> One can concentrate on tension, > inharmonicity or what Robert's calls the "Z" factor or loudness, or some > combination with varying emphases. On most existing scales you are forced > to compromise something as a smooth curve on all three is difficult, if not > impossible to achieve. When you can put bridges where you want them, smoothing these three curves is not a problem. A fourth factor, of break%, can complicate things if you want to minimize break% jumps at scale transitions. >Of course, it may not even be desirable. And there > is yet another issue which doesn't seem to be included in these calculations > which is to account for the balance between fundamental and upper partials > as you transition from trichord to bichord to monochord. Keeping an eye on core diameters and break% seems to give better results than found in most original scales. > Where would your > emphasis be for creating seamless transitions and balance. Anyone else > please feel free to offer your thoughts if you care to. > > David Love My priorities for smoothing breaks are tension and Z first, then inharmonicity, then break%. Break% and plain wire to wrapped core diameters at scale transitions are useful for determining bridge location. Ron N
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