Nice to see a few more people involved and a warmer tone
As the OP i don't have a example sound example of Bo's proposed musical scale in action, also I'm not super fast on maths but like simple solutions and creative thinking
IMHO his course " Learn to Hear the Dissonances of Equal Temperament " on udemy is very informative and well presented https://www.udemy.com/course/how-to-hea ... emperament
this video gives a flavour of his approach and teaching style, which i feel is very strong
I've messaged him direct with a few questions as a interested student on his course via udemy and fingers crossed he may reply
here is what i uncovered yesterday in my further research in case it interests others
the sevish website previously linked to looks like a rich resource for interested people as does
https://forum.audiob.us/discussion/3409 ... -important
shows that this can be a hotly debated musical topic that people can have strong viewpoints on but there is some very interesting personal takes on this and many examples of non standard western tuning music
"AudioKit Synth One, AudioKit Digital D1, and Wilsonic have a revolutionary new feature called TuneUp which enables you to tune synthesizers to the same microtonal scale. It’s like Ableton Link for tunings (instead of tempo)."
@ahornberg when you say "From my perspective, this sounds pretty weird" do you mean you have tried out this in practice and it literally "sounds weird" to you as you have listened or do you mean that his proposed theory doesn't make sense to you intellectually ?
you say bo proposes "The octave is divided into 32 steps, each step has a frequency that is 8 Hz higher than the step before.This only works fine, if the octave starts at 256 Hz.
In the next octave, the steps are 16 Hz apart.
bo states "Notice how inappropriate the term “octave” – meaning “the 8th note” – is here. Even in modern music theory, the 13th “note” is still called “octave” despite the fact that the 7-tone system has been expanded for hundreds of years to 12. A correct approach to the Sacred Sounds Scale would be to somehow use the number 33 in the name, because this is the 33rd tone, but for the sake of simplicity I use the term “double”. This describes perfectly the acoustic phenomenon of frequency doubling that takes place as the series progresses, and matches accurately any other scale of any number of tones"
"Modern Western music theory considers any tone whose frequency has been halved or doubled to represent the same sound. Musicians even use the same name for tones that are one or many doubles apart, although they are not one and the same tone. Doubling or halving the frequency of a tone does not return the same tone, because x ≠ 2x ≠ x/2. This is a mere convention, which has absolutely no natu- ral, no fundamental basis. If you were to double the atomic vibrations of a cat, by some mysterious process, it will no longer be the same cat, and probably no more a living being. If you take a sound and raise its pitch, it is no more the same sound.1
In case you were wondering, 424 Hz is the “Standard Frequency of Mother Nature”, or the “RA Music” tuning standard. Check out ramusic.com for more info.
The name Sacred Sounds Scale does not imply that certain frequencies meas- ured in Hertz like 424, 432, 440 or 528 are sacred, but that the scale itself – or better yet, the Natural Series of Ascending Harmonics (overtones) from which the scale is derived – is sacred. That's because the Harmonic Series comes from Nature; it is not a product of culture or human intellect."
appears to be a very rich resource of in-depth information of many, many people exploring this are not just Bo - still a lot for me to take in. it has sections such as Arrangers,Composers,Developers,Educators
Ensembles,Former names,Improvisers,Instrument makers,Musicians,Organizations,Pseudonyms,Theorists,Wiki editors
Bo is described at https://en.xen.wiki/w/Category:People
as "Being mathematically challenged, his work is geared towards the musically innocent, through the use of simple descriptions and intuitive visual correlations between sound and images. He's of the opinion that those who believe in urban myths like 432 Hz and its New Age connections to music have the right to know better. His approach to teaching is scientific and evidence-based. He proposes a logarithmic version of the Pythagorean Lambdoma, which he calls HarmoniComb, as didactic tool, musical instrument and notation system. His own musical discovery consists in the interpretation of any ratio as the harmonic genesis of the sonic entity it represents. In 2013 he successfully crowd funded the building of a batch of Second Generation Terpstra Keyboards. He's the Head of the Board of The International Organization for Numerical Musical Tuning, an independent international nongovernmental organization (iINGO) concerned with the specifications and guidelines for a standardized, worldwide universal format of defining musical tuning and signal processing through the language of numbers alone"