SYNTHESIS TECHNOLOGY
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MOTM-650 USER’S GUIDE
WWW.SYNTHTECH.COM
9. 3-5 Lattice in A
A pure 3 and 5-limit tuning which resolves to very symmetrical derived relationships
between notes. A=1/1 (440 Hz) 1/1 16/15 10/9 6/5 5/4 4/3 64/45 3/2 8/5 5/3 16/9 15/8
10. 3-7 Lattice in A
A pure 3 and 7-limit tuning which resolves to very symmetrical derived relationships
between notes. Some intervals are very close together, offering several choices for the same
nominal chords. A=1/1 (440 Hz) 1/1 9/8 8/7 7/6 9/7 21/16 4/3 3/2 32/21 12/7 7/4 63/32
11. Other Music 7-Limit Black Keys in C
Created by the group Other Music for their homemade gamelan, this offers a wide range of
interesting chords and modes.
C=1/1 (261.625 Hz) 1/1 15/14 9/8 7/6 5/4 4/3 7/5 3/2 14/9 5/3 7/4 15/8
12. Dan Schmidt Pelog/Slendro
Created for the Berkeley Gamelan group, this tuning fits an Indonesian-style heptatonic
Pelog on the white keys and pentatonic Slendro on the black keys, with B and Bb acting as
1/1 for their respective modes. Note that some of the notes will have the same frequency. By
tuning the 1/1 to 60 Hz, Dan found a creative way to incorporate the inevitable line hum
into his scale. Bb, B = 1/1 (60 Hz) 1/1 1/1 9/8 7/6 5/4 4/3 11/8 3/2 3/2 7/4 7/4 15/8
13. Yamaha Just Major C
When Yamaha decided to put preset microtunings into their FM synth product line, they
selected this and the following tuning as representative just intonations. As such, they
became the de-facto introduction to JI for many people. Just Major gives preferential
treatment to major thirds on the sharps, and a good fourth relative to the second.
C= 1/1 (261.625) 1/1 16/15 9/8 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8
14. Yamaha Just Minor C
Similar to Yamaha’s preset Just Major, the Just Minor gives preferential treatment to
minor thirds on the sharps, and has a good fifth relative to the second. C= 1/1 (261.625)
1/1 25/24 10/9 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8
15. Harry Partch 11-limit 43 Note Just Intonation
One of the pioneers of modern microtonal composition, Partch built a unique orchestra with
this tuning during the first half of the 20th century, to perform his own compositions. The
large number of intervals in this very dense scale offers a full vocabulary of expressive
chords and complex key changes. The narrow spacing allows fixed-pitched instruments like
marimbas and organs to perform glissando-like passages. G = 1/1 (392 Hz, MIDI note 67)
1/1 81/80 33/32 21/20 16/15 12/11 11/10 10/9 9/8 8/7 7/6 32/27
6/5 11/9 5/4 14/11 9/7 21/16 4/3 27/20 11/8 7/5 10/7 16/11
40/27 3/2 32/21 14/9 11/7 8/5 18/11 5/3 27/16 12/7 7/4 16/9
9/5 20/11 11/6 15/8 40/21 64/33 160/81
