All you mentioned is real, and of importance to the artist as well as the listener.
However, the subtle nature of a brickwall so close to our hearing capability is not the same as what you mention. What you speak of will most assuredly not be altered by the CD process.
Jn
I bet there is no chance you’ll find that (i.e. such short rise time of the sound onset) happening with any acoustic musical instrument (human voice included) , let alone an electric guitar with magnetic pick-ups.
Again John, you stretch the hypothesis too much (N/A for for CD Fs/2) but the answer would be "yes" and it is known.
“The constantly changing relationship of the intensities of the partials occurring during the build-up of the sound is responsible for the real content of the sound in the sense of development of color modulation. We know from experience that the ear does not perceive such very irregular fluctuations at the onset. The explanation for this lies in the fact that the inertia of the hearing mechanism causes the fluctuations over a period of time to be integrated, as will be explained in detail below. Thus one speaks of a time constant of the ear, approximately 50milliseconds
...
In musical sounds the characteristic overtone spectrum (formant) and the onset and decay transients are of equal importance. This is unfortunately overlooked in recent works on musical aesthetics, which again and again deal only with the stationary part of a sound through it’s overtone structure.”
Please visit the link and go through Chapter III (I ‘d suggest the whole book 🙂 )
Music, Sound and Sensation: A Modern Exposition - Fritz Winckel - Βιβλία Google
George
Attachments
I was speaking in terms of localization. What you point out is entirely different.
The string example was to show the transient nature of our music. Considering only steady state response for something that by design is transient, in not quite completed imho.
Jn
The string example was to show the transient nature of our music. Considering only steady state response for something that by design is transient, in not quite completed imho.
Jn
They are not strings.
Edit 1 of course, the violin is, but not in the sense of plucking a string.
Edit 2 even in the case of plucking a string, I expect a gradual onset. The string does not make sound, but the sound board, and this will require some cycles to gear up I suppose.
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I think it is relevant because it's about the spectral and temporal content of the transient, both of which could be distorted by a filter
But the analytic signal is computed with FFT's. It might be good to get away from the example with no carrier. In telecom attenuating one of the sidebands or changing it's phase is a serious distortion.
I think a more accurate way of modeling something like a cymbal hit is several resonances with their own build up and decay. More like carrier based AM sidebands.
Perhaps relevant to the discussion of Fs: I did an informal survey of measure guys and asked what kind of Fs they like in their digital scopes. The answer was 4-5 times the frequency of interest.
dave
dave
I am glad to see you taking the proper measures to control your blood cholesterol level 😉
George
I’m just after the assertions you are bringing forward and keep repeating without listening.
So far you haven’t proved anything that wasn’t obvious to start with or doesn’t deserve the word “prove”.
I’m sure you disagree so I challenge you to come with a list of the bulk of things as you mention that you have proved and I can assure you that I will give you a positive feedback on every point where I agree without prejudice.
Hans
I brought this up a few miles of pages back. made no difference then, either.
At least 4-5 times if not much more. How much detail do you want to include or willing to miss?
THx-RNMarsh
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Words of wisdom.
My concern is, how would you figure out what that cello sounded like in that recorded environment? Unless you were there and (hopefully) your aural memory stays fresh enough till you audition the replayed version, how would you know? Say, Yo Yo Ma's Bach: Cello Suite No. 1 in G Major. I would love to know how you figure out the accuracy of the replaying version of that.
Just like the ESL 63 that was supposed to restrict BW with a lower mains supply ?
Can you remember who originated this ?
Hans
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Words of wisdom.
My concern is, how would you figure out what that cello sounded like in that recorded environment? Unless you were there and (hopefully) your aural memory stays fresh enough till you audition the replayed version, how would you know? Say, Yo Yo Ma's Bach: Cello Suite No. 1 in G Major. I would love to know how you figure out the accuracy of the replaying version of that.
I covered that already. In room live listening comparison will tell how accurate your system is. I gave a brief run down on the How-to.
THx-RNMarsh