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 (nobody)...and 159 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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According to the American National Standards Institute, pitch is the auditory attribute of sound according to which sounds can be ordered on a scale from low to high. Since pitch is such a close proxy for frequency, it is almost entirely determined by how quickly the sound wave is making the air vibrate and has almost nothing to do with the intensity, or amplitude, of the wave. That is, "high" pitch means very rapid oscillation, and "low" pitch corresponds to slower oscillation. Despite that, the idiom relating vertical height to sound pitch is shared by most languages.[10] At least in English, it is just one of many deep conceptual metaphors that involve up/down. The exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the sound frequency is increased or reduced. Some types of parrots can know rhythm (Anon. 2009). Neurologist Oliver Sacks states that chimpanzees and other animals show no similar appreciation of rhythm yet posits that human affinity for rhythm is fundamental, so that a person's sense of rhythm cannot be lost (e.g. by stroke). "There is not a single report of an animal being trained to tap, peck, or move in synchrony with an auditory beat" (Patel 2006, cited in Sacks 2007, 239–40, who adds, "No doubt many pet lovers will dispute this notion, and indeed many animals, from the Lippizaner horses of the Spanish Riding School of Vienna to performing circus animals appear to 'dance' to music. It is not clear whether they are doing so or are responding to subtle visual or tactile cues from the humans around them.") Human rhythmic arts are possibly to some extent rooted in courtship ritual. |
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i agree, try playing a chord for a minute with a pad that covers the full range of frequencies, then put a bandpass filter over it, cutting the low range of frequencies will make it sound slower or faster other than timbrically different. |
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here's an example of a pad treated that way |
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Given that you can transfer kinetic energy into heat, and so on, and can thus say that heat is more energetic than cold etc .... I wonder if it would be fair to say that high-pitched tones are more energetic than those of low-pitch (assuming that something which is fast is more energetic than something which is slow) |
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Given that you can transfer kinetic energy into heat, and so on, and can thus say that heat is more energetic than cold etc .... I wonder if it would be fair to say that high-pitched tones are more energetic than those of low-pitch (assuming that something which is fast is more energetic than something which is slow) amplitude is equally important. if your amplitude is tiny, even a high-frequency wave won't carry much energy. there are all sorts of levels of scale to this. like: it's not some abstract, mathematically-perfect waveform that we hear, it's waves of compressed air in various patterns |
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is rhythm the same thing as pitch, simply on a much "larger" scale? |
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Tipper was "discovered" as a teenager DJing in a London nightclub by soon-to-be manager Richie Warren. Their earliest conversations centred on bass frequencies and rhythms underlying beats, and they began researching the science involved in creating the most effective dance music. |
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, well, that's definitely a ripple, but what what makes it flat? |
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play a sine wave ..then yawn... listen to it detune. it is kinda fun. |
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or burp |
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When it comes to pitches the oscillation is portrayed as being very regular. Even this is an idealization and it's in reality only a fairly and not perfectly regular wave-form, it seems that for a specific pitch to appear there needs to be a regular pattern. However, for something to qualify as "rhythm" it doesn't need to be regular in that strict sense. ... So would be identifiable as a rhythm, but it's also not regular. ... So I'm skeptical about treating pitch as rhythm on a small scale. But maybe I'm wrong and pitch actually dosn't need to be that regular so we hear it as a specific pitch, HMM. |
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Well, here's the audio-example of rhythm turning into pitch turning into rhythm ex |
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My guess is when "beats" get as fast as like a c5 note, then instead of adding squarepusher style detail/mutations, it becomes more like a "color" and the main way to make it interesting is to blend it with other colors like a c5+an e5. If you play a c and a d together its sort of weird if you think of it in terms of a beat because what you're doing is playing 2 simultaneous beats, each a different tempo (at a really small scale). Normally large scale beats follows a single tempo, but often a good sounding "4/4 beat" or whatever might have an "repeating every 3rd time unit" part in it which usually sounds good and is sort of a different simultaneous tempo. When playing with modplug tracker, I noticed you can make a, say, 128 time unit squarepusherish beat with interesting complexities/uniqueness/mutations in it. Then speed it up to like 4x faster and divide into like 8 chunks. Each chunk makes a pretty good percussion beat unit on its own, and since it's made of an underlying slower beat, you can mutate that slower beat and re-save the chunks to make the chunks mutate in some way. Or something. I guess I should try to make a normal beat except in multiple time signatures at once, to emulate playing a c+d+e etc note does, except on a larger time scale. Or something. |
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And I do kind of suspect if a song is mainly in the key of c. Then maybe the tempo of the song should be an exact multiple of the c frequency, or maybe the song tempo and a note frequency tempo are too far away to notice. But that way you could make a beat and constantly double the detail and eventually the beat speed would match the tempo of the c note (but not the d note etc, but assuming a song is mostly based on c). I bet all this "music" is some sort of human computation harvesting that governments can later use for mass hypnotization. Like if you record the words "buttfuck your grandma" each as syllables, then construct each percussion unit out of these syllables at a micro scale, will the resulting fractal memetic buttfuck make you totally insane? It's like you could encode an entire encyclopedia into a song this way and learn at a hyper rate subconsciously just by listening to a song. This is how machines will communicate probably. Well they'll keep the encyclopedia songs for themselves and the weaponized buttfuck songs for us. |
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More like pulse than rhythm |
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the way that man has collapsed the harmonies into trumpet notes is impressive. there was a moment where he paused for a moment, and i knew what was coming in the song. i thought: shit, how he going to handle this? he's painted himself into a corner. and was his answer. anyone into programming the 303s should take note of how trumpet man took that jawn monophonic. |
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When playing with modplug tracker, I noticed you can make a, say, 128 time unit squarepusherish beat with interesting complexities/uniqueness/mutations in it. Then speed it up to like 4x faster and divide into like 8 chunks. Each chunk makes a pretty good percussion beat unit on its own, and since it's made of an underlying slower beat, you can mutate that slower beat and re-save the chunks to make the chunks mutate in some way. that is the thing with trackers. there's usually at least once per trax when i want some suspenseful airtime and so i'll tick the pattern length up a few notches. boom, we're off the grid. sort of if you have a pattern full of sampled breaks looping really fast like you described, and gradually slow it down, down, until you hear just the first drum hit, then a bit more... dit. dit. dit do. dit dooodah. dit doooodah deet. is this like the feeling of a fan blade spinning down? or perhaps a being made of pure sampled waveforms existing in a dimension above spaceland accidentally stubbing his toe into the universe of your trax? the answer is yes |
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so i was a bit stuck on this track i was gonna call "crisp ripple" when the words of GladOS floated up into my brain: all you have to do is look at things objectively, see what you don't need anymore, and trim out the fat |
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then of course fatboy slim suggested "more and louder" in the car a bit earler; good advice that |
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Pitch and rhythm are different kinds of frequency imo |
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it's cool to use an oscillator as a clock source |
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for epics |
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well that explains penty harmonium ! |
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frequency is a technical thing relating to harmonic content, pitch is our personal perception of the harmonic content. in a chord, the root note typically determines the perceived "pitch" of the chord. if you play a C-Maj chord -- C-E-G -- you perceive the pitch of the chord as being C overall, even though there are also E and G notes. if you introduce rhythm, though... press E first, hold it, wait... press G, hold it, wait... then press C.... then you perceive it as a series of individual pitches, as opposed to a unified chord of a single pitch. also known as a melody |
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answers can be quite satisfying |
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I wonder if you play C E G B, ( C major seventh) equally in velocity Then you reduce the velocity of only note 'C' to 90 percent ...80 percent 70 percent I wonder how much you need to reduce C before it becomes E minor? I suppose it is different for each individual, as you say "perceived pitch". |
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high pitch/low pitch metaphor: a sound source and falling under gravity will have a higher pitch if it is above you, and a lower pitch if it is below you due to the doppler effect, that probably has something to do with it. |
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there is "Convert tempo to milliseconds and hertz" |
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