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From: Tom MacIntyre
Subject: Re: Acoustic Feedback reduction
References: <email@example.com> <firstname.lastname@example.org>
X-Newsreader: Forte Free Agent 1.92/32.570
Date: Wed, 15 Jan 2003 10:32:20 GMT
NNTP-Posting-Date: Wed, 15 Jan 2003 06:32:20 AST
On Wed, 15 Jan 2003 10:08:14 +0000, Don Pearce
>On 15 Jan 2003 10:01:15 GMT, email@example.com (Gibbo) wrote:
>>John Woodgate wrote:
>>>> Despite Mr Wombat's assertions to the contrary. He's
>>>>obviously not a musician (or just a very bad one).
>>>Don't be misled by the poetical language. He usually does know what he's
>>>talking about, but sometimes could write more clearly. But that applies
>>I'm fully aware that Mr Wombat *does* indeed know plenty about audio but in
>>this case he is wrong. A low E on a double bass will be roughly a *full* tone
>>sharp with a 5Hz shift and it's own octave harmonic will be roughly a semitone
>>sharp. The end result is a single note producing the two most important notes
>>of a major seventh chord which has a very er "distinctive" sound.
>Actually, in the case you describe it is an augmented seventh - and
>founded on the wrong key by a whole tone. VERY distinctive, I would
>say! The bassist would be almost unable to play - certainly believing
>his instrument to be out of tune.
If the fundamental is a tone sharp and its octave is a semitone sharp,
that's a diminished octave, enharmonically equivalent to the major
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