Thanks Gunnar. I’m sorry, but the pandemic has lessened my ability to be that amused by contrariness! If one’s decisions can negatively affect others, they are worth reviewing…

I think something like this is well worth testing on oneself with a well structured double blind test. Intellectually, it may be understandable why one might agree with 432hz, but until you’ve tested your own ability to distinguish 100% accurately the difference between 440 and 432hz, plus tested your audience’s ability, it is a long lonely road to go down. I guess if people listened to music by looking at sand patterns rather than just listening, it might be worth it!

I am highly skeptical of the idea of moiré patterns being any indicator of musical quality. I think it’s a better indicator of the quality of sand! And, bottom line, that’s not how our ears work… sound is detected by cilia moving forwards and backwards, not by visually analyzing a pattern in a substrate. I hate to say it, but backing up a solely sonic decision with a visual metaphor gets uncomfortably close to confirmation bias.

Truth is, a proper well designed double blind test is the ONLY way to prove to yourself whether you truly CAN tell the difference. I took one years ago and failed. And my ears haven’t got any better since..!

But note, I DID say that, as long as it doesn’t inconvenience anyone but yourself, it’s a decision that is pretty immaterial. And if there’s one thing about arranger players in general, few of us play much with anyone else!

The only potential problem I foresee for Dengizich is that if he does do the work, adds the tuning code to hundreds of SMF’s, pitch transposes all his audio loops, he is going to have to keep a running backup of all his Performances with 440hz resources in case he has to play in a situation that can’t accommodate his decision to play noticeably flat. So, first, a mountain of work, then another one to set everything back!

Remember, it’s likely that once you create a 432hz SMF, you’ll still be likely to perhaps want to Makeup Tools it a bit (I find myself making small adjustments all the time to MIDI files even after years of using them!). Now, with two files for different intonations, you’ve got to go and do the same thing to its sister file. Work, work, work!