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Message: [QUOTE="Bombastus, post: 92054, member: 2178"] Sonicrama V2 lets each of the 128 MIDI keys override its tuning and several sound parameters inside a single patch. Most microtuning systems stop at deciding where notes sit in pitch, while Sonicrama V2 lets individual keys change how the instrument itself behaves. The [B][URL='https://goldmidi.com/community/threads/acusmagic-debuted-sonicrama-v2-synth-for-mac-and-windows.77439/']Sonicrama V2 per-key tuning system[/URL][/B] is not limited to assigning cents or ratios across a scale. Leave a key untouched, and it follows the patch defaults. Edit one and its own settings can branch away without forcing the rest of the keyboard to follow. [HEADING=2]Meta-tuning changes the keyboard, not just the scale[/HEADING] Ordinary microtuning still treats the keyboard as one instrument with a different pitch map. Sonicrama V2 keeps .scl and .tun import and export, then adds a free root and separate tuning tables for its four oscillators. Pitch is only one layer of the setup. A different table on each oscillator means a single held note does not have to belong to one tuning system. One oscillator can follow one interval structure while another uses a different table, creating polytonal relationships inside the same patch. Both tuning maps still live inside one playable instrument. Once you stop thinking in twelve-note templates, the setup gets more interesting. You can choose a root frequency, build divisions such as 31-EDO, work from ratios, or set values directly while keeping oscillators independent. A patch can carry several harmonic systems at once without turning the session into a pile of duplicate instruments. Sonicrama V2 also allows keys to relate through ratios, formulas, or beat-frequency relationships rather than functioning only as isolated pitch entries. One note can have a defined mathematical relationship to another, so the keyboard can be organized around connected frequencies instead of one fixed scale. The point is structure, not random detuning. [HEADING=2]Per-key overrides make one patch behave like many[/HEADING] Pitch is only half the trick. Individual keys can override waveform, morph position, gain, pan, phase, stereo delay, and binaural settings while untouched keys use the main patch. You are editing behavior at note level, not simply correcting intonation. Take a wide ambient patch. Low notes could stay dark and centered, middle notes could use a brighter waveform, and a few high keys could spread outward. One preset can hold those changes without needing a rack of key-switched layers. A conventional key switch normally selects another articulation, sample group, or preset state. Sonicrama V2 takes a different route because the edited key remains inside the same synth architecture, yet selected parameters can diverge from the common defaults. It feels less like assigning commands to spare keys and more like deciding what each playable note should actually be. You do not need to program 128 miniature patches before anything is usable. Untouched notes keep inheriting the parent sound, so a handful of exceptions can reshape one register while the rest stays coherent. Sparse edits are usually more useful because you can hear exactly what each exception contributes. [HEADING=2]Tuning and timbre become one sound-design decision[/HEADING] Pitch and tone are often handled in separate stages, especially when a synth loads one global microtuning file and leaves the oscillator patch unchanged. The [B][URL='https://sethares.engr.wisc.edu/paperspdf/specspec97.pdf']tuning and timbre relationship[/URL][/B] matters here because spectral content can change interval behavior, giving sound design and scale design a reason to meet earlier. Sonicrama V2 gives you manual control over both sides of that problem. A note assigned to an unusual interval does not need to inherit the exact waveform, phase, gain, or spatial treatment used by every neighboring key. You can change the tone where the tuning calls for it instead of forcing one timbral design across the whole map. Separate oscillator tables open another route, with one oscillator keeping a familiar harmonic role while another uses a different division or ratio structure. Selected keys can change tone as the register shifts, making polytonality part of the patch rather than something assembled later across tracks. Per-key freedom can go bad fast if every note gets changed simply because the controls allow it. Change enough unrelated parameters, and the keyboard stops behaving like one instrument, which makes chords and repeated figures harder to predict. Starting with a stable parent patch keeps the exceptions meaningful. Free-root tuning makes those exceptions more precise because the keyboard does not have to inherit one fixed reference frequency. Combined with oscillator-specific tables and note-level overrides, one patch can carry several frequency systems while ordinary keys remain untouched wherever no special treatment is needed. [/QUOTE]

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