Philippe and Olek: Beats, ghosting, unisons, and the Spectrum NE pane?

After Olek posted about ghosting notes, I experimented and read over the posts at PW about ghosting. Just to check:

1. If used for octaves (ghost the two octave notes and strike octave above), it brings out beats on the second partial. So it encourages a relatively narrow octave? (Which I tend to like.)

if an octave above the top note you hear the 4:2 relation , the same apply with the 2:1 relation (ghosting the octave, , using the tonal pedal, then strike the high note of the octave; idem with 6:3 (a twelve above the top note, 8:4 , 10:5 , 12,6, but to check more precisely those beats, which are slow, we find intervals that have an higher speed and are the same partial match, for instance a M3 under the bottom note of the octave, is compared with the 10 th with the same bottom note. Then, the fast beat is produced one octave above the top not of the octave (4:2 relation). If you like basic "plain octaves) their relation is on the top note (2:1) you can check that relation by playing a 10th and a 17 th that have that top note in common (hence the beat is at that level).

Once the concept understood it is easy  to find where are beats and which interval can be used for comparison, to find the partial pitch difference of another interval)

I have a link on the basic explanations on that concept on an issue from Rick Baldassin , who wrote a book "On pitch" that describe that approach.  I'll forward you a reprint of some pages.

Personally I agree that the theory and concepts are valid but the higher the partial is the more unevenness in fundamental progression, due to unevenness in iH.

Nothing better than the ear, even if some EDT , as VT100 use a real time circuitry that is able to listen to many partials at the same time and find the fundamental pitch more acutely than others than only listen/display to one at once.

**********************************************

2. Am I right in thinking I hear the same thing for the unisons? But we can ghost the octave, etc  AND\or just lower all of the NE pane partial sliders except, the 2nd, or other beating partials, to 0 and then play the note while moving its unison detune slider. That way the 2nd partial is exposed, and the beats are much easier to hear as we experiment with the unisons. Helps to move the Volume slider to 10, too.

And it works not just for tuning the unisons, I'm seeing now, thinking backwards. We can just cut the amplitude for all of the partials, except those we want to hear, to listen to the beats of octaves, fifths, etc.  My, my.

And for the unisons, to circle back, there is also the Direct sound duration. So we can control the time it takes before the beating appears on that 2nd partial. And none of this is a secret. Sitting right there in front of us. EDIT: I'd forgotten something else: we don't even have to lower all of the other partials in the Spectrum NE pane. Just dragging the one or more partial sliders to the top isolates them, automatically  reducing the others by 80%.

There was a question in there somewhere.