432Hz Retuned Music

At a difference of a tad less than 1% I seriously doubt anyone hears a difference in timbre or transients.

Toby,
If had only this conversation occurred 2 weeks ago, I could help you out with the pics. I literally just completely rearranged all of my gear in a new rack and pulling it out again and pulling the top off the server is not something I am willing to do at this point. However, it really is not complicated. If you purchase the cable I sent you the info on, you would easily be able to figure it out once you pop the top to your AEON. I also have pics Frederic sent me of the inside, with the superclock power tethered to the USB card. You would remove that tethered power cable so the superclock and USB are no longer sharing power. You would then connect the molex connector at the end of the Ghent cable to the Superclock card and affix the DC input jack to the back of the server. I will send you a pic of were the hole was drilled on my server case to accommodate the superclock jack. That is it! Now you can add the third Sbooster and connect it to that newly installed DC jack.

I can’t tell you what improvement it brought because I have had it configured that way since day one. But, in principle, it is easy to wrap your head around as it prevents anything in the USB card from affecting the superclock card OR vice versa. Each card/board, has a clean power signal from its own discrete Sbooster linear power supply. Plus, I do trust Frederic and his engineering decisions, based on my experience with the AEON. He chose to use 3 LPS’s for the 11,000Euro Master model. I assume somewhere in their R&D they determined 3 was better than 2. At the end fo the day, it was a $400 upgrade for me, so I’m fine with this leap of faith decision.

Oh! Thanks for the explaining answer! Ok, time to order the cable and get going then​:grin::+1: Looking forward to picture of the drillhole.

Great info! Best regards, Toby

Just stumbled upon this thread. And remembered this video from two years ago…

It might be of interest for some what the great Adam Neely has to say about 432 Hz (or any other pitch):

(highly recommended YT channel btw.).

Also worth watching: this interview with Peter Neubäcker, the inventor of Melodyne, a groundbreaking software you can do unreal things to sound/music with. You most likely never heard of him, but for sure heard music touched by his code. A most amazing mind.

If the whole 28 minutes is to long for you, start at minute 20.

Hi! I have ordered the cable of your recommendation from Ghent Audio! So if You have some pics or info to help me out, please send, torsjobe@gmail.com,
Thanks Toby

Hi Toby,
I just emailed you installation instructions along with some pics to guide you through the simple process. Should be a breeze.

Would be great to have this retune as a plug in for Jriver.

Yes! Great instructions Jeff, it makes me confident to go ahead with the upgrade! Big thanks mate! Toby

Been following this over the weekend but only just had a chance to reply.
The video above (Schumann resonances and the like) is, I’m afraid, talking utter rubbish.
Not as crazy sounding as the flat earthers but heading in that direction.

Playing live music at A=432 Hz (or any other pitch setting) is easy now for most instruments.

Changing existing recorded music to lower pitch setting is doing it one of two ways:

  1. either it is actually slowing down playback, as if slowing down your tape player or record deck. It doesn’t mess with the signal too much, and of course natural pitch relationships stay in sycn, but it messes with (alters) the formants of the instruments, and the hall, and all other sounds. This is a loss of fidelity (and it takes longer to listen to).

  2. or, much worse I feel, it is doing a digital pitch shift, which requires slowing down tiny segments, dropping the odd tiny segment so that the time stays the same, and stitching the remains back together, missing a small percentage of the tiny segments out completely, It does this in real time so the decisions taken as to which bits to throw away and which bits to stick together is done by an algorithm, or choice of algorithms, and is distinctly iffy for fidelity. It also messes with the instrument formants as above.

I have no doubt the algorithms are very good these days, and it is very difficult to notice the stitching together, but it isn’t “high-fidelity” since so very much has been changed from input to output.
It may well be pleasant to listen to, and there is no reason why not to listen to it, as long as you are aware of the limitations and impact on the recorded signal as described above.

Incidentally the first clue that the video is rubbish is to read the wikipedia page on Schumann Resonances, where it notes there are multiple resonant frequencies, and they vary from day to day and hour to hour.
Second clue is that it starts talking about his being a universal cosmic resonance, always a warning sign…

.

1 Like

Utter rubbish, indeed!

1 Like

This is beyond stupid.

Peace
Bruce in Philly

2 Likes

What does the EVO435 do for early music recordings tuned to A415 -already played a half step below A440? Or many recordings by ensembles that do not tune to A440? For instance, many orchestras tune higher - more a coloristic than pitch choice. A few examples are San Fransisco, Boston and Berlin which tune between. 442 a d 445? OTOH some modern pitch orchestras already tune to 435 (I think Berlin, which at one time tuned to 445.

Not to mention those among us (not me) blessed or cursed with perfect pitch?

As an early music performer who performs at a variety of tunings. it seems to me that fidelity to the recorded pitch level is Job One for any audio component. No snark intended. Just.cery curious about the concept and technology.

1 Like

I raised this issue previously, along with the suggestion the hardware could be designed to determine the original tuning given enough musical input.

There are a few of us who are early music fans. What do you play?

1 Like

Fun. I’m a singer, bass-baritone. Imagine my surprise and delight first singing Bach at low pitch and realizing the old man actually could write for low male voice. At 440 the entire repertoire focus squarely on both the lower and upper vocal passagi. :slight_smile: Great for vocal exercises. Terrible for performance. What do you play?

1 Like

Seems like basing a business model on some esoteric musicological psychobabble is a bit of a risk…I’m sure it’s a great piece of equipment though. Just not for sackbut aficionados.

1 Like

Not to pile on, but it seems the most basic function of audio reproduction is pitch accuracy. Huh?

1 Like

I left a detailed list of question to the designer on a FB chain. LIke what about early music at A415. What about San Fran and Boston which tune anywhere from 442 to 445? Many orchestras tune to a specific A to create a color or character for the ensemble. Not to mention Berlin which tunes to 435 - but used to tune to 445. I remember an article where James Taylor mentioned who he tunes one of his strings (I don’t recall which) ever so slightly sharp. What does it do to that? I hope I didn’t sound snarky, but unless I’m missing something…Just smoke a joint to relax (can I say that? It’s legal where I live :slight_smile: - but listen to the music as the creators intended it for God’s sake!

1 Like

Guitar tuners can get you close, but are not absolute, as with measurement of audio gear. Aside from many guitars having specific strings with intonation issues (bridge saddle not perfectly filed/not tweaked at all, string size changes, player’s fingering, etc.) I feel like certain keys and chords often require a bit of adjustment away from “perfect” tuning to make everything sound right.

3 Likes

Best way to get to know a guitar is tin spend a day tuning it and returning it by ear - 12 strings are my favourite- in my studio daze I spent a lot of time tuning clients 12 strings :slight_smile:

2 Likes