Re: Overtones


Subject: Re: Overtones
From: Jay Smalridge (inadaze@mac.com)
Date: Mon Jun 28 2004 - 14:16:06 EDT


Hi,
I was wondering if you could elaborate for me:
When you say:
"Instruments with more than one sound generator (e.g. anything with multiple
>strings, or any ensemble) produce complex phase cancellation effects in the
>overtone structure which also affect the perceived sound."

do you mean that if more than one note is playing(on purpose or by accident) then there will be phase cancellation?

and also when you say that pitch is important too, did you mean the note being played, as in the frequency of the note?

Thanks
Jay
On Monday, June 28, 2004, at 08:59AM, Richard Wentk <richard@skydancer.com> wrote:

>At 08:22 28/06/2004 -0700, you wrote:
>>Hello,
>>I was researching the differences in musical instruments when someone told
>>me that the main difference is the amount of overtones after the
>>Fundamental frequency. Is this true?
>
>More or less. But don't forget:
>
>The overtone patterns evolve as a note plays
>Real instruments don't have simple overtone patterns. Most are inharmonic
>to at least a small extent.
>Instruments with more than one sound generator (e.g. anything with multiple
>strings, or any ensemble) produce complex phase cancellation effects in the
>overtone structure which also affect the perceived sound.
>
>>Could I distiguish instruments from one another just by counting the
>>amount of overtones?
>
>For a good first approximation you can identify instruments using just the
>loudness and frequency distribution of overtones. Even a static snapshot is
>a much better start than it should be.
>
>But to really characterise the timbral structure you need to look at the
>envelope of each overtone as well, and also the way the overtones change
>with differences in playing technique (dynamics, at the very least.) And
>pitch too.
>
>Richard
>
>
>
>



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