Regarding that 2:30 sweetspot, while I was figuring out what had happened to the scaling, I found an interesting way of thinking about what it represents.

##
The equations

For positive Intone values (0…+1):

`freq = TIME * (1 + Intone * (n/d - 1))`

For negative Intone (0…-1):

`freq = TIME * 1/(1 - Intone * (n/d - 1))`

Effectively these are linear crossfades from `1`

to `n/d`

)

`n/d`

is the ‘ratio’ setting of the channel. Defaults to the number on the panel. eg `3N`

is `3/1`

.

EDIT: For those wondering, the 4.0 version (which is no longer), used a continuous exponential mapping. I thought a continuous curve through +ve and -ve Intone values would sound better, not realizing the transform changed the mid-way relationships.

`freq = TIME * ((n/d) ^ Intone)`

When Intone is at the maximum, the outputs represent the first 6 elements of the harmonic series.

When Intone is at `1/2`

in the above equation (this is the 2:30 location) the frequencies can be seen as 6 consecutive elements of the harmonic series, starting at the 2nd harmonic. ie, for an imaginary 100Hz fundamental, tune IDENTITY to 200Hz, and the outputs will follow (300,400,500,600,700Hz).

If you decrease Intone to `1/3`

, this effectively starts the series at the 3rd harmonic [300,400,500,600,700,800]. You can continue up the harmonic series, by adjusting TIME & INTONE.

Thinking about it this way made a lot of sense to me in terms of building harmony. Might be fun to make a crow or TT script that CV’s TIME & INTONE such that you can scan up the harmonic series…