SEEKING
Band to Join, Drums, Electronic Music, Keyboard, Lead Guitar, Rhythm Guitar, Vocalist.ABOUT
xenharmonic, classical, metal, electronic dance, industrial
 Screen name:
 cmloegcmluin
 Member since:
 Oct 13 2019
 Active within 1 week
 Level of commitment:
 Committed
 Years playing music:
 25
 Gigs played:
 Under 10
 Tend to practice:
 More than 3 times per week
 Available to gig:
 1 night a week
 Most available:
 Nights
Influences
Georg Friedrich Haas, Meshuggah, Autechre
Instrument experience:
 Electronic Music:
 Moderate
 Vocalist:
 Beginner
 Bass Guitar:
 Beginner
 Violin:
 Beginner
MUSIC

Metallic Harmonic Series  First Four Octaves  Octave Reduced
Metallic Harmonic Series  First Four Octaves  Octave ReducedI had a cute idea this afternoon: the metallic harmonic series. If you take the sequence of metallic means (https://en.wikipedia.org/wiki/Metallic_mean) and treat each entry as a pitch scalar, then if you play them in order, you'll hear something like a harmonic series. This is because the first metallic mean is between 1 and 2, the second metallic mean is between 2 and 3, the third metallic mean is between 3 and 4, and so on. (The zeroth metallic mean is 1, so you should start there.) Each successive metallic mean is closer to the lower of its two bounding integers than the previous metallic mean was, so eventually you'll converge onto the traditional harmonic series. But at the beginning this sequence is quite a bit different; the first metallic mean, the golden mean, is ~1.618, is actually closer to 2 than it is to 1. And the second metallic mean, the silver mean, is ~2.414, also still a ways off from 2. The sequence continues ~3.303, ~4.236, ~5.193, ~6.162, ~7.140, ~8.123, ~9.110, ~10.099, ~11.090, ~12.083, ~13.076, ~14.071, ~15.066, etc. So in other words it starts out sounding quite like its own thing, but eventually starts to sound like the traditional harmonic series. Supposedly you should get some wacky combination tones from this scale. This version is octave reduced. ! Metallic Harmonic Series  First Four Octaves  Octave Reduced.scl ! Created using Scale Workshop 1.0.2 ! Metallic Harmonic Series  First Four Octaves  Octave Reduced 16 ! 26.43768483 99.27088907 224.8979794 325.8639638 403.3719928 451.7426473 565.4514818 713.8541237 748.1564266 833.0902964 850.6819046 868.4147623 977.5918914 1003.122211 1095.912293 1200.000000

Metallic Harmonic Series  First Four Octaves
Metallic Harmonic Series  First Four OctavesI had a cute idea this afternoon: the metallic harmonic series. If you take the sequence of metallic means (https://en.wikipedia.org/wiki/Metallic_mean) and treat each entry as a pitch scalar, then if you play them in order, you'll hear something like a harmonic series. This is because the first metallic mean is between 1 and 2, the second metallic mean is between 2 and 3, the third metallic mean is between 3 and 4, and so on. (The zeroth metallic mean is 1, so you should start there.) Each successive metallic mean is closer to the lower of its two bounding integers than the previous metallic mean was, so eventually you'll converge onto the traditional harmonic series. But at the beginning this sequence is quite a bit different; the first metallic mean, the golden mean, is ~1.618, is actually closer to 2 than it is to 1. And the second metallic mean, the silver mean, is ~2.414, also still a ways off from 2. The sequence continues ~3.303, ~4.236, ~5.193, ~6.162, ~7.140, ~8.123, ~9.110, ~10.099, ~11.090, ~12.083, ~13.076, ~14.071, ~15.066, etc. So in other words it starts out sounding quite like its own thing, but eventually starts to sound like the traditional harmonic series. Supposedly you should get some wacky combination tones from this scale. This version is not octave reduced. ! Metallic Harmonic Series  First Four Octaves.scl ! Created using Scale Workshop 1.0.2 ! Metallic Harmonic Series  First Four Octaves 16 ! 833.0902964 1525.863964 2068.414762 2499.270889 2851.742647 3148.156427 3403.122211 3626.437685 3824.897979 4003.371993 4165.451482 4313.854124 4450.681905 4577.591891 4695.912293 4800.0000000000

Beaten Path  Primal
Beaten Path  PrimalPerformed and recorded at the 2019 UnTwelve Xenharmonic Workshop and Showcase. An acoustic version of the parameterized musical pattern originally developed here: https://musicalpatterns.douglasblumeyer.com performers Soprano trombone: Vito Sicurella Voice: Stephen Weigel Viola: Thomas Scheurich

Subparticular Series
Subparticular Series

Superparticular Series
Superparticular Series

Duperparticular Series
Duperparticular Series

Dubparticular Series
Dubparticular Series

Zdaubyaos
ZdaubyaosThis piece uses six scales: 1) the harmonic series 2) the subharmonic series 3) the "superparticular" series: 2/1, 3/2, 4/3, 5/4, 6/5... 4) the "subparticular" series: 1/2, 2/3, 3/4, 4/5, 5/6... 5) the "duperparticular" series: 3/1, 4/2, 5/3, 6/4, 7/5... 6) the "dubparticular" series: 1/3, 2/4, 3/5, 4/6, 5/7... Zdaubyaos is a spastic dance, mostly divided into two types of rhythmic blocks: 1) of length 15, subdivided into sections which are off in length from their neighbors by 1, e.g. 456, 78, 12345. 2) of length 24, subdivided into sections which are off in length from their neighbors by 2, e.g. 3579, 1113, 357531. Thus the rhythms and the pitches agree on a sort of "stepping by either 1's or 2's" theme. I also experimented for the first time with applying agile software development practices to my composing. Specifically, I test drove this piece: first I would describe the musical behavior I wished for the piece to exhibit in the form of an automated test, and only then would I implement the code for the music itself. Over time, my test suite grew, protecting the features of the piece which I wanted to preserve, so that I was free to rapidly and wildly experiment with the composition without knowing exactly what I would get and not fearing that I'd compromise something special I'd already achieved.

Houndstoothtopia Theme
Houndstoothtopia ThemeA song shaped like houndstooth. The rhythmic intervals are related by the square root of 2, the length of a square's diagonal, which is a key component of the houndstooth shape. Two basic structures move in polyrhythm with each other. One derives its contour from the lengths of the perimeter segments of a single houndstooth shape. The other is based on coloration patterns in the square tiles which result from the traditional tiling of this shape. The harmonic intervals, on the other hand, are related by the square root of 3, the length of a diagonal of a cube, gesturing toward the third dimension. This is because the music serves as the theme for houndstoothtopia, my web VR world housing all the 3D houndsteeth I've invented: houndstoothtopia.douglasblumeyer.com

1 through 24 ed2 on 330 Hz; centered on root
1 through 24 ed2 on 330 Hz; centered on rootWhat happens when you play all ed2's at once?

1 through 31 ed2 on 220 Hz
1 through 31 ed2 on 220 HzWhat happens when you play all ed2's at once?

1 through 50 ed2 on 440 Hz; root silenced
1 through 50 ed2 on 440 Hz; root silencedWhat happens when you play all ed2's at once?

Aewi Xaukmeuhec
Aewi XaukmeuhecI don't know what this is. I was working on it in early 2011, I remember that much.

Tsraxcfaubdj
TsraxcfaubdjThis is a performed version of my previously nottrulynamedyet track "Blumeyer Comma JI Unpump": https://soundcloud.com/cmloegcmluin/blumeyercommajiunpump It was practiced and recorded as part of the Untwelve Microtonal Summer Camp 2016. http://untwelve.org/ Set at the peaceful Circle Pines Center in Delton, Michigan, 14 xenharmonicists gathered to share ideas, good times, and of course outthere music. The Performers, to whom I am deeply grateful Jacob Barton: Udderbot Thomas Scheurich: Cello Joe Monzo & Stephen Weigel: Voice I presented the tuning behind Tsraxcfaubdj, "Yer", to the group, then recruited these folks to learn it well enough to play it. Here is a video explaining the tuning: https://vimeo.com/184148765

Odds Of The First Four Tritaves Of The Harmonic Series
Odds Of The First Four Tritaves Of The Harmonic Serieshttps://cmloegcmluin.wordpress.com/2016/09/18/3rdtritaveofoddharmonics/

Three Tritaves of the Third Tritave's Odd Harmonics
Three Tritaves of the Third Tritave's Odd Harmonicshttps://cmloegcmluin.wordpress.com/2016/09/18/3rdtritaveofoddharmonics/

Three Tritaves of the Third Tritave's Odd Harmonics w/ Tritaves
Three Tritaves of the Third Tritave's Odd Harmonics w/ Tritaveshttps://cmloegcmluin.wordpress.com/2016/09/18/3rdtritaveofoddharmonics/

Three Tritaves of the Third Tritave's Odd Harmonics w/ Thirds
Three Tritaves of the Third Tritave's Odd Harmonics w/ Thirdshttps://cmloegcmluin.wordpress.com/2016/09/18/3rdtritaveofoddharmonics/

Three Tritaves of the Third Tritave's Odd Harmonics w/ Fourths
Three Tritaves of the Third Tritave's Odd Harmonics w/ Fourthshttps://cmloegcmluin.wordpress.com/2016/09/18/3rdtritaveofoddharmonics/

Three Tritaves of the Third Tritave's Odd Harmonics w/ Fifths
Three Tritaves of the Third Tritave's Odd Harmonics w/ Fifthshttps://cmloegcmluin.wordpress.com/2016/09/18/3rdtritaveofoddharmonics/

3edharmonic Series
3edharmonic SeriesEach on 220 Hz, holding the fundamental more info: https://cmloegcmluin.wordpress.com/2016/09/20/xenharmonicseries/

edharmonic Series
edharmonic Seriesassumed to be the 2edharmonic series Each on 220 Hz, holding the fundamental more info: https://cmloegcmluin.wordpress.com/2016/09/20/xenharmonicseries/

traditional harmonic series (for comparison)
traditional harmonic series (for comparison)Each on 220 Hz, holding the fundamental more info: https://cmloegcmluin.wordpress.com/2016/09/20/xenharmonicseries/

matharmonic series
matharmonic seriesEach on 220 Hz, holding the fundamental more info: https://cmloegcmluin.wordpress.com/2016/09/20/xenharmonicseries/

Blumeyer Comma Pump (13 Equal Version)
Blumeyer Comma Pump (13 Equal Version)For more information, please read my blog post: https://cmloegcmluin.wordpress.com/2015/11/09/blumeyercommapump/

Sameltimeous, pt. 2: The Matrix
Sameltimeous, pt. 2: The Matrixlots of Rites of Spring superimposed and time adjusted to line up throughout http://cmloegcmluin.com/sameltimeous

Sameltimeous, pt. 1: Jurassic Park
Sameltimeous, pt. 1: Jurassic Parklots of Rites of Spring superimposed and time adjusted to line up throughout http://cmloegcmluin.com/sameltimeous

Blumeyer Comma JI Unpump
Blumeyer Comma JI Unpumphttps://cmloegcmluin.wordpress.com/2015/11/23/blumeyercommajiunpump/

ijk
ijk0=======7=======0=======_ 0=======A======0=======_ 0=======7=======0=======_ 8=======0=======5==== numbers are pitches (A is 12, an octave). ='s are sustains. _'s are rests. so durationally it's 25 + 25 + 25 + 21 = 96. essentially we add hiccups of 1 tick to each of the first three bars and then subtract the accrued 3 ticks from the fourth bar to even it out. to start people guessing, do that bass line solo a few times. then a beat comes in. it hits like so: XX XX X X that is, 6 times, hitting every 15 ticks, except the last time it lasts 21 (to match with the last 21 of the bass). then you can add a little extra spastic shiz to the end: XX XX X Xxxxxxx that is, the 21 gets divided into 7 sets of 3 ticks. now if we look at every other one of those: X*x*x*x and then extend those every6beathits, and overlay like this: ***** **** **** *** that is, we take advantage of how this could also be seen as 4 sets of 24. and finally, to flesh out the first stretch: X^^X^ ^X^^X ^^X^^ with less stressed beats every 5 ticks. so you can see that the length 25 sections are taken advantage of by dividing them evenly by 5. and the fact that there are three of them is taken advantage of by pronouncing every third one of them (the first beat that was introduced). &^*^*X*^* ^&^*^*X* ^*^&^*^* X*x*x*x (the ampersand is where the asterisk and capital X's overlap)

Blumeyer Comma Pump
Blumeyer Comma PumpFor more information, please read my blog post: https://cmloegcmluin.wordpress.com/2015/11/09/blumeyercommapump/

Jwimhweul
Jwimhweul

Headbang
Headbang

Daytripper Yaw 270
Daytripper Yaw 270This is what the main riff from The Beatles' Daytripper would sound like if it were rotated 270 degrees in the Cartesian plane relating pitch to duration, with one semitone of pitch treated as equivalent to one eighth note of duration, and the pitch of the initial note (E) treated as an anchor. More on this effect here: https://cmloegcmluin.wordpress.com/2015/04/29/revolutiontripper/

Daytripper Yaw 180
Daytripper Yaw 180This is what the main riff from The Beatles' Daytripper would sound like if it were rotated 180 degrees in the Cartesian plane relating pitch to duration, with one semitone of pitch treated as equivalent to one eighth note of duration, and the pitch of the initial note (E) treated as an anchor. Unlike the other two rotations here, this one already sees widespread use, because it is equivalent to the inverse retrograde (that is, the upsidedown backwards version of itself). This traditional counterpoint technique arrives at the same result by two flips in place of my effect's rotation. More on this effect here: https://cmloegcmluin.wordpress.com/2015/04/29/revolutiontripper/

Daytripper Yaw 90
Daytripper Yaw 90This is what the main riff from The Beatles' Daytripper would sound like if it were rotated 180 degrees in the Cartesian plane relating pitch to duration, with one semitone of pitch treated as equivalent to one eighth note of duration, and the pitch of the initial note (E) treated as an anchor. More on this effect here: https://cmloegcmluin.wordpress.com/2015/04/29/revolutiontripper/

Daytripper Yaw 0
Daytripper Yaw 0This clip is here as an anchor to compare its rotations against. "Musical yaw" is my name for an effect where a section of music is rotated in the Cartesian plane relating pitch to duration. In this case, I will be treating one semitone of pitch as equivalent to one eighth note of duration, and the pitch of the initial note (E) as an anchor. More on this effect here: https://cmloegcmluin.wordpress.com/2015/04/29/revolutiontripper/

Shepard Scale with insufficient voice count
Shepard Scale with insufficient voice count

Shepard Scale with Triangular Amplitude "Curve" Instead of Normal Bell
Shepard Scale with Triangular Amplitude "Curve" Instead of Normal Bell

Developing the Harmonic Circle: Step Four, Tempo Circularity
Developing the Harmonic Circle: Step Four, Tempo Circularitypart of the Developing the Harmonic Circle series

Developing the Harmonic Circle: Step Three, Linear Pitch Climb
Developing the Harmonic Circle: Step Three, Linear Pitch Climbpart of the Developing the Harmonic Circle series

Developing the Harmonic Circle: Step Two, Naive Pitch Circularity on a Harmonic Series Octave
Developing the Harmonic Circle: Step Two, Naive Pitch Circularity on a Harmonic Series Octavepart of the Developing the Harmonic Circle series

First 16 steps of the harmonic series
First 16 steps of the harmonic seriespart of the Developing the Harmonic Circle series

Shepard Scale
Shepard Scalepart of the Developing the Harmonic Circle series

Harmonic Circle
Harmonic CircleI have created a “harmonic circle” out of the 8th octave of the harmonic series (harmonics 128 through 255): an infinite loop whose beginning and end are seamless, using a combination of pitch and tempo circularity. More information here: https://cmloegcmluin.wordpress.com/2015/04/13/harmoniccircle/

Puppet of Masters (isolated synth demo)
Puppet of Masters (isolated synth demo)

Puppet of Masters
Puppet of MastersSee https://cmloegcmluin.wordpress.com/2013/12/26/musicalidea12aharmonics/ for more info.

Beat (by Zerglings)
Beat (by Zerglings)

Robot Head, Robot Shoulders, Robot Knees and Robot Toes
Robot Head, Robot Shoulders, Robot Knees and Robot Toes

I Hate Vacuuming
I Hate Vacuuming