2003-04-02 -+- Mathias -+- tirti@gmx.de -+- I liked the article very much. Great idea to make such an off topic article for the magazine -+- 217.87.229.251 = Mozilla/5.0 (compatible; Konqueror/3.1; Linux)
2003-05-13 -+- Lyle -+- -+- Nice article; I learned a few things very easily that I had heard of before but didn't understand. Thanks! -+- 64.42.221.134 = Mozilla/5.0 (compatible; Konqueror/3.1; Linux; en_US, POSIX)
2003-07-25 -+- Henri Cjhapelle -+- henri.chapelle@skynet.be -+- Thank you for this article,
ce qui se conçoit bien s'énnonce clairement,
the author is the king of vulgarisation, great job man!
-+- 194.78.151.92 = Mozilla/5.0 (Windows; U; Windows NT 5.0; en-US; rv:1.5a) Gecko/20030721 Mozilla Firebird/0.6
2003-08-27 -+- JLVAT -+- jlvat@libertysurf.fr -+- see the website
http://www.snoozland.com/tsa/
It deals with signal processing.
good reading
-+- 195.6.68.108 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1)
2003-10-21 -+- barn -+- arnaud.bardet-renexter@renault.com -+- I have a very simple question :
We only have two ears. We can determinate with it, if a sound comes from front or rear.
Why can't we simulate this with only 2 speakers like headphones ?
Why 4 or more speakers are needed ?
Thanks for your answer.
Barn.
(France) -+- 193.194.133.6 = Mozilla/4.0 (compatible; MSIE 5.5; Windows 98; Renault)
2003-11-24 -+- ROLAND -+- rlefebvre@hamamatsu.fr -+- Your formula to calculate the frequencies is nice but too complicate for me. I prefer to use another one which is more understandable: between 2 octave you have 12 half tones and in one octave you have frequency multiplied by 2 . Consequenly between 2 half tones you have a ratio egal to square roote of 12 , that is 1.0595.
Example : Do at 32.7 Hz, x 1.0595=34.65 Hz
Example : mi at 41.2Hz x1.0595= 43.65 Hz that is fa
A good web site on this matter is
http://www.ac-nantes.fr/peda/disc/scphy/dochtml/gammes/piano.htm#bo -+- 212.37.202.131 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1)
#2004-03-16 -+- güneş kibar" -+- kibar84@yahoo.com -+- sizi çok teşekkür ederim fizikten osiloskop deneyim vardı ve osiloskobu kulanarak insan kulağıunın duymA Aralıklrını inceliyorduk siteniz oldukça bilgilendirici ayrıca müzikle uğraşan biri olarak çok memnun kaldım kendim piano ve yanfülüt çalıyorum ve oktavlar araSındaki farkları görmek çok güzel birşey gerçekten çok teşkkürederim çalışmalarınız devamnı dilerim -+- 81.215.8.144 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1; YComp 5.0.2.6; FunWebProducts)
2004-05-03 -+- Ben TESS' -+- Ptitben60@aol.com -+- Désolé de parler en français...
Ce site est vraiment très bien fait, très complet pour un niveau moyen et m'a beaucoup pour un exposé, et me motive encore plus à poursuivre mes études dans le son.
Merci beaucoup et à très vite sur le site... -+- 81.48.231.58 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1)
2004-06-23 -+- tawfik shabaka -+- drtawfik1@yahoo.com -+- i like this valiable information
and i appreciate youer efforts -+- 212.138.47.12 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1)
#2004-11-23 -+- Hanibal -+- -+- this article is the badest shit I ever heard.You are so silly that my Cat can beat you in chess. -+- 195.14.253.154 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.0)
#2005-01-17 -+- stéphane -+- soket440@caramail.com -+- Please, i search a french book about the sound. Can you help me? thanks. -+- 81.50.116.235 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1)
#2005-01-19 -+- Birlybird the Bletherskate -+- nrmnffrnch@hotmail.com -+- "Et la musique dans tout ça?" /So what about music?
Thank you for your useful, clear articles!
Allow me to disagree with you when you say: "On retrouve bien les raisons pour lesquelles un accord est parfait (Do-Mi-Sol-Do) ou de 7ième (Do-Mi-Sol-Si b): Les fréquences des notes de l'accord sont en concordance avec celle de la note fondamentale. C'est magique."
Actually, ever since Pythagoras, we know it is NOT magic!! These notes do NOT agree!!
If you compare this chart('Harmoniques et accords')with 'Notes et fréquences pures' you will note:
1)that, right enough, the fundamental(f) and harmonic(h) DO/C's do match; (do1:h=f=32,7/do2:h=f=65,4/etc) BUT:
2)that there is a SHARP DISCREPENCY between the f & h values of: mi:h;163,5/f;164,8 and sol:h;196,2/f;196,0.
There can be no "Accord parfait" at least in Classical/tempered terms!
(nor can there be a perfect 7thchord when: sib(h)=228,9 & siB(f)=233,1).
Moreover, if we were to match the fundamental value of these notes to that of the harmonics in a scale, we would lose our major scale (which doesn't agree with the 'natural scale' based on the first harmonic series) for our (western)ear wants to hear the major third as a different, higher harmonic (5:4ratio). There is no concordance therefore no ideal solution: Reality resists!
I DO NOT POINT THIS OUT BECAUSE I'M A PURIST ("Les puristes auront remarqué que cette formule ne différencie pas les demi-tons diatoniques et chromatiques. Ils peuvent toujours refaire les calculs en prenant un coma comme unité plutôt que le demi-ton...") BUT BECAUSE I'm a musician: as can be illustrated by Arabo/Ottoman maqam theory and other ethnomusicological evidence (including Siberian uses of overtones in throatsinging and jewsharp music, 'ghost harmony' in Cistercian and Sardinian choral music, etc) and of course JSBAch's concerns with temperaments/harmony (For a discussion of what "wohltemperirte" implies, see: http://www.motherbird.com/grubaugh.html or see exemple below(*) for a 'non-tempered','exotic' approach to the problem.) we know THESE DISCREPENCIES MATTER -dearly-!
THESE few CENTS & COMAS ARE THE VERY STUFF OF MUSIC, they are what give colour, character to different instruments and traditions, without them: no identity, no pathos, no humanity; they're the reason why, say, accordions can potentially 'kill' a traditional Cajun or Irish sound or why technicians and producers should think twice/be extra carefull before mixing/sampling keyboardy stuff and, say, bagpipe sounds...
(*)e.g.: The Scottish bagpipe chanter(ie:oboe) is so in tune with its drones (where careful consideration of harmonics/overtones natural harmonies between each degree of the scale and the drones is traditionnaly taken) that when the piper plays a tune in the eolian/minor key it is with the drones sounding A FULL TONE BELOW, that is(as pardoxal as it may seem(but nor sound to a discerning ear)): IN TUNE! (and, this is my point: if a drone tuned to the tonic of the minor scale was to be substituted to(Anyone still listening?)the normal drones (=dominant of the major scale, = tonic/fundamental of the usual mixolydian scale) then the tune would not sound right because of the fundamental/harmonic values discrepencies described above... (get it?)
-Well, sorry for this musical foray into the world of acoustics guys but it had to be said! Without the rich world of human sounds and music out there, acoustics wouldn't be worth a broken fiddlestick! -+- 217.41.240.15 = Mozilla/4.0 (compatible; MSIE 6.0; Windows NT 5.1; .NET CLR 1.0.3705)
2006-01-19 -+- charles thérésy -+- f.theresy@wanadoo.fr -+- I'm looking for informations on the treatment of sound (voice , words) by COCHLEAR IMPLANTS. I'd like to understand how the processor switches a continuous information ( a sound) to a discontinuous information (a pulse). How is it chosen , how do filters work?
If you can answer me , I'd love to receive your mail at f.theresy@wanadoo.fr
Thank you -+- 82.120.60.130 = Mozilla/5.0 (Macintosh; U; PPC Mac OS X; fr) AppleWebKit/412 (KHTML, like Gecko) Safari/412