Klarinet Archive - Posting 000413.txt from 2001/02

From: Bill Hausmann <bhausmann1@-----.com>
Subj: Re: [kl] Combination tones
Date: Sun, 11 Feb 2001 22:22:02 -0500

At 01:47 AM 2/12/2001 +0000, Tony Pay wrote:
>On Sun, 11 Feb 2001 19:57:30 -0500, bhausmann1@-----.com said:
>
>
> > I think one of the caveats that has been missing from this discussion
> > is that the original tones need to be rather simple in the first
> > place.
>
>You mean that a trombone and a trumpet don't satisify that stricture.

Yes. Too may overtones in the original waveforms.

>Well, you certainly get difference tones with complex musical imputs,
>that is, tones produced by ordinary instruments like flutes, oboes,
>clarinets.
>
>But they're not *too* much of a mishmash:-)
>
> > assuming it was at audible levels at all, and then only on sustained
> > notes. Does that make any sense?
>
>Beyond what I've commented on, your last two sentences don't say much to
>me.
>
>But perhaps I haven't understood you.

My assumption is that the resultant waveform would be so complex as to be
essentially meaningless, that is, noise. Also, it is unlikely that one
would detect such relatively low-level notes, unless resulting from very
pure generating tones, in rapidly moving musical passages. On the organ
recording I cited earlier, the resultant bass was most effective on pedal
points, and the Open Bass generating tones were shown on the oscilloscope
as nearly perfect sine waves.

Bill Hausmann bhausmann1@-----.com
451 Old Orchard Drive http://homepages.go.com/~zoot14/zoot14.html
Essexville, MI 48732 ICQ UIN 4862265

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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