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Reply-To: "Kevin Aylward"
From: "Kevin Aylward"
References: <email@example.com> <firstname.lastname@example.org>
Subject: Re: Acoustic Feedback reduction
X-Newsreader: Microsoft Outlook Express 6.00.2800.1106
Date: Wed, 15 Jan 2003 10:54:38 -0000
NNTP-Posting-Date: Wed, 15 Jan 2003 10:54:40 GMT
Don Pearce wrote:
> 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 to everyone.
>> 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.
Depends on the bass player:-)
One of my pet peeves is where those sad misguided soles try and tune by
using the string harmonic at the fifth fret with the next higher string
harmonic on the 7th fret. They like to think that they are clever with
this "advanced" technique, by assuming that these harmonics are the
same, but they aren't. The standard flattened fifth tuning makes these
harmonics slightly off by design. I certainly notice the difference once
the punter strums his chord, but they are usually blissfully unaware.
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