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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 15:22:15 -0000
NNTP-Posting-Date: Wed, 15 Jan 2003 15:22:18 GMT
Tom MacIntyre wrote:
> On Wed, 15 Jan 2003 10:54:38 -0000, "Kevin Aylward"
>> Don Pearce wrote:
>>> On 15 Jan 2003 10:01:15 GMT, email@example.com (Gibbo)
>>>> 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.
> Which is why I always tune with octaves. They can, of course use the
> octave-fifth harmonics if they know how many beats there should be.
Indeed. As I noted elsewhere, I used to use a table and time the beats
in doing a circle of fifths when tuning organs, abut 25 years ago.
The issue I was addressing was that most musicians don't actually know
the technicalities of music, e.g. the equal tempered, flattened fifth
scale resulting from a constant 12th root of 2 ratio between each
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