TeledyN

This chromatic tuner is sensitive (it can get an accurate reading from a quiet sound) and robust (when a note is being played, it is not easily distracted by extraneous sounds). With some tuners you have to be careful about exactly how you play the note. With this tuner, such care should not be necessary. The ability of the tuner to hear notes even against a background of ambient noise does mean that when there is ambient noise with no note being played, the tuner will tend to pick random notes out of the ambience from moment to moment. So in this situation the tuner will randomly wander around, imagining notes. I deliberately kept it this way since if it was less sensitive then it would be less able to detect notes which are being played.

visit the  Seventh String Online Tuner

You say you don't like Equal Temperament tunings? No problem, just do as the author does and remember the cents offset you want for that tone; except at the very low end, the readings are accurate to a fraction of a cent all the way to 20kHz.

And if you'd rather a tuner that plays reference notes out loud, not to worry, they have that too: the Seventh String Tuning Fork. (and yes, there's a metronome too)

A gift from John Jacobs:

1

The Other Worlds of Sun Ra on Into the Music

In the history of post-war jazz in the US, perhaps the strangest and most mysterious figure is Sun Ra. An outstanding pianist, composer, arranger and big band leader, he was also a science fiction philosopher, Afro Futurist poet and self-declared citizen of Saturn.

Sun Ra's life project mixed a fascination with outer space with his African roots and wildly expressive music, which continues to delight and inspire audiences almost two decades after he left the planet.

The Other Worlds of Sun Ra features writer and activist Amiri Baraka, who collaborated with Ra in the New York underground of the 1960s. Sun Ra's archivist and one-time drummer, Michael D. Anderson, gives an insider's perspective of playing with Ra and his Arkestra. There are readings from Sun Ra's pamphlets and poems as well as the voice of the man himself. And of course -- plenty of Sun Ra's weird, beautiful and other-worldly music.

More info and full playlist here:
http://abc.net.au/rn/intothemusic/stories/2010/2977933.htm

Creative Commons license: Attribution-Noncommercial-Share Alike 3.0 Australia

Notes

Producers: Brent Clough and John Jacobs
Narrator: Aku Kadogo
Readers: Calvin Welch and Aku Kadogo

Individual Files

Audio Files	VBR MP3	Ogg Vorbis
The Other Worlds of Sun Ra on Into the Music	119.2 MB	29.3 MB

Information	Format	Size
TheOtherWorldsOfSunRa_files.xml	Metadata	1.1 KB
TheOtherWorldsOfSunRa_meta.xml	Metadata	1.5 KB

Lyle "Spud" Murphy (Miko Stephanovic) was an unsung musical hero who played a major supporting role in shaping the Big Band era, when he was arranging and writing music for top bands in the 1930s such as Casa Loma, Benny Goodman, Fletcher Henderson and Bob Crosby.

Into his ninth decade Spud continued to be honored as a composer and educator, publishing more than 26 books including his own system of composition and arranging known as the equal interval system, an extensive course on composing, arranging and orchestration. students of his “equal interval” method include Oscar Peterson, Bennie Green, Herbie Hancock and Quincy Jones.

"DIGGING SPUD MURPHY" Music and Interviews with Spud Murphy and Dean Mora Recorded April 2003 PART ONE (59:13)       PART TWO (58:49)

Although he scored several dozen Hollywood pictures and logged nearly 600 big band arrangements, Lyle only cut two albums as band leader, his twelve-tone "Gone with the Woodwinds" and the space-age lounge sound "New Orbits in Sound" are both a who's who of west-coast session players, and both recently re-issued on CD (click the covers for Amazon links)

Industrial imagery shot and cut by Cameron Hanson, accompanied with soundtrack mash up using Sun Ra's New Day and Moondog's Suite No. 2 3rd Movement

In the "Big Band Era" there was no bigger star in the music universe than Artie Shaw. The jazz clarinetist and bandleader's rendition of Hoagy Carmichael's "Stardust" was one of the best-known songs of the 20th century. Shaw's recording of "Begin the Beguine" sold millions.

"Begin the Beguine" transformed the clarinet virtuoso into a pop star -- darkly handsome with squealing jitterbuggers in the audience and glamour girls on his arm.

But Shaw was more at home in the jazz life. In the 1938 session that launched 'Begin the Beguine', he recorded another tune called 'Any Old Time', featuring Billie Holiday, who was little known at the time. Shaw had persuaded Holiday to join his big band at a time when a black singer in a white band was shocking. "I knew that was going to be kind of scandalous, but she was a good singer," he says.

Shaw, who began recording in 1936, walked away from the business -- and his clarinet -- 18 years later. He says he didn't enjoy the life of a star and that his struggle for perfection was killing him. "I was very uncomfortable," he explains. "I played the role called Artie Shaw. People (ask) me for autographs, so I (say), 'I got out of the Artie Shaw business about 50 years ago.' That's why I walked out. I walked out of the business at my peak. I quit."

• Program 3 - April, 1971 - Artie Shaw, Part 1
• Program 4 - May, 1971 - Artie Shaw - Part 2

WTIC's Arnold Dean interviews and plays the music of Artie Shaw. When most youngsters are playing basketball in the backyard Artie Shaw was, after only two lessons (free with the sax purchase) already playing saxophone with Johnny Cavallero and his orchestra in his home town of New Haven. There he met Charlie Spivak, Tony Pastor and Rudy Vallee before taking up the clarinet and heading for Florida at the age of 16 ("I was terrible, but I was under age so he couldn't dump me there; by the time we were done, I was pretty good")

Artie Shaw talks shop about the early days of the Big Four and the discipline of the showbands and radio houseband work before the rise, and fall, of Swing, and he explains his simple approach to his self-taught versitility, from saxman to virtuoso clarinetist to million-selling writer and arranger, painter, author and husband to a string of hollywood starlets: you just go do it.

"I don't consider myself one of the humans," he once said. "I'm a spiritual being," -- their "joyful noise" is free, sometimes chaotic, but also clearly blues-based, somewhat reminiscent of Monk or Mingus (there's even a rendition of "'Round Midnight"). Ra is also interviewed surrounded by the Egyptian artifacts and antiquities that were an important element of his "mythocracy." He clearly loves having an audience-and how can you not enjoy listening to a guy who also chooses the White House as a backdrop for solemn pronouncements like "I'm not a part of history-I'm more a part of mystery, which is my story"?