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From: "Phil Allison"
References: <email@example.com> <firstname.lastname@example.org>
Subject: Re: Acoustic Feedback reduction
X-Newsreader: Microsoft Outlook Express 5.50.4522.1200
Date: Wed, 15 Jan 2003 22:16:40 +1100
NNTP-Posting-Date: Wed, 15 Jan 2003 22:05:44 EST
Organization: Telstra BigPond Internet Services (http://www.bigpond.com)
"Don Pearce" wrote in message
> 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
> >this case he is wrong. A low E on a double bass will be roughly a *full*
> >sharp with a 5Hz shift and it's own octave harmonic will be roughly a
> >sharp. The end result is a single note producing the two most important
> >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.
** There is no need for a musician to hear the shifted sound of his own
instrument and that scenario has not been raised here before.
It is really a red herring.
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