🚀 go-pugleaf

>I'm using MAX and a K2000. I had tried using poly key pressure as a pitch
>modulator, however I had problems with chirping as the note quickly adjusted
>from equal to just tuning. Even though the poly key message was sent 

Well, it seems we have the same experience on that - its not just for
the Korg that poly pressure doesn't work well, but for other synths as
well.  Would be interested to know how McNamarra does his fine tuning.

>What I use now which works great, but probably isn't
>possible on other synths is to send a MIDI channel controller immediately
>before the note on and use the sample and hold feature of the K2000's 
>function generators to sample the controller's value and hold it for the
>duration of that note. This allows me to have polyphonic just tuning on
>a single MIDI channel. 

It's a pity other MIDI players (like Proteus) dont have the sample and
hold feature.  Being channel-bound is a major obstacle in the tuning -
expressive performance task.

>In my own work I have been using a 72 equal note per octave tuning, 
>however I meet each week with Ellen Fullman who has built an instrument
>of 108 longitudinally vibrating strings over 80 feet long which are excited
>by rosin coated fingers and is tuned to a set of 42 just pitches. In fact,

72 is the number chosen in modern Greek Music Theory because it
divides the tone into 12, so you can use 1/2, 1/3 and 1/4 of the tone.
I am not sure of its fitting into just tuning requirements though
(pure fifths thirds, sevenths).  Pure fifths and thirds are well
attained by the 53 division; pure fifths, thirds and sevenths by 171.
42 is also interesting: Ekrem Karadeniz used 41 tones in his work on
Turkish Music (have to check the number).  Does Ellen Fullman obtain
them from stacking 42 pure fifths/fourths?

Ioannis Zannos.