RE: Sustain

>> This usage would be consistent with the way
>> synthesiser users talk
>> about a sound envelope in terms of its ADSR -
>> Attack, Decay, Sustain
>> and Release.
>Actually, that's a wrong interpretation. "Attack" and
>"Decay" are envelope formulators. "Sustain" and
>"Release" are modifiers (a corruptive influence).

As Pat noted, this all depends on what field you are discussing the
subject.  In the terms used by synthesists he is absolutely correct.  In
an ADSR or any shape envelope the Sustain section is the level at which
the control signal remains while the note is gated--ie, hold the key and
the sound sustains at the level set by the sustain function.  This
derives from several areas, but mostly from usage of the terms in music
education at the college level--perhaps the largest market for early

That said, the actual evolution of the ADSR-type envelope (only one of
many) is quite interesting, and has to do with the simpler AD and AR
type envelopes and the early types of trigger and gate signals.  But
that is irrelevant here.  What is not is the common usage of the term
sustain amongst musical texts: a note which is held indefinitely at a
constant volume.

As to organs, probably most are tuned to 12TET, as many want them to be
played with other instruments, and this is the currently accepted
compromise.  Still, it is certainly not ideal.  Just today while working
on the contacts of an organ I was struck by how out-of-tune a simple
scale can sound in 12TET.  It doesn't just effect chords, IMO, as I find
my ear remembers the previous note and predicts the next, and in 12TET
the notes just don't sound good with the ear memory.  Of course, the
multiple notes sounding together were much more annoying--ah, B, C, and
C# playing at once.  What a wonderful sound...

If it were my organ, I'd probably tune it to a Well temperament or maybe
a meantone.  Hard to say, as all compromises are inherently not ideal.

 ()()   JR "Bulldogge" Ross
()  ()  & Snuffy, too:)

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