|
| |
| | Equal temperament - Wikipedia, the free encyclopedia |
 | | Australian aboriginal music extensively measured by Ellis (1965) was based on arithmetic scales (the harmonic series is an arithmetic scale, though presumably the Australian scales began an interval smaller than an octave) with an equal separation in hertz. | | | Twelve tone equal temperament was introduced in the West to permit the playing of music in all keys with an equal amount of mis-tuning in each, without having to provide more than 12 pitches per octave on instruments, while still roughly approximating just intonation intervals. | | | The best known example of such a system is twelve-tone equal temperament, sometimes abbreviated to 12-TET, which is nowadays used in most Western music. |
|
http://en.wikipedia.org/wiki/Equal_temperament
(1760 words)
|
|
| |
| | Recorder Fingering Systems |
| | The impetus was quite obviously a pedagogical one: it made the transition from recorder to a modern woodwind much simpler for a schoolchild. | | | What they were attempting to do, quite simply, was to redesign the recorder so that its fingering for the fourth scale degree in both octaves was identical to that of modern woodwind instruments such as the flute, clarinet, and saxophone. | | | As may be gleaned from the above comparison chart, the fingerings for the fourth scale degree in both octaves are identical and greatly simplified from historical recorder fingerings. |
|
http://www.aswltd.com/finger.htm
(1448 words)
|
|
| |
| | Relating Tuning and Timbre |
| | The octave, at an interval of 2, sounds very dissonant and unoctavelike. | | | One implication is that the musical notion of consonance of intervals such as the octave and fifth can be viewed as a result of the timbre of the instruments we typically use. | | | Three octaves of the dissonance curve for this FM timbre are plotted below. |
|
http://eceserv0.ece.wisc.edu/~sethares/consemi.html
(4740 words)
|
|
| |
| | MS Excel: Averaging RT 60 values for room-acoustics |
| | The first approach, hence taking the center band of the 1/3 octave bands as being representative for the corresponding 1/1 octave band is NO good approach. | | | The center-frequency (f) of any 1/1 octave band equals the center-frequency of the second (center) 1/3 octave band covering the same frequency range. | | | In the latter case the 1/1 octave band RT60 value represents a single-number rating of the corresponding 1/3 octave bands. |
|
http://www.acoustics-noise.com/AveragingRT60.shtml
(7489 words)
|
|
| |
| | [No title] |
| | That is, such common intervals as the fourth and fifth and major and minor thirds and sixths depend for the consonance and their definition upon the presence and relative amounts of harmonic overtones in the sound of the instruments playing them. | | | Conventional acoustic instruments like violins and horns are hardly suitable for this kind of investigation of tuning-systems that split the octave into such minuscule units. | | | Fine and dandy, if you are a music theorist writing a scholarly article, or an instrument-builder trying to figure out some kind of special instrument that would be capable of playing conventional harmonic music in just intonation and modulating to a number of different keys. |
|
http://sonic-arts.org/darreg/XHB11.HTM
(14507 words)
|
|
| |
| | Command Line ~ CDP Get and Use FORMANT Data |
| | Essential information: the logarithmic nature of the pitch scale means that as one goes higher, an increasingly wider band of frequencies is encompassed by the 'octave'. | | | As discussed in FORMANTS GET above, linear frequency-wise divides into absolutely equal frequency bands, while linear pitchwise divides octaves (of varying frequency widths) into equal-ratio bands, but these bands will vary in size from octave to octave, wider as one goes higher. | | | You are also able more easily to think in terms of normal musical terminology for intervals. |
|
http://www.bath.ac.uk/~masjpf/cdp/cformant.htm
(2202 words)
|
|
| |
| | Phil Higham's Music Page |
| | This song is a bit "harder" than some of the others, for you NIN fans. | | | Bloop - the piano lead on the third round changes from single notes to double-tracked notes, one an octave below, and the other an octave above, the original. |
|
http://www.soton.ac.uk/%7Ehigham/music/music.html
(240 words)
|
|
| |
| | MXR Blue Box |
| | on vocals, the octave down became blurry with any fuzz blended in (...but it was awesome to run a 50/50 blended vocals into another distortion...so that just touching or breathing on the mic produced an ungodly fizzing that dies away evenly). | | | The tracking was absolutely dreadfull but worse than that, the fuzz tone that the Octave sound was derived from was just noise. | | | Mix it up for that good ol fuzz octave sound. |
|
http://www.harmony-central.com/Effects/Data/MXR/Blue_Box-01.html
(18940 words)
|
|
| |
| | Command Line ~ CDP Spectral Information |
| | -ffundamental Octave bands are centred on octave transpositions of fundamental, given in Hz. | | | PEAK searches the spectrum for the time-varying peak energy, i.e., the highest amplitude within the given frequency band. | | | SPECINFO OCTVU – Text display of the time-varying amplitude of the spectrum, within octave bands |
|
http://www.bath.ac.uk/~masjpf/cdp/cspecinf.htm
(1964 words)
|
|
| |
| | TTSS CD-ROM contents |
| | This guitar has 19 tones in each octave, the melody dances pensively on a delicately balanced timbre. | | | If you weren't listening carefully, you might imagine that this was a real guitar, tuned normally, and played skillfully. | | | Since the structure of the timbres are matched to the structure of the scale, these nonoctave intervals can be consonant, even as the (real) octave is dissonant. |
|
http://eceserv0.ece.wisc.edu/~sethares/html/soundexamples.html
(3833 words)
|
|
| |
| | Rocket |
| | The most interesting and exciting thing about this song is the prominent the of the Boss Octave pedal in combination with the slide/bend guitar. | | | This creates a very thick pseudo-synth guitar sound that make this song what it is. | | | Turn the direct volume all the way down and turn Octave & Octave 2 all the way up, and break out the slide. |
|
http://www.geocities.com/SunsetStrip/Towers/9421/rocket.htm
(352 words)
|
|
| |
| | Spectrum Analyzer and Equalizer Designs |
| | Besides its obvious uses--for adjusting octave or one-third octave room equalizers--a spectrum analyzer can also be used to check the response of a tape recorder, or even help identify the rumble frequencies in an air conditioner. | | | First, the center frequencies must be chosen as well as the number of bands. | | | per octave, since this is the minimum amount of attenuation obtainable with a single resistor and capacitor. |
|
http://www.ethanwiner.com/spectrum.html
(4621 words)
|
|
| |
| | Scale - Open Dictionary |
| | (music) a series of notes spanning an octave, tritave, or pseudo-octave used to make melodies | | | , musical scale -- ((music) a series of notes differing in pitch according to a specific scheme (usually within an octave)). | | | Part of an overlapping arrangement of many small, flat and hard pieces of keratin covering the skin of an animal, particularly a fish or reptile |
|
http://open-dictionary.com/Scale
(568 words)
|
|
| |
| | Octave TutorGig.co.uk - The Tutorial Website |
| | Popular Music See all 216 results in Octave.. | | | Sacred Spirit 2 - More Chants and Dances of Native America, by Higher Octave | | | Find the Best Sites For Octave With Starware |
|
http://www.tutorgig.co.uk/searchweb.jsp?keywords=Octave
(429 words)
|
|
| |
| | Pseudo-octave - Wikipedia, the free encyclopedia |
| | One example being the stretched octave: 2.1:1, which sounds out of tune played with harmonic overtones, but sounds strange but in tune when played with tones whose overtones are stretched equivalently, while the 2:1 octave then sounds out of tune. | | | The octaves of Balinese gamelans are never tuned 2:1, but instead are stretched or compressed in a consistent manner throughout the range of each individual gamelan. | | | A pseudo-octave is an interval whose frequency ratio is not 2:1, the definition of an octave, but is treated in some way or ways equivalent to this ratio. |
|
http://en.wikipedia.org/wiki/Stretched_octave
(129 words)
|
|
| |
| | Teledu Records - Independent and New Zealand Music Catalogue |
| | The packaging is rather special too, featuring a series of cards inspired by each song. | | | 4 individual tracks, huge overdriven 'transitional-zone' muzak through to gestural tape-collage." - Pseudo Arcana. | | | All the source sounds come from the 'Tibetan' instruments which were lying around a house I was staying in and were rendered using #indow$ 'sound-recorder32' only. |
|
http://teledurecords.com/frameset.ptm?state=browseNZ
(1979 words)
|
|
| |
| | Hyperstition: Qabbala 101, Part 3. |
| | In order, they are: Do, Re, Mi, Fa, Sol, La, Ti, and Do (for the octave). | | | musonomic geeking also highly appreciated - definitely need more of this stuff - any comments on transcultural comparisons of musical 'common sense' and the arbitrariness of the octave? | | | Second, of course it should be noted that the 'western' scale is a 7 _or_ 12 tone system (7 whole tones unevenly distributed in 12 semitones.) that could be understood as base-8 or -13 with octave ascension as place-value. |
|
http://hyperstition.abstractdynamics.org/archives/004746.html
(3538 words)
|
|
| |
| | Essex University |
| | Octave - An octave is the interval between two tones when their frequencies are in the ratio 2:1. | | | For example, a sinusoid may be modulated in frequency or in amplitude. |
|
http://privatewww.essex.ac.uk/~cplack/Courses/PS454_hbk.html
(15557 words)
|
|
| |
| | Category:Intervals |
| | [Mac] Practice and be quizzed on the various intervals of the 12 tone western music octave division. | | | It fetches web pages at defined intervals and if the page has changed, warns you. |
|
http://www.omniknow.com/common/wiki.php?in=en&term=Category:Intervals
(1164 words)
|
|
| |
| | RollingStone.com: Octave : The Moody Blues : Review |
| | The Moody Blues' reunion album faithfully recreates a signature sound almost certain to be regarded as tomorrow's camp: simple rock and folk tunes blown up into a pseudo-classical, quasi-religious choral music, driven by plodding, militaristic rhythm tracks and mixed into a turgid murk that blurs the distinction between rock and orchestral instrumentation. | | | While Octave claims two passable songs–"Had to Fall in Love" and "Driftwood," both by Justin Hayward–neither approaches the memorability of "Nights in White Satin" and "Question," the only instances in which the Moody Blues have created tunes to match the grandiosity of their aural style. | | | Though there's a touching sincerity about this quintet's collective persona as unspoiled, aging hippies continuing to grope for happy endings and final essences, sincerity is no substitute for ideas, particularly in an idiom so fraught with Wagnerian pretensions. |
|
http://www.rollingstone.com/reviews/album/_/id/258279/themoodyblues?pageid=rs.ArtistDiscography&pageregion=triple1
(211 words)
|
|
| |
| | gnu octave |
| | The name has nothing to do with music. | | | Octave is a free computer program for performing numerical computations, which is mostly compatible with MATLAB. | | | Because Octave is made available under the GNU General Public License, it can be freely copied and used. |
|
http://www.fact-library.com/gnu_octave.html
(153 words)
|
|
| |
| | OCTRON2 |
| | The result is probably the best tracking you'll ever get from an analog octave divider. | | | It tracks your dynamics and has more pre-divide gain and filtering. | | | There's an internal drive/gain trimmer and a tone trimmer, so you can dial in octave sounds that range from pseudo-clean to screaming and bright. |
|
http://www.foxroxelectronics.com/octron2.html
(196 words)
|
|
| |
| | HP / Agilent 3561A - TestEquity |
| | The analyzer also has a built-in tracking generator for stimulus-response measurements. | | | The 3561A incorporates a 40K sample time buffer for later measurements and allows for acoustic measurements with its FFT-synthesized 1/3 and 1/2 octave measurements, together with the built-in analog A-weighted filter. | | | Performs spectrum analysis, FFT-synthesized 1/3 and 1/1 octave analysis |
|
http://www.testequity.com/productprint/480
(166 words)
|
|
| |
| | John Greschak - Lines in the Air: A One-Act Play: Page 9 |
| | Methodus: How are you planning to notate this? | | | Suppose you stretch or compress this timbre by the same factor by which you stretched or compressed the scale. | | | Primus:...Well...according to The New Harvard Dictionary of Music, an octave is "an interval bounded by two pitches with the same pitch names and the higher of whose frequencies is twice the lower". |
|
http://www.greschak.com/plays/lita/lita9.htm
(11454 words)
|
|
| |
| | CAL291 Residual Intensity Calibrator |
| | The digital filters of the Larson Davis analyzers provide both amplitude and phase, permitting the measurement of the complex transfer function between two measurement channels, including microphones, in 1/3 octave bands by using the CAL291 to excite both microphones with broadband noise. | | | From this a correction function can be generated within the analyzer to correct for any amplitude and phase errors which may have existed between channels previous to the normalization procedure. | | | OPT 11 Digital Signal Generator; Sinusoidal, pink or white broadband noise, 1/3 octave bandlimited pink pseudo random noise and white pseudo random noise |
|
http://www.lardav.com/CAL291.html
(412 words)
|
|
| |
| | [No title] |
| | Ooops, I realise I actually want to find the power of one matrix raised to > the other.... | | | for example : > int r=64, p=3; > RowVector onesP(p+1,1); > ColumnVector onesR(r,1); > ColumnVector spanR(r); > RowVector spanP(p+1); > > In octave pseudo code I would like to find the following : > b=(spanR * onesP).^(onesR * spanP); > Any ideas ? | | | > thanks > Matt > > > > ----------------------------------------------------------------------- > Octave is freely available under the terms of the GNU GPL. |
|
http://www.octave.org/mailing-lists/help-octave/2000/1256
(274 words)
|
|
| |
| | Bohlen-Pierce scale |
| | Despite being a harmonic scale, instead of an octave, a ratio of 2:1, the scale uses the "tritave", 3:1. | | | In traditional terms it is the interval of an octave and a fifth. | | | The Bohlen-Pierce Site: Web place of an alternative harmonic scale |
|
http://www.sciencedaily.com/encyclopedia/bohlen_pierce_scale
(350 words)
|
|
| |
| | Bohlen-Pierce scale |
| | This means that its pitch classes are based on the interval 3:1 (tritave or "perfect 12th" in diatonic nomenclature) rather than the 2:1 (octave). | | | While most scales have octave-equivalence, the BP scale instead has tritave equivalence. | | | Though Bohlen originally expressed the BP scale in just intonation, a tempered form of the scale, which divides the tritave into 13 equal steps, has become the most popular form. |
|
http://www.worldhistory.com/wiki/B/Bohlen-Pierce-scale.htm
(292 words)
|
|
| |
| | pseudo |
| | Comparisons to pseudos are invoked as a colossal insult to tell a user that his rantings resemble not his own posts, but a parody of his posts. | | | Pseudos have been used in the past to post flames and fool forum participants into thinking one of their own has adopted an additional screenname and used it to flame. | | | Pseudos analyze thousands of words of text of a forum member's postings, and generate randomly new posts from that data that are supposed to resemble a satire on the forum participant's style. |
|
http://www.fact-library.com/pseudo.html
(198 words)
|
|
| |
| | tunes: this is not for realsies |
| | I submit this tune as proof that the 2:1 ratio is irrelevant to the brain's recognition of the octave-class interval. | | | 88cET has no octave and thus falls into the enormously large set of beautiful and exotic non-octave tunings. | | | In 88cET, the notes are 88% closer together in pitch than in the tuning Western instruments (particularly synthesizers) are tuned to. |
|
http://www.nonoctave.com/tunes/TNFR.html
(2566 words)
|
|
| |
| | phpMan: speaker(4) |
| | (The octave-locking feature is not supported in IBM BASIC.) > Bump the current octave up one. | | | A note letter may optionally be fol- lowed by an ``accidental sign'', one of # + or -; the first two of these cause it to be sharped one half-tone, the last causes it to be flatted one half-tone. | | | There are 84 accessible notes numbered 1-84 in 7 octaves, each running from C to B, numbered 0-6; the scale is equal-tempered A440 and octave 3 starts with middle C. By default, the play function emits half-second notes with the last 1/16th second being `rest time'. |
|
http://www.ournet.md/~freebsd/divers/man.php/man/speaker/4
(985 words)
|
|
| |
| | Wave Digital Systems |
| | DRIVE - controls distortion of the fundamental and sustain of the octave | | | Its 'Texture' and 'Mode' switches will take your sound from the vintage scream of a Tycho Brahe Octavia(®) to a clear, sweet, singing octave that Kathleen Battle would envy, while the 'Max' control lets you blend in your original note as clean or crunchy as the fans demand. | | | VOLUME - controls overall level of effect to balance or contrast with bypass mode |
|
http://www.wavedigital.com/heliumchaos.htm
(340 words)
|
|
| |
| | guitargeek Arion MOC-1 Octave |
| | If you need spot-on tracking get the Boss OC-2 but if you’re after a fun and loose experimentation the Arion is the one. | | | While the tracking isn’t nearly as dependable as the Boss, the Arion pedal has it’s own little charming personality. | | | It’s somewhat comforting to know that the results, as random as they are, are actually dependable. |
|
http://www.guitargeek.com/gearview/93
(151 words)
|
|
| |
| | Generating Procedural Clouds in real time on 3D HW - Intel® Software Network |
| | It would follow then, that these are also more significant in their contribution to the cloud texture's luminance and color. | | | Figure 3: The source noise texture for a single octave (32x32), a version that has been smoothed, and the smoothed version upsampled to a 256x256 texture with filtering. | | | Figure 4: Interpolation and compositing of noise octaves |
|
http://www.intel.com/cd/ids/developer/asmo-na/eng/segments/20534.htm?page=5
(887 words)
|
|
| |
| | graphic equalizer software |
| | A graphic equalizer is a powerful tool that characterizes and enhances audio signals. | | | It enables the addition of 12 dB of boost or cut at any of 15 bands centered around ISO 2/3 octave frequencies from 20Hz to 20kHz. | | | This two channel system offers completely independent channel control. |
|
http://www.anwida.com/graeq.asp
(242 words)
|
|
| |
| | GameDev.net - Simple Clouds Part 1 |
| | These two features make Perlin Noise perfect for the procedural generation of anything with a pseudo random appearance. | | | A Perlin Noise function is a seeded pseudo random number generator. | | | The second octave is a blowup of four 32*32 maps to four 128*128 maps which are tiled together. |
|
http://www.gamedev.net/reference/articles/article2085.asp
(1057 words)
|
|
| |
| | [music-dsp] Pseudo equalization code.. |
| | Im just looking for a simple psuedo code of a 1 octave adjustable cut/boost EQ style filter. |
|
http://shoko.calarts.edu/pipermail/music-dsp/2003-August/024412.html
(82 words)
|
|
| |
| | DSP Generation of Pink Noise |
| | Apparently the suggested algorithm is adding successive noise sources where each source is an octave below the previous one, and all have the same level. | | | A straightforward example would be that there is as much noise power in the octave 200 to 400 Hz as there is in the octave 2,000 to 4,000 Hz. | | | White noise has the same distribution of power for all frequencies, so there is the same amount of power between 0 and 500 Hz, 500 and 1,000 Hz or 20,000 and 20,500 Hz. |
|
http://www.firstpr.com.au/dsp/pink-noise
(5450 words)
|
|
| |
| | Leo Shi Golden Cup by Pat Missin |
| | The first model is a 24-note 48-reed tremolo in harmonic minor tuning. | | | This model is available in the keys of Em, Gm, Am, Cm and Dm, using the typical Asian pseudo-solo layout, giving three full octaves of the harmonic minor scale, with an extra note added at both the low end and high end. | | | They all have a brown plastic comb and nice chrome plated brass covers, unlike the cheap aluminium covers found on many Chinese tremolo harps. |
|
http://www.planetharmonica.com/ph5/VE/Pat/LeoShiGoldenCupPatUK.htm
(623 words)
|
|
| |
| | [No title] |
| | This set of wavelets overcomes the limitations of ordinary wavelets given by octave band resolution or by rational sam-pling rate filterbanks. | | | The frequency bandwidths of the basis sequences may be arbitrarily designed by selecting a single parameter for each scale level. | | | The new wavelets are complete, orthonormal and dyadic; nevertheless their bandwidth is not constrained to be one octave, rather it may be designed by selecting a set of parameters. |
|
http://www.na.infn.it/mfa/acust/abstra.html
(4704 words)
|
|
| |
| | The Colors of Noise |
| | Each octave contains the same amount of power. | | | Grey noise (heard this one a couple of times, but can't put my finger on a source) noise subjected to a psychoacoustic equal loudness curve (such as an inverted a-weight curve) over a given range of frequencies, so that it sounds like it is equally loud at all frequencies. | | | Is not named for a power spectrum that suggests the color brown, rather, the name is a coruption of Brownian motion. |
|
http://www.ptpart.co.uk/colors.htm
(968 words)
|
|
| |
| | Meigs' syndrome (www.whonamedit.com) |
| | Further descriptions 1887 by Albert Jean Octave Demons (1842-1920) of France, 1892 by Robert Lawson Tait (1845-1899) of England. | | | Otto Spiegelberg (1830-1881) in 1866 first described a patient with fibroma, ascites, and hydrothorax, and erroneously concluded that the diagnosis was “ovarian pregnancy.” Next description in 1879 by Charles James Cillingworth (1841-1908). |
|
http://www.whonamedit.com/synd.cfm/2351.html
(489 words)
|
|
| |
| | [No title] |
| | > There should be a very clear distinction/command if someone wants a > pseudo inverse solution, due to the fact that the result is not exact. | | | (on 05/03/04): > Well if that is what is what the documentation says then it is OK. > > But I absolutely dislike the "pseudo inverse" exception. | | | It only reduces to a pseudo inverse since b is a vector. |
|
http://www.octave.org/mailing-lists/bug-octave/2004/321
(200 words)
|
|
| |
| | Epiphany |
| | The faithful have left Paradise, but they are now able to begin the move back. | | | The Concordia specifies that certain antiphons for Christmas are to be repeated until the Octave day, and two sets of antiphons in the Leofric Collectar are labeled Antiphone de Natale Domini usque Oct. Domini and De Sancta Maria usque Oct. Domini, demonstrating a sense of octave unity. | | | In the late fourth and early fifth centuries, Christmas spread to the east and Epiphany to the West, and Christian writers such as Augustine struggled to iron out the redundancies. |
|
http://mywebpages.comcast.net/bbedingfield/thesis/epiph.html
(605 words)
|
|
| |
| | ETF Acoustic Measurement Software |
| | ETF software is a highly accurate PC based acoustic measurement system designed to meet the needs of both hi fi enthusiasts and professionals. | | | Impulse response, energy - time curves, fractional octave frequency response, unsmoothed frequency response, phase, SPL, cumulative spectral decay, RT/60, clarity, definition, and propogation delay are provided. |
|
http://www.etfacoustic.com
(334 words)
|
|
| |
| | [No title] |
| | % % Revision 1.9 1999/11/10 03:47:10 cxg9789 % Merged Octave version from Nid, end of OCTAVE_EXP branch. | | | % % **** Octave Modified: move function name to the first line. | | | % % Revision 1.7.2.3 1999/10/22 01:40:40 kxk8292 % % **** Octave Modified : move function to the first line. |
|
http://www.ucs.louisiana.edu/~isb9112/dept/ANNAPCode/Base/ProbSpec.m
(820 words)
|
|
| |
| | Club Hnostar MSX - Tech: Moonsound |
| | Always set the tone numbers (7-0) after the tone number (8) because tone number setting completes by the setting of the tone numbers (7-0). | | | The formula to obtain the pitch variation for the reference is as follows: F (c) = 1200 * (octave-1) + 1200 * log2 [(1024 + F-NUM) /1024 ] Where 1 octave = 1200 c * 38H-4FH PSEUDOREVERB Set the reverb rate (RevR) +-----+----+----+----+----+----+----+----+----+ to 5 when the envelope beco- | | | Set positive integers from +-----+----------------------------------+----+ 0-1023 in the F-NUM registers, and set two's complement +-----+----+----+----+----+----+----+----+----+ from -7 to 7 in the octave |
|
http://www.ctv.es/USERS/hnostar/TECH/MOON/m-2.htm
(2204 words)
|
|
|
