I’ve been lately very interested in making music with spiritual touch (altough all music is spiritual).
I would like to hear from other guys who use 432 tuning in their compositions.
Also i need some tips in using Golden ratio (Fibonacci sequence, Phi…) in music.
How to use that mathematics in melodic content and arrangments?
Thanks!
I can’t recommend this book: http://en.wikipedia.org/wiki/Gödel,_Escher,_Bach enough. His other book ‘methamagical themas’ is equally inspiring for your exploration! 
There are obviously many other useful resources to study, you could try: http://www.musimathics.com/ the ‘musimathics’ books provide you with a mathematical toolset to use in your music, whilst the Hofstadter books are broader and aimed at art, music, maths and philosophy equally.
Fantastic subjects.
Thanks! Thats something i was looking for!! Will explore it this weekend 
Thanks!
Well, if you have an Analog FOUR you can make the tuning 432 hz. I’ve experimented with this a little… and although interesting, there are some truths that can’t be ignored. Regardless of what pitch you tune your modern instrument to, it will be in an equal tempered scale. So weather you use 432 concert pitch or 440 concert pitch, it really doesn’t change the relationship between the notes.
Any of my tracks on my soundlick account made with the MDUW & A4 were tuned to 432 HZ, but I ultimately abandoned this before I sold my A4 to focus on other things. The reason I abandoned this is because your limiting the shareability of your music… I always want to leave my stuff open for collaborations… and 99% of the population uses A440 equal tempered tunings.
If you want to create something unique and truly harmonious, don’t use notes, use sounds and adjust the pitch of the sounds until they fit right with your composition, this way your creating music by sound not notes. This is one of the reasons why using pitched sounds in the machinedrum can create some truly unique soundscapes
If your interested in hearing music made in just intonation, Indian classical music is a good source of this, also check out the most recent albums from Michael Levy - - he makes music with a Davidic harp, thus each note can be tuned to the just intonation scale.
I just say make music that sounds good to you and don’t over-think the details.
L8r dude,
Mike
Regarding golden ratios etc… when you listen to music that sounds right, it falls within this ratio. This is the ratio we naturally want to hear… so this is also a good way to create tension and fluke people out, when they’re expecting the big crescendo… make them wait another 8 measures, than #Ucking DROP IT!!!
Can you give me tips on using MD to make soundscapes?? I am trying to sell, but maybe not, if you convince me enough…
And please try to explain more “music with sounds”…
Thanks, glad that someone is actually answering
Dude, seriously you’re over-thinking things.
Just make music that sounds good to your ears. For a sample of a track where I just pitched drum sounds see below. I didn’t make this harmonious, I was just going for a certain non-descriptive mood. The second track is using A 432… again, if it was A 440 you wouldn’t even notice the difference, unless listening to them side by side.
As Dacava says, you are just changing the pitch of your music. There are many great turnings/scales you can experiment with other than 12 tone equal if you are searching for something new to make you feel more ‘spiritual’ 
The ‘833 cents scale’ is based on the golden ratio.
From a frequency/tuning perspective, it’s useful to remember that the number of cycles – whether 432, 440 or any other – is tied to the definition of the second, which is not itself a universal constant. (i.e., had humanity defined the second as a slightly different length of time, a 440 Hz note would have a different pitch.)
All that said, there are plenty of places throughout history where the golden ratio has been spotted in compositions’ overall structure. You might look into that angle.
About 3 months ago I wondered how the golden ratio applied to music inspired by its appearance in visual beauty.
Google led me to Eric Satie’s air de l’ordre . This is now my favourite composition. I am getting piano lessons again so I can play it and hopefully learn from that angle.
Deriving music directly from maths although interesting to me hasn’t ever been more than a disappointing exercise. Including pop structures. Just not feeling it. Even though I can enjoy other peoples music made in this way.
As far as the md goes if you have a UW try the lfo loop trick for a sample and then pitch it around. Maybe double it and spread it in stereo. Sustained vocal samples are so nice.
http://soundclick.com/share.cfm?id=12558624
sweet track dude!
I’ve researched this extensively and will say that as long as your using equal temperament A432 isn’t going to matter very much. Any data there is available as to why 432hz is beneficial or mathematical is suspect at best. There is just no real data to back it up. The websites that promote this say the Nazi’s changed the tuning to 440hz to stress people out, but that’s not true, the American music industry informally decided on 440hz in 1926, and in 1936 The American Standards Association recommended A440hz. Nothing to do with Nazi’s. Those websites also say 432 divided by at least some whole numbers results in a whole number and 440 gets decimal points it’s somehow better but Hz just means cycles per second and how people measure a second is ultimately arbitrary. The length of second is measured by using caesium, and would probably be different if they used a different element or method.
A note is just a note until it begins to interact with another note, and that’s where a tuning system really matters, the ratios of notes to other notes. Equal Temperment has the same not perfect ratios whether you are in 440hz or 432hz and this is what really matters.
Now if your looking for a better, more mathematically harmonic scale look at Golden Meantone tuning, which is using Phi ratios and Pi tuning (otherwise known as Lucytuning). Also Just Intonation is very harmonic.
I was using a version of the golden meantone tuning I had set up to use in soft synths that would support alternate tuning scales and it was quite interesting. It really sounded very good and did seem to promote conscious states when making long pads and chords where you could really appreciate the harmony.
However out of ease of use and a desire to use hardware and other instruments I went back to 440hz equal temperament.
Maybe someday in the future I’ll explore again, because equal temperament is definitely not the most harmonic of tunings and it would be better to have a system based on precise mathematical and harmonic tuning ratios.
Thank you 
I found this thread after searching for ‘Equal temperament’. Reading Aphex Twin’s interview on Pitchfork here
http://pitchfork.com/features/cover-story/reader/aphex-twin/#finding-new-frequencies
he says ‘A lot of composers before me have been on this mission to change the world by getting off equal temperament, and I’m definitely one of those.’
he uses a bunch of hardware synths so it must be possible to do it. Any ideas on how to use non equal temperament tunings on the A4 for example.
Substituting one tuning scale for another is not “spiritual”.
Why don’t you just twist a oscillator tuning pot to make a melody, or use a fretless instrument like a ribbon controller.
You will be transferring your “spiritual energy” directly into the creative process.
Tune by ear, like not only JS Bach did with each instrument he had to play on, and depending on what was to be played. Furthermore, remember that Just Intonation is not an absolute grid. And 12TET is just the keyboard getting in the way of musical freedom.
Peace.
On the Analog Four, the default interval is the 12tet semitone. In order to get away from equal temperament you would either have to use external software that calculated appropriate values for oscillator fine tuning or pitchbend, or somehow program the same yourself in the AF’s sequencer. Either of these options is likely to be prohibitively complicated.
Many synths by mainstream manufacturers like Roland, Korg, Yamaha, Kurzweil offer alternate or even user-programmable tunings. The Monomachine ensemble machines can produce chords with just intonation intervals. I imagine that modular/CV equipment can easily do alternate tunings.
Alright thanks. Unlike the OP I’m not trying to get ‘spiritual’, just making some sounds in my room. A ribbon controller is a good suggestion, but they seem expensive and only monophonic. I’ve found a couple of ipad apps that’ll let me play around with microtones, but it seems like a labourious task to try it on any of my hardware synths.