A text-book of physics: Sound (Fourth Edition) by J. H Poynting and J. J. Thomson

By J. H Poynting and J. J. Thomson

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The third dimension involves the existence of high-frequency inharmonicity during the attack, for instance, the noise-like scrape of a violin bow. They propose that this corresponds to a subjective scale of “soft” versus “hard” or perhaps a “calm” versus “explosive” dichotomy. 2 Analogies with Vowels The perceptual effect of spectral modifications are often not subtle. Grey and Gordon [B: 63] state that “one hears the tones switch to each others vowel-like color but maintain their original ... ” As the spectral distribution in speech gives vowels their particular sound, this provides another fruitful avenue for the description of timbre.

The third dimension involves the existence of high-frequency inharmonicity during the attack, for instance, the noise-like scrape of a violin bow. They propose that this corresponds to a subjective scale of “soft” versus “hard” or perhaps a “calm” versus “explosive” dichotomy. 2 Analogies with Vowels The perceptual effect of spectral modifications are often not subtle. Grey and Gordon [B: 63] state that “one hears the tones switch to each others vowel-like color but maintain their original ... ” As the spectral distribution in speech gives vowels their particular sound, this provides another fruitful avenue for the description of timbre.

7. The discrepancies are likely caused by small nonuniformities in the composition of the bar or to small deviations in the height or width of the bar. The high-frequency junk is most likely caused by impact noise, the sound of the stick hitting the bar, which is not included in the theoretical calculations. As with the string, it is possible to discover these partials yourself. Find a cylindrical wind chime, a length of pipe, or a metal extension hose from a vacuum cleaner. Hold the bar (or pipe) at roughly 2/9 of its length, tap it, and listen closely.

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