.), except on one note. It seems just crazy enough to fool a lot of people, except for timing: Unless the preceeding note is the same as the current note, it will be all quarter notes. In simple terms, I will map all of the Xs to a number between 360 and 1440Hz in such a way that there are only twenty-four tones. For example, 675, 720, and 768 are in the middle of those two octaves, so any value from fractint, scaled and biased, that is equal to or greater than the mean of 720 and 675 will map to 720, while anything that is less than the mean of 720 and 768 will also map to 720. The remaining part of the trick is coming up with an appropriate image size for the length of tune and tempo I want. If I publish, here, then I will make the program print out a fractint parameter file. If it's any good, then maybe Mister Osuch will make up a neat interface for doing similar things with a plain old sine wave synthesizer that is built into fractint. Look ma...all dijital...no MIDI recording. If I do a good job, then my dynamics will be flat; amplitude inversely proportional to pitch.
