| Name: | Timmy Mcmanus |
|---|---|
| Date: | December 09, 2008 (22:53) |
| File uploaded: | |
| Comment: | This is a clip taken off youtube which plays different frequencies and text shows up to label the specific frequency being played. These frequences sound like a "beeping" noise and gets higher and higher in pitch; it is known as a hearing test. Depending upon one's age, audible frequencies will be between 20-30 Hz on the low side of the audio spectrum, and 10-16 kiloHertz on the high side of the audio spectrum. Some people can hear the whole spectrum between 16 Hz and 20 kHz. Personally, i could no longer hear the "beep" at 14kHz. You can click on the link and see how long you can hear the frequencies being played. http://www.youtube.com/watch?v=4G60hM1W_mk |
| Name: | Kevin Dade |
|---|---|
| Date: | December 09, 2008 (16:59) |
| File uploaded: | AP_guitarresonance.ogg |
| Comment: | This is a guitar resonating with a note on the flute. I had to amplify the bejeezus out of everything, so the flute clipped and the resonance is still pretty weak. It was too weak to do any math, but it's a good demonstration of the principle. |
| Name: | Kevin Dade |
|---|---|
| Date: | December 09, 2008 (16:56) |
| File uploaded: | AP_barnclaps.ogg |
| Comment: | This is me clapping and hearing the echoes off of the barn. Using a method similar to the demo, I used half the interval between claps to calculate distance. The period of the claps is 0.6 seconds so the sound pulse travels 340m/s for 0.3 seconds. This means a total distance traveled of 102m. Half that to get my distance to the barn = 51m. It's actually 48m by my measurement, but that's pretty accurate. |
| Name: | Allie Miller |
|---|---|
| Date: | December 09, 2008 (12:39) |
| File uploaded: | |
| Comment: | Forgot to upload this earlier! Here is Stevie Wonder schooling the Talk Box while playing the song "Papa Was A Rolling Stone". As you can see, there is a tube in his mouth. He mouths the words he would like the keyboard to "sing," and his mouth alters the harmonic content of the output to make it sound like the keyboard is producing the lyrics. It's just awesome! |
| Name: | Nick Brown |
|---|---|
| Date: | December 09, 2008 (12:37) |
| File uploaded: | |
| Comment: | In Will and my presentation, I mentioned spectral music and one of its founders, Gerard Grisey. One of the pieces that Grisey wrote is called "Partiels". "Partiels" was composed off of the spectrogram of a low E2 on a trombone, with Grisey trying to orchestrally synthesize the same sound through assigning a different instrument to each partial present in the original sound. The piece is part of the "Les Espaces Acoustiques" cycle, which contains a number of pieces related to explore the sonic space. Here is a youtube video of the beginning of "Partiels"--try to imagine the sound of a trombone when you listen: |
| Name: | Allie Miller |
|---|---|
| Date: | December 09, 2008 (12:31) |
| File uploaded: | backwards_track.ogg |
| Comment: | As further proof that we recognize sources and sounds from their onsets and progress, I challenge you all to guess this tune. Should you need some help, upload it into audacity and use the "reverse" effect under "effect: utility: time changer". Enjoy! |
| Name: | Nick Brown |
|---|---|
| Date: | December 09, 2008 (10:34) |
| File uploaded: | |
| Comment: | In Will and my presentation, I mentioned spectral music and one of its founders, Gerard Grisey. One of the pieces that Grisey wrote is called "Partiels". "Partiels" was composed off of the spectrogram of a low E2 on a trombone, with Grisey trying to orchestrally synthesize the same sound through assigning a different instrument to each partial present in the original sound. The piece is part of the "Les Espaces Acoustiques" cycle, which contains a number of pieces related to explore the sonic space. Here is a youtube video of the beginning of "Partiels"--try to imagine the sound of a trombone when you listen: |
| Name: | Alex Kelley |
|---|---|
| Date: | December 09, 2008 (09:45) |
| File uploaded: | Chipmunks slow.wav |
| Comment: | This is the below posting slowed down, the man's original voice singing in harmony but very slow. |
| Name: | Alex Kelley |
|---|---|
| Date: | December 09, 2008 (09:44) |
| File uploaded: | Chipmunks.wav |
| Comment: | This is Alvin and the Chipmunks singing. I was curious as to how the voices were done, as they originated in 1958. I found out that the voice was done by Ross Bagdasarian, Sr. who simply sped up the playback. He would record singing slowly, then when he played the tape twice as fast, the frequency doubled, and therefore the pitch went up an octave, to the squeaky voices of the chipmunks. I used audacity to slow the recording so i could hear his original voice, and it is funny, it just sounds like a normal person singing way too slow. |
| Name: | Tony Pastoors |
|---|---|
| Date: | December 08, 2008 (15:59) |
| File uploaded: | Thunderstorm.mp3 |
| Comment: | This is a recorded thunderstorm. Analyzing the spectrum its pretty easy to see its a very low frequency that you hear the rain drops at. Also when the thunder occurs on a spectrum that looks almost identical to a clap. There are countless frequencies present here, because the rain drops do not produce a consistent frequency. But the two main peaks of the plot spectrum are at 50hz and 80hz which are both very low. |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | December 08, 2008 (04:25) |
| File uploaded: | wolf howl.wav |
| Comment: | sorry, here it is |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | December 08, 2008 (04:23) |
| File uploaded: | wolf howl |
| Comment: | I thought it would be cool to analyze a wolf howl given the programs we have. It is easy to see the changes in pitch as time progresses during the wolf's howl. You can see the fundamental frequencies and its higher partials. I also wondered if showed any resemblance to human speech as this is a means of communication for them just as speech is for us. I checked the formants. It is difficult to tell if there are formants in the wolf's howl throughout, but there did seem to be formants present. In one section of the wolf's howl, there seemed to be 2 formants just as in human speech (they were at 620 Hz and 2200 Hz). |
| Name: | Tony Pastoors |
|---|---|
| Date: | December 08, 2008 (03:49) |
| File uploaded: | WILDGOALHORN.mp3 |
| Comment: | This is a fog horn that is played when the Minnesota Wild score a goal. I analyzed it and looked at its decay time which ended up being 2.9 seconds, as well as its frequencies to see if it was a periodic signal or not. Looking at the spectrogram and waves you'd almost think it was periodic, but after a closer look at the frequencies you realize its not. 775, 1761, 2690, & 3744 hz |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | December 08, 2008 (01:37) |
| File uploaded: | water bottle.wav |
| Comment: | I blew over an empty water bottle. I analyzed it in Praat and found the fundamental frequency to be about 207Hz, which is almost exactly a G3#. I thought that this was a Helmholtz resonator and thus applied the formula. Volume was .5L or .0005 m^3, length of neck was 2cm or .02m, the area of the neck was .0001pi given the radius of about 1cm or .01m. I found the frequency to be about 280Hz, not very close at all to the actual frequency. This may be due to the fact that I used the speed of sound for the velocity of air when the air actually moved at the speed I was blowing the air at. There was also moisture in the bottle which may have absorbed some of the sound. |
| Name: | Scott Niehaus |
|---|---|
| Date: | December 07, 2008 (20:16) |
| File uploaded: | clap in room.wav |
| Comment: | This is myself clapping in my room. I analyzed it in Praat to find its reverberation time which turned out to be .24 seconds which is extremely short. This makes sense as all of the clothes and sheets in my room are very much sound absorbing. You can hear from the clip that there is almost no reverberation. |
| Name: | Pete Mathias |
|---|---|
| Date: | December 05, 2008 (23:32) |
| File uploaded: | |
| Comment: | This video is incredible. I stumbled upon it on a humour site... the guy is quirky, but the demonstration is awesome. He does a "Rubens Tube to visualize sound." Basically he has a speaker attached to a tube with evenly spaced holes which are leading to a propane tank. When he ignites the tube and plays sound through it, he creates a rubens tube. This makes standing waves and sin curves because of the sound compressions. He changes frequency and the wave correspondingly changes. I especially like the flames reaction to heavy metal... |
| Name: | Ryan O'Neill |
|---|---|
| Date: | November 30, 2008 (14:48) |
| File uploaded: | |
| Comment: | Regarding my post about the tuvan throat singing. The formant frequency was rising and therefor the Q factor is probably rising as well |
| Name: | Josh Curcio |
|---|---|
| Date: | November 29, 2008 (18:22) |
| File uploaded: | |
| Comment: | http://news.uns.purdue.edu/UNS/html4ever/030423.Smith.singing.html This links goes to an article about recent research (from 2003, not sure if there has been much progress since) on development of a computer system that alters an average singing voice into one much more refined and professional. Reading this article made me think about the homework question where we altered our voice and in general about the differences between the male and female voice. The researchers mention that they are having more success with altering the higher pitched female voices. The website also has several small audio clips that can be played. |
| Name: | Ryan O'Neill |
|---|---|
| Date: | November 29, 2008 (15:31) |
| File uploaded: | tuvanthroatsinging.ogg |
| Comment: | This is a clip from a tuvan throat singer. the singer raises the amplitude while keeping the same frequency and there for has a higher Q-factor. |
| Name: | Ryan O'Neill |
|---|---|
| Date: | November 29, 2008 (15:18) |
| File uploaded: | e note1.ogg |
| Comment: | sorry this is the right clip |
| Name: | Ryan O'Neill |
|---|---|
| Date: | November 29, 2008 (15:13) |
| File uploaded: | e note.ogg |
| Comment: | This was supposed to be an E note on a guitar but the guitar was slightly out of tune and the note was actually 26 cents flat of F3 or 74 cents sharp of the E# that it was intended to be. |
| Name: | Allie Miller |
|---|---|
| Date: | November 28, 2008 (19:19) |
| File uploaded: | |
| Comment: | This video reflects speed of sound changes that we were talking about. Whether it's through strings or helium or normal air, the speed can be completely different. As Adam from MythBusters says in this video, helium is 6 times less dense than air, so sound waves travel faster and his voice gets higher. But when he inhales Sulfur Hexafluoride, which is 6 times MORE dense the air, the results are incredible His post-Sulfur-Hexaflouride-inhalation voice contains VERY strong high harmonics which accounts for demonic/harsher tone of his voice. |
| Name: | Nick Brown |
|---|---|
| Date: | November 28, 2008 (17:26) |
| File uploaded: | Bowed Guitar String.ogg |
| Comment: | Attached is a sound clip of the low string of an electric guitar being bowed with a violin bow. Will and I discovered this sound while working on our final project and thought that this sound had some interesting properties. If you import this file into Praat and analyze it for pitch, you can see that it starts at 82 Hz, which is an E2. However, the bowing of the string pulls the string so far out of its normal shape that the frequency slides all the way up to 86 Hz (slightly flat of F2) before sliding back down to 82 Hz. Each time that the string is bowed the pitch bends slightly different amounts, sometimes all the way up to 88 Hz, which is sharp of F2. |
| Name: | Nick Brown |
|---|---|
| Date: | November 28, 2008 (15:55) |
| File uploaded: | |
| Comment: | This is actually some research I did earlier in the term that I forgot to post until now--I looked into the lowest pitch recorded, and found some interesting information. First, Bosendorfer Piano company makes an "Imperial" model with an extended lower register ranging all of the way down to 16.35 Hz, or C0--I found something that claimed to be a sample of this, but was clearly just a pure tone generated at that frequency. Also interesting was a post I found to "Contrabass Digest" (http://www.contrabass.com/2002/2002-06-08.html). The post details one man's attempt to build a 64' long contrabass clarinet, and he manages to produce oscillations as low as 4 Hz! Unfortunately, there are no sound files here either. The last piece of interesting low-frequency research is that there is a composer who specializes in writing for the octocontrabass clarinet (http://www.contrabass.com/pages/octobass.html), an instrument that ranges down to Bb-1 (or 14.57 Hz). Wish I could find some sound files of that octocontrabass clarinet, but they seem to be nowhere to be found. There are some pictures though: http://kunst.no/lerstad/octos.html. |
| Name: | Tom Curphey |
|---|---|
| Date: | November 26, 2008 (18:14) |
| File uploaded: | Water_bird_pipe.mp3 |
| Comment: | These sounds were made by a small hollow whistle in the shape of a bird sitting on a tree stump. A mouthpiece with a V-shaped slot angles upward from the bottom of the stump, and there is a small opening in the bird’s beak. Essentially, the whistle is two roughly cylindrical chambers (the stump and the bird’s body), separated by a narrow opening (the bird’s legs). The first part of the clip shows the noise made by blowing into the mouthpiece. This appears to be white noise. The second part of the clip shows the sound produced by blowing through the mouthpiece after the stump has been filled with water. The warbling sound thus produced appears to be short bursts of white noise with no definite partials. What mechanism would produce such a sound? |
| Name: | Matt Balaguer |
|---|---|
| Date: | November 21, 2008 (13:27) |
| File uploaded: | |
| Comment: | http://weblog.404creative.com/2007/06/03/auditory-illusions-holophonic-recordings/ after talking about how we understand direction of sound the other day, I found this website online. Unless your speakers are positioned perfectly, it will only work with headphones on, and is explained in the 'virtual haircut.' The illusion is called Holophonic sound, and in the future may be used in movies, games, etc. |
| Name: | Josh Curcio |
|---|---|
| Date: | November 20, 2008 (22:38) |
| File uploaded: | |
| Comment: | This is a youtube sound clip of binaural beats. I find these to be very interesting because many people claim that it is helpful for insomniacs. The basic premise behind them is called frequency following response. By creating frequency waves similar to that of brain waves, the beats can drop brain wave frequency and put a person in a more restful state and help them sleep. http://www.youtube.com/watch?v=eqn32PVtsV4 |
| Name: | Matt Oh, Kyle Cavanaugh |
|---|---|
| Date: | November 18, 2008 (23:29) |
| File uploaded: | |
| Comment: | The Blue Man Group is regarded as one of the most modern and innovative musical groups of the 20th century. Their music includes theatrical acts incorporating rock music with emphasis on percussion, performance art, odd props, audience participation, and sophisticated lighting. Our project will focus on one of their many instruments called the Drumbone. The Blue Man Group uses many concepts and functions found in classical instruments in their own inventions. The Drumbone, a spinoff of the Trombone, is made of PVC pipes that slide in length to create different notes. The Drumbone creates different sounds by striking one end of the pipe with drum sticks. In a sense, this percussion instrument incorporates concepts of a open-open ended pipe. Our study will entail how the construction of our own Drumbone produces different pitch and tone. We will observe how end correction plays a part in making the drumbone a successful instrument. It will be interesting to see how acoustic pressure at the piston and where the drumbone is struck impacts air speed and the production of sound. |
| Name: | Tony Pastoors, Tim McManus |
|---|---|
| Date: | November 17, 2008 (22:03) |
| File uploaded: | |
| Comment: | We are going to look in greater detail into the human voice. What makes each person's voice distinct and why everyone sounds different? Also we will look at what common elements each human voice has. From that we will build a basic model as to how and why voice recognition technology works for personal security, as well as allowing for universal ease when it comes to voice activated technologies. |
| Name: | Kevin Dade |
|---|---|
| Date: | November 17, 2008 (19:14) |
| File uploaded: | AP_didjeridu.ogg |
| Comment: | This is me playing my didjeridu (australian aboriginal instrument). The reason it sounds more like flatulence than music is because i haven't really practiced enough, but I am still able to show a couple of the really cool effects the didjeridu is capable of. First, I'm just going "eeeeee-ooooooo-eeee" etc. I assume that the formants still apply because its also a pipe. Secondly, I sing a pitch slightly off from the note I'm playing. The beat frequency is so strong it literally shakes the floor. I highly recommend going on youtube and searching; talented players can do some truly incredible things. |
| Name: | Ryan O'neill, Michael Reilly, Michael Wu |
|---|---|
| Date: | November 17, 2008 (18:18) |
| File uploaded: | |
| Comment: | We are going to delve into the world of Helmholtz resonators. We will explore the logistics of resonators in greater detail and applications of resonators around the world, i.e. speakers, instruments, etc. In conclusion, we will build our own resonator. |
| Name: | Scott Niehaus |
|---|---|
| Date: | November 17, 2008 (16:38) |
| File uploaded: | |
| Comment: | For my project I will be using the different rehearsal rooms in the Hop and measuring the first echoes and reverb times in each room. I will be using different noises like claps and short burts of chords from an amp. I will then attempt to modify the rooms in some way by placing a huge felt carpet or something like that and remeasuring. I will also try to measures sound from the audience's perspective in faulkner and try to determine where the first echoes are coming from. |
| Name: | Andrew Kang |
|---|---|
| Date: | November 17, 2008 (15:27) |
| File uploaded: | |
| Comment: | Replicating a simpler version of Wolfgang von Kempelen's speaking synthesizer. Hopefully it'll at least be able to create all of the voiced vowel sounds. I'll possibly use a removable reed that will allow for unvoiced sounds as well. |
| Name: | Nick Brown, Will Raymer |
|---|---|
| Date: | November 17, 2008 (14:31) |
| File uploaded: | |
| Comment: | We are working on a composition (or set of compositions) for electric guitar and violin that is based on both a mathematical process and microtonal relationships between looped material and new material that is slowly detuned in relation to the loop. In addition, we're using some abnormal sounds, such as bowing the guitar strings, which when analyzed in Praat have some very interesting characteristics. |
| Name: | Allie Miller |
|---|---|
| Date: | November 17, 2008 (14:01) |
| File uploaded: | highnote.ogg |
| Comment: | This is just ridiculous. In this audio clip, Adam Lopez sings the highest note by a man. He held the previous record at a D7 and hoped to beat it. By the end of the clip, he ends up hitting a C#8 (4490Hz). That note, for those who are wondering, is off the piano. Good god. The full clip is here: http://www.youtube.com/watch?v=Kdp4NHWr7G8 |
| Name: | Jess Mesa |
|---|---|
| Date: | November 17, 2008 (10:12) |
| File uploaded: | |
| Comment: | For my project I plan on studying/researching various aspects of the trumpet. I plan on researching how sound is produced by (or through the instrument), what modes exist, min/max Watts produced, and how curved tubing differs (if at all) from the straight tubing of the flute. I plan on recording various sound samples, researching modes, and hopefully comparing it to a flute (measuring amount of tubing, comparing sounds/Watts/modes). |
| Name: | Alex Kelley, Kevin Dade |
|---|---|
| Date: | November 17, 2008 (09:57) |
| File uploaded: | |
| Comment: | We are thinking of taking a tube and constricting it at different places to try and emphasize different formants. The final goal would be to simulate vowel sounds. We aren't sure how practical this idea is, so it's hard to say how successful we will be. Should be interesting though. |
| Name: | Matt Balaguer |
|---|---|
| Date: | November 17, 2008 (00:57) |
| File uploaded: | |
| Comment: | For my project, I'm going to research exactly what makes a concert hall or venue acoustically first-rate, such as the Symphony Hall in Boston. After doing some initial research, I will either run small-scale acoustic tests in a plan room and see their effect on the acoustics, hoping to be able to lay out designs a realistic and modern concert venue |
| Name: | Curcio, Mathias, Mengwasser |
|---|---|
| Date: | November 17, 2008 (00:32) |
| File uploaded: | |
| Comment: | We intend to construct a marimba-type instrument capable of playing several notes. We want to examine the effect that resonator quality has on the pitch and/or timbre of the notes. We will explore this by changing the resonator medium (ie putting water in the resonators) and adjusting their effective size. Hopefully this modification to the resonators can be adjusted with a foot pedal so that the player can manipulate the sound while playing the instrument. We are going to analyze the notes being played using Praat and Audacity software. We will then explain the various effects using mathematical models analogous to size and wavelength as well as the mass/spring analogy. |
| Name: | Omar Pardesi |
|---|---|
| Date: | November 16, 2008 (22:26) |
| File uploaded: | Reich - Electric Counterpoint No 1 (Excerpt).mp3 |
| Comment: | For my project, I plan to compose a short piece. The attached file is an excerpt from the first movement of Steve Reich's Electric Counterpoint (1987). It's one of my favorite pieces of electronically-influenced music, and Reich is widely regarded as one of the greatest American composers and a pioneer in musical minimalism. I plan to use some of its techniques as a model to compose to. Reich samples a lot of different sounds and pieces and blends them together in a variety of ways: he loops short segments with varying delays, etc; he phases sounds in and out of pieces to create different patterns and textures, and uses countless other techniques. I'm not sure what I'll use as the base material. It could be a lot of fun to take one of Bach's Two-Part Inventions and work with a few phrases out of it. |
| Name: | Jake Schindel |
|---|---|
| Date: | November 16, 2008 (21:08) |
| File uploaded: | |
| Comment: | For my project, I'm going to compose a piece (or perhaps a series of short pieces) on the guitar that employ and explore several of the musical/mathematical concepts we've talked about in class, including harmonics, excitation of various modes, string tension as it relates to sound production, playing back recording phrases backward, and others. My aim is not simply to engage these elements, but to toy around with them, manipulating them such that I ultimately produce a work whose compositional foundation is mathematical but that succeeds in being musically satisfying/interesting as well. I'm curious to discover how this will compare to the process of composing with music theory as the foundation, or composing without any distinct systemized base. |
| Name: | Alex Kelley |
|---|---|
| Date: | November 13, 2008 (12:33) |
| File uploaded: | tuvan alex.wav |
| Comment: | After watching an instructional youtube video, i was able to bring out a few harmonics like the Tuvan singers. Looking at it with Pratt, especially towards the end, it is clear that the second resonant frequency changes while the first stays the same. I think the harmonics i was singing were around the 5th 6th and 7th, and maybe the 8th. |
| Name: | Jake Schindel |
|---|---|
| Date: | November 11, 2008 (23:31) |
| File uploaded: | voice2.ogg |
| Comment: | This is the gender-altered file of my voice (see post below). |
| Name: | Jake Schindel |
|---|---|
| Date: | November 11, 2008 (23:30) |
| File uploaded: | voice.ogg |
| Comment: | The recording in this post is my voice pronouncing 'ee', 'aa', and 'oo' in succession. The next post contains the same file but with the gender converted by a factor of 1.3. The resulting sound sounds higher and with a buzzier timbre. The pitch is the same, and all that has changed are the formants, which have shifted upwards, now residing at higher harmonic contents. |
| Name: | Endless Staircase |
|---|---|
| Date: | November 11, 2008 (15:18) |
| File uploaded: | |
| Comment: | This repeating sequence of signals, if played on repeat, appears to continually be getting higher in pitch forever. They are called Shepard's tones, and are basically constructed by overlapping ascending or descending scales in a particular way. |
| Name: | Pete Mathias |
|---|---|
| Date: | November 03, 2008 (20:54) |
| File uploaded: | |
| Comment: | I including a link to Victor Wooten playing "Amazing Grace" using harmonics. It comes in at 1:40 on this particular clip, but the who solo is worth watching... He's one of the best electric bass players out there.
Watch Victor Wooten's performance here
I am going to try and paste the YouTube Html here, but I apologize if the html doesn't register. |
| Name: | Peter Mathias |
|---|---|
| Date: | November 03, 2008 (20:41) |
| File uploaded: | Tomorrow Never Knows.ogg |
| Comment: | Since the previous posting did not work, I've re-uploaded the file. Here's the info from the last post: Here is "Tomorrow Never Knows"(The Beatles, Revolver) an example of vocals running through a Leslie speaker, which we mentioned in class today is a rotating speaker that is in a Hammond console that causes Doppler effect. You can adjust the speed of rotation with a knob on the consul so to vary the effect. Geoff Emerick (the Beatles' engineer) processed John Lennon's voice through a Leslie speaker, and the result was a very expiremental sound. According to a few online sources, this song was actually the first time that anyone ever recorded vocals through a Leslie. You can hear the effect come in for the line "Love is all and love is everyone/Is it knowing? Is it knowing?" which comes in half-way through the track. But I hear the Doppler effect most prominently in the next line though, especially during the second "believing" part of the line "That ignorance and hate may mourn the dead it is believing, it is believing." For general interest, here's just a quote about Lennon's intentions for the effect, as recounted by one of the engineers: "For Tomorrow Never Knows [Lennon] said to me he wanted his voice to sound like the Dalai Lama chanting from a hilltop, and I said, 'It's a bit expensive, going to Tibet. Can we make do with it here?' I knew perfectly well that ordinary echo or reverb wouldn't work, because it would just put a very distant voice on. We needed to have something a bit weird and metallic..." |
| Name: | Alex Kelley |
|---|---|
| Date: | October 29, 2008 (11:11) |
| File uploaded: | Cast Iron skillet 2.wav |
| Comment: | This is a cast iron skillet. When I plotting the spectrum on Audacity, the partials are far to many to name, and are all relatively close to each other in intensity. It is obvious that they are not harmonically related. The decay time is roughly tau =.05 sec. There are two stronger partials, around 500 B4 and another at 980B5 that showed up in Pratt as being the most intense. While the sound does not sound like any one note in particular, you can almost pick out a B, especially when playing a B on the piano and then playing the sound. These partials, as can be seen on Pratt, takes much longer to decay. |
| Name: | Jess Mesa |
|---|---|
| Date: | October 29, 2008 (09:42) |
| File uploaded: | sound1.ogg |
| Comment: | The sound is a metal pot hit with a spoon at several different points. ( middle of pot, side of pot, close to edge of pot) The last hit was best to analyze and it contained partials at 502 Hz, 901 Hz, 1165 Hz, and 1645 Hz. The estimated value of Tau (decay time)is 1.6 sec. |
| Name: | Matt Balaguer |
|---|---|
| Date: | October 29, 2008 (08:21) |
| File uploaded: | glass bottle.wav |
| Comment: | I hit a glass jar (simmilar in shape to a mason jar) with the edge of a metal ruler. The fourth strike is the best one for analyzing, and i found several strong partials at 1605Hz, 2255 Hz, 2949 Hz, and 4291Hz, all of which are high pitched like the noise and completely unrelated. The value of Tau is just about 0.087 seconds long |
| Name: | Andrew Kang |
|---|---|
| Date: | October 29, 2008 (03:01) |
| File uploaded: | FryingPan.aup |
| Comment: | The first sound was created with contact to the middle of the frying pan. It had major partials at 1110 Hz, 1740 Hz. The second sound was created halfway between the middle and the edge. It had major partials at the same partials but also at 611 Hz (and also many other softer partials that didn't exist in the first sound). with the exception of the 1110 Hz frequency everything gets longer in duration. the first sound had a tau value of approximately .02322 seconds, while the second sound was approximately .03048 seconds long. |
| Name: | Josh Curcio, Pete Mathias |
|---|---|
| Date: | October 29, 2008 (02:54) |
| File uploaded: | |
| Comment: | And by 500 hz I meant 5000 hz. sorry |
| Name: | Josh Curcio, Pete Mathias |
|---|---|
| Date: | October 29, 2008 (02:52) |
| File uploaded: | pete curc.wav |
| Comment: | This sound is a metal knife hitting an empty 5 gallon water jug. When the sound file was analyzed in pratt from a frequency range of 0 to 500 HZ, there were 5 solid partials that could be recorded before the sound was for all intensive purposes fully decayed. These partials were 2722 Hz at 84.4 DB, 3112 Hz at 87 Db, 3855 Hz at 81.6 DB, 4227 Hz at 85.8 DB, and 4774 Hz at 81.1 DB. The decay time for the partials that were measured by observing short ranges of time in the spectrogram. These decay times were around .26 seconds, though it was much harder to analyze the decay rate of the final partials because they were so faint. |
| Name: | Brian Mengwasser |
|---|---|
| Date: | October 29, 2008 (01:28) |
| File uploaded: | mengoaural2.wav |
| Comment: | Thick Glass Mug. This sound is a metal knife hitting the glass of a mug near the rim of the glass. Based on analysis in Praat from 0 to 5000 hz, there seem to be around 5 reasonably strong partials (in terms of dB strength): 1803.61 Hz at 124.3dB, 2500Hz at 104dB, 3252.1Hz at 102.3dB, 3716.37Hz at 107.7dB, and 4152.77Hz at 110.9dB. Taking the spectral slice of the spectrogram at the time of impact allowed accurate measurement of the initial strength and the frequency of the partials. In addition, the upper three partials may be harmonically related as they are evenly spaced with respect to frequency. Estimating Tau(decay time) for each of these yields, .1077, .0322, .013, .0346, and .0266 seconds respectively. This is an appropriate because the sound dies down in around or less than half a second, showing that the decay time for all partials is around .1 or less seconds. |
| Name: | Michael Reilly |
|---|---|
| Date: | October 29, 2008 (00:46) |
| File uploaded: | Glass Vase.ogg |
| Comment: | This is the sound of an approximately 10 in tall, slender glass vase that I was hitting with my pen. Using the frequency analysis plot diagram to analyze the sound from the last time I hit it I found peak frequencies existing at many different levels. These were 90Hz, 432Hz, 1940Hz, 3938Hz, and 6758Hz. This range of frequencies are unrelated and that there are different modes. I calculated the decay time to be about 1.011. |
| Name: | Matt Oh |
|---|---|
| Date: | October 29, 2008 (00:25) |
| File uploaded: | flower pot .ogg |
| Comment: | I used a ceremic flower pot. To produce the sound, I clanged a pen on the outer part of the flower pot. I used the frequency analysis plot diagram to see the different frequencies the sound produced. The peak frequencies existed at 750 Hz and 2020 Hz. These two frequencies shows the different modes produced by the sound. The modes do not relate and show to be asymetric. The second tap showed to have the same strong modes at the approximately the same frequencies. The decay times for both sounds are the same. |
| Name: | Michael Cesaro |
|---|---|
| Date: | October 29, 2008 (00:18) |
| File uploaded: | .wav |
| Comment: | This is me hitting the D string on my guitar in two places on the string without holding it down and changing the length. This caused it to vibrate in many different modes with more prominent partials wherever I struck it. When i hit in the middle of the string I found partials of 144 and 290 HZ, respectively D3 and D4. When I hit in between this area and the nut of the guitar audacity showed many partials including D3 and 4 along with A2, 3, 4, and 5. frequencies were 109, 144, 218, 291, 435, and 871 Hz. The decay time was 1.6577s |
| Name: | Emily Trentacoste |
|---|---|
| Date: | October 29, 2008 (00:06) |
| File uploaded: | trentty.wav |
| Comment: | A hand drum that seemed to have two modes - one hitting in the center and one hitting towards the edge. The first hit is in the center and is the deeper sound while the second hit is higher in pitch. The lower beat has strong partials at 68, 202 and 334, and 480 with lesser partials at 420 and 711. The higher beat on the other hand has very strong partials at 331, 480, and 707 Hz with 68 being a lesser partial. This shows how the sound is a sum of the two modes at different intensities. The first, lower sound had a longer decay time of about 0.145 second while the higher sound had a shorter decay time of about 0.11 seconds. In the lower sound, the higher frequency partials decayed faster while in the higher sound, the lower frequency partials decayed faster. |
| Name: | Tony Pastoors |
|---|---|
| Date: | October 29, 2008 (00:02) |
| File uploaded: | Glass.ogg |
| Comment: | I hit a crystal glass with my pen 4 times and analyzed its plot spectrum on audacity. It produced a wide variety of frequencies(194 HZ, 1577Hz, 2633Hz, 3964Hz and 4881Hz). These frequencies are unrelated to each other. Using audacity I was able to find its decay time is 2.1 seconds |
| Name: | Ryan O'Neill |
|---|---|
| Date: | October 28, 2008 (23:59) |
| File uploaded: | |
| Comment: | my bad the decay was .1 second |
| Name: | Ryan O'Neill |
|---|---|
| Date: | October 28, 2008 (23:55) |
| File uploaded: | balls.ogg |
| Comment: | This is me knocking two pool balls together. there is one frequency that is more pronounced than the others. this leads me to believe that i only excited one of the modes of the pool ball. the sound decayed after .6 seconds |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | October 28, 2008 (23:44) |
| File uploaded: | |
| Comment: | Forgot to mention the decay time. I looked to see where the amplitude is .37 of its initial amplitude (because this is where the amplitude decreases for 1 decay time). This occurred at approximately 1.825 seconds, meaning the decay time is 1.825 seconds. |
| Name: | Tom Curphey |
|---|---|
| Date: | October 28, 2008 (22:39) |
| File uploaded: | Glass_Bowl.wav |
| Comment: | A glass bowl about 12 inches in diameter across its top was struck with a stick and the sound recorded. Spectrogram analysis with Praat showed strong partials at 713, 1303, 2240, 3421, and 4737 Hz. Interestingly, the average amplitude of the signal showed a marked pulsation with time, having a beat period of ca. 0.2 s. This suggests that the bowl has two modes whose frequency differ by ca. 5 Hz. Close examination of the partial at 1303 HZ (by narrowing down the frequency range to 1250-1350 Hz) showed a pulsation in amplitude of about the same beat period of 0.2 s. This suggests that there may, in fact, be two modes with frequencies of 1303 +/- 2 to 3 Hz, giving rise to an apparent partial at 1303Hz. This partial shows an additional interesting feature: the pulsation in amplitude is not symmetrical about the mean frequency, but instead seems to occur more to the high frequency side. Is there perhaps an additional mode near the other two which is giving rise to the observed asymmetry? To extract decay times from the Praat spectrogram, I used the following procedure: At time 0.11 sec into the spectrogram, a 10 msec slice of the spectrogram was selected and the spectral slice option used to display the partials and their intensities. The intensities were then measured for the partials at 713, 2240, 3421, and 4737 Hz. The same procedure was then repeated for a 10 msec time slice at 0.20 sec into the spectrogram, yielding another set of intensities for the chosen partials. The decay times were than calculated for each partial using the formula tau = 20 x (delta t) x log e / (delta dB), where (delta t) is the elapsed time between the two intensity measurements (0.09 sec) and delta dB is the change in the intensity over this period, measured in dB. The taus found for the partials in question were 120, 32, ca 50, and 28 msec. The value for the partial at 3421 HZ is only approximate at best, since the maximum peak amplitude in the spectral slice taken at 0.11 sec was near 3365 Hz, suggesting overlap with another partial. It was also possible to use much the same procedure in Audacity. Spectra of 10 msec slices were taken at the same two intervals, delta t apart, and subjected to frequency analysis. The results of the analyses were then exported to two files, from which it was possible to read off directly the values of delta dB. As a check on the two procedures, I used them to calculate tau for the tuning fork example in the homework. The results were within a few percent of those calculated by the direct measurement of decay, as used in the homework. Of course, the tuning fork represents a particularly easy case, since the decay period is long compared to the sampling period of 10 msec, and consequently the latter gives a more accurate measure of the instantaneous intensity (and hence amplitude) than is the case with the glass bowl. However, the procedure probably gives values which are good to +/- 25%, and, as in the glass bowl case, it should show up differences in decay times for the different partials. |
| Name: | Jake Schindel |
|---|---|
| Date: | October 28, 2008 (22:36) |
| File uploaded: | plastic glass.ogg |
| Comment: | I tapped a plastic glass on two parts of its side with a pen. For the first tap the strongest partials were at 856, 1398, 1539, qnd 1569 Hz. For the second tap the strongest partials were at 781, 1427, and 1527 Hz. This, and the fact that the two pitches are clearly aurally different suggest that different modes were being excited with the two taps (a certain amount of error due to the use of a pen, itself not an entirely uniform material, should be acknowledged). Importantly, though, the decay times for the two taps were essentially equal - it took the first sound 0.244 seconds to drop 30dB and the second sound 0.231 seconds to do so. The decay times of course should be the same. |
| Name: | Kevin Dade |
|---|---|
| Date: | October 28, 2008 (22:24) |
| File uploaded: | AP_potlid.ogg |
| Comment: | This is me banging an ice-cream scooper on a pot lid. The pot lid is what you can hear ringing. Frequency analysis shows that the lowest two partials are 161Hz and 524Hz. These two frequencies are not harmonically related, which means that the pot lid has at least two modes of motion. The spectrum has many more clear partials. Some of the most prominent partials are 523Hz and 1026Hz, which are C5 and C6 respectively. As the sound decays, the lid sounds more clearly like a C4, which probably means that C5 and C6 have the longest decay times. |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | October 28, 2008 (21:55) |
| File uploaded: | vase clang.ogg |
| Comment: | I clanged 2 identical vases together and analyzed their plot spectrum on audacity. It turned out that the clang produced 2 different frequencies the first 2 times I clanged them (3623Hz and 6627Hz). These frequencies are unrelated to each other and thus 2 of the modes of the vase. The third time I clanged it, there were 4 frequencies (3607, 3798, 6656, and 12980). I clanged them in a different spot which may have caused this if I excited other modes. |
| Name: | Andrew Kang |
|---|---|
| Date: | October 24, 2008 (11:35) |
| File uploaded: | |
| Comment: | http://www.youtube.com/watch?v=LbkNxYaULBw so this guy is doing what we looked at in class today, he's singing a song reversed and playing it backwards(the rightway), It's interesting to listen to all the noise in the background as well as his own voice backwards, balloons popping backwards definitely showed a surprising difference (one would expect really short sounds to be more recognizable, but thats not the case) anyway, its a fun clip and you can have fun guessing what he's singing |
| Name: | Alex Kelley |
|---|---|
| Date: | October 22, 2008 (11:12) |
| File uploaded: | gong 1.wav |
| Comment: | This is a gong. I thought that it would be similar to a bell in that it would have non-periodic partials. For about the first second after i struck it, there were partials at seemingly non related intervals, except for one at 220 and 440. However, after a second, all of the partials drastically died down except for the A3. There were still discernible partials, however, nothing that came close to the magnitude of the A3. the second loudest partial was a D#5, and interestingly, this partial changed to a G#5 later on in the note (around 6-7 seconds) and finally to a G5 in the last second (10-11). |
| Name: | Pete Mathias |
|---|---|
| Date: | October 17, 2008 (13:24) |
| File uploaded: | 1-17 Tomorrow Never Knows.ogg |
| Comment: | Here is "Tomorrow Never Knows"(The Beatles, Revolver) an example of vocals running through a Leslie speaker, which we mentioned in class today is a rotating speaker that is in a Hammond console that causes Doppler effect. You can adjust the speed of rotation with a knob on the consul so to vary the effect. Geoff Emerick (the Beatles' engineer) processed John Lennon's voice through a Leslie speaker, and the result was a very expiremental sound. According to a few online sources, this song was actually the first time that anyone ever recorded vocals through a Leslie. You can hear the effect come in for the line "Love is all and love is everyone/Is it knowing? Is it knowing?" which comes in half-way through the track. But I hear the Doppler effect most prominently in the next line though, especially during the second "believing" part of the line "That ignorance and hate may mourn the dead it is believing, it is believing." For general interest, here's just a quote about Lennon's intentions for the effect, as recounted by one of the engineers: "For Tomorrow Never Knows [Lennon] said to me he wanted his voice to sound like the Dalai Lama chanting from a hilltop, and I said, 'It's a bit expensive, going to Tibet. Can we make do with it here?' I knew perfectly well that ordinary echo or reverb wouldn't work, because it would just put a very distant voice on. We needed to have something a bit weird and metallic..." |
| Name: | Will Raymer |
|---|---|
| Date: | October 16, 2008 (19:07) |
| File uploaded: | Reich Violin Phase.ogg |
| Comment: | Steve Reich takes a simple violin gesture, creates a copy that is very slightly longer (by adding a tiny bit of silence at the end), and then loops both. The effect is a sound that gradually grows out of phase with itself. It actually takes a while - longer than I expected - to become noticeably two voices, but the sound of the one voice changes as the sound waves overlay each other differently. |
| Name: | Nick Brown |
|---|---|
| Date: | October 11, 2008 (17:27) |
| File uploaded: | 03 Runnin' With The Devil.ogg |
| Comment: | While almost all popular musicians use equal-tempered tuning on all of their instruments, one guitarist who famously tunes his guitar differently is Eddie Van Halen. Van Halen tunes his B string slightly flat, so that the major 3rd between his G and B strings is a justly tuned 3rd, instead of an equal tempered one. He does this because the slight beating apparent in an equal-tempered major 3rd sounds bad when played on a guitar with distortion. To explain why he tunes his guitar differently, he says: "A guitar is just theoretically built wrong. Each string is an interval of fourths, and then the B string is off. Theoretically, that's not right. If you tune an open A chord in the first position and it's perfectly in tune, and then you hit a barre chord an octave higher, it's out of tune. The B string is always a motherfucker to keep in tune all the time!" The attached sound clip is the beginning of the Van Halen song "Runnin' With the Devil." A plot spectrum run on one of the chords (a D# major) gave the following frequencies: 79 (D#), 119 (A#), 159 (D#), 198 (G). The 3rd between the D# and G is in the ratio 1.245, very close to the ratio of a justly tuned major 3rd, 5:4. |
| Name: | Kevin Dade |
|---|---|
| Date: | October 09, 2008 (19:08) |
| File uploaded: | AP_guitartuning.ogg |
| Comment: | This is one way to tune strings on a guitar. Since the strings are tuned to a perfect fourth, the third harmonic on the lower string = the second harmonic on the higher string. If the pitches aren't exactly aligned, there is an audible beat frequency. Guitar players use this to help get their strings exactly in tune. |
| Name: | Kevin Dade |
|---|---|
| Date: | October 09, 2008 (18:46) |
| File uploaded: | AP_tuningnoteA5.ogg |
| Comment: | This is the A4 tuning note on my metronome. Zooming in on the signal shows that it is periodic (not very surprising). Frequency analysis shows partials at A5, E6, A6, and C#7, making this another missing fundamental case. |
| Name: | Andrew Kang |
|---|---|
| Date: | October 08, 2008 (04:53) |
| File uploaded: | SungSiKyung.ogg |
| Comment: | The human voice is amazing! And I wanted to know what made a particular singer's voice so special (his name is SungSiKyung). So I looked at the singer's vowels. His sound waves looked incredibly clean and I've been trying to find another singer with similar qualities with little success(through audacity). I found a "girl version" of his singing online. Someone chose to change the key of one of his recordings and it sounds like a girl's voice. I tried the same thing with other singers and their voices sound like chipmunks before it resembles the female voice. I thought that this was interesting. |
| Name: | Alex Kelley |
|---|---|
| Date: | October 06, 2008 (17:12) |
| File uploaded: | A0.ogg |
| Comment: | This is an A0 on an acoustic piano. If you listen closely you can hear the individual "clicks" per second, like on the metronome. It should be around 27.5hz. Keeping my finger on the note, i can even feel the mechanical vibrations, which i cant feel at higher frequency notes. Another interesting thing to note is that when i plotted the spectrum on audacity and looking at the peaks there were so many overtones that it didnt seem to have any idea what the note was. |
| Name: | Tom Curphey |
|---|---|
| Date: | October 06, 2008 (09:25) |
| File uploaded: | H_and_D.mp3 |
| Comment: | The two passages in this clip illustrate the large range of note pitch that can be found in Western classical music. The low note at about 15 seconds into the clip is from the opening of Bach’s Toccata and Fugue in D Minor, and the high note at about 48 seconds is from Allegri’s Miserere. According to the score, the low note in the Bach is D2. Analysis of this note with Audacity does show a series of harmonics corresponding to D0, D1, D2, D3, etc., although the actual pitch is closer to D# than D. If this series of pure tones is played sequentially through the laptop speakers, the lowest that I can hear is D3, yet when the clip itself is played through these same speakers, the pitch of the note in question sounds correct. Is this an example of a missing fundamental? Is it possible that a note which otherwise cannot be transmitted as a pure tone can “piggyback” on a more complex waveform and still be heard by the ear? |
| Name: | Omar Pardesi |
|---|---|
| Date: | October 01, 2008 (15:43) |
| File uploaded: | c minor.ogg |
| Comment: | This is a plain old C minor chord. C minor is one of my favorite chords, and a number of the greatest works ever composed are in the key of c minor...one of the most notable being Beethoven's 5th, op. 67. This is a brief recording of Sibelius playing a c minor chord, here in root position and made up of C4, Eb4, and G4. I wanted to see how well the frequency plot would represent those notes. Those three were indeed the largest peaks, but interestingly, one of the next largest peaks was G#3. One would think that adding a G# into c minor would not be terribly pleasant. |
| Name: | Will Raymer |
|---|---|
| Date: | October 01, 2008 (10:00) |
| File uploaded: | Scelsi.ogg |
| Comment: | This is the first 20 seconds or so from a string quartet by Scelsi. It uses close harmonies to generate the beat frequencies we talked about in class. |
| Name: | Allie Miller |
|---|---|
| Date: | October 01, 2008 (09:53) |
| File uploaded: | harmony!.ogg |
| Comment: | As a member of an a cappella group, I wanted to record harmonies to show a musical interval. I had someone hit a note and I came in a third above him. Awesome! |
| Name: | Nick Brown |
|---|---|
| Date: | October 01, 2008 (09:47) |
| File uploaded: | |
| Comment: | Oops, I'm a fool and posted a title for my clip instead of my name...that's me down there on the snapping one. |
| Name: | Snaps with Clipping |
|---|---|
| Date: | October 01, 2008 (09:46) |
| File uploaded: | Snaps with Clipping.ogg |
| Comment: | I was interested in the concept of clipping while recording with audacity, so I recorded a number of loud snaps right next to the microphone input. While not all of them clipped, here are three in a row which did. You can hear the distortion at the peak of each snapping sound, and if you look at the sound wave in audacity you can see it running into +1 and -1 and flattening out at those pressures. |
| Name: | Scott Niehaus |
|---|---|
| Date: | October 01, 2008 (09:27) |
| File uploaded: | potsbanging.ogg |
| Comment: | I was interested to see if I could get a frequency reading on two pots banging together. A D6 and a D7 both registered in audacity, showing that anything can be an instrument. |
| Name: | Andrew Kang |
|---|---|
| Date: | October 01, 2008 (01:59) |
| File uploaded: | GuitarStringSounds.ogg |
| Comment: | The first thing you'll hear is the traditional plucking of a guitar string, the frequency generally stays the same while the amplitude decreases. However when I grab the string and pull up and down, parallel to the string the frequency and amplitude are both subject to change. The frequency and amplitude would increase and decrease with the speed of my hand. |
| Name: | Fire Alarm |
|---|---|
| Date: | October 01, 2008 (01:35) |
| File uploaded: | fire alarm.aup.bak |
| Comment: | I tried to recreate the sound of one of the alarms going off in my house today while I was doing my homework, I think I got the beat rates right, I think the note ratio is pretty close too, It's basically four tones that produce 2 beats. |
| Name: | Peter Weinberg |
|---|---|
| Date: | October 01, 2008 (01:17) |
| File uploaded: | Violin D.aup.bak.ogg |
| Comment: | This is the sound of a violin playing the note D. I asked the violinist to play as many octaves of the same note as she could. She could only play two octaves which is proven by looking at the Plot Spectrum which shows that she played the frequencies of D4 and D5 whose frequencies were 292 and 585 hertz respectively, thus fulfilling the necessary ratio of 1:2 for the violin to produce two notes that sound like the same pitch. |
| Name: | Josh Speicher |
|---|---|
| Date: | October 01, 2008 (00:21) |
| File uploaded: | miata horn.ogg |
| Comment: | This is the sound of a mazda miata honking its horn. I thought it was interesting since I've heard the myth that most car horns are in the key of F. This sound actually does come very close to F, when using the frequency 22050 given by audacity |
| Name: | Pete Mathias |
|---|---|
| Date: | September 30, 2008 (23:55) |
| File uploaded: | Week 1- BG's A4.ogg |
| Comment: | This is the sound of the esteemed Bone Gate fraternity's piano, notorious for its keys caked with beer and other unmentionables. I sampled the A4 in audacity and zoomed in until the signal appeared sinosoidal. After finding a good segment, I identified the period of the wave to be .0023 seconds (21.0130s was the beginning point and 21.0107s was the point of repetition). Given that frequency is the reciprocal of period, this yielded a frequency of 434.78 Hz. We know that an appropriately tuned A4 is 440 Hz. Thus this aural experiment affirmed my initial suspicion that the Bone's Gate A4, like the brotherhood, is just slightly off. |
| Name: | Jake Schindel |
|---|---|
| Date: | September 30, 2008 (23:08) |
| File uploaded: | mus5hw1a.ogg |
| Comment: | (second guitar tone, near A3) |
| Name: | Jake Schindel |
|---|---|
| Date: | September 30, 2008 (23:07) |
| File uploaded: | mus5hw1.ogg |
| Comment: | One of my guitars hadn't been tuned in about two months. I was curious how flat the tuning of any given note might be. I tuned the low E string and played the 5th fret A. Analyzing its frequency showed that it was at about 110, essentially perfectly tuned to A2. That note is what is posted here. I played the octave A on the 7th fret of the untuned D string. That note is posted in the following post (sorry for the inconvenience). Analyzing that, I got a frequency reading of about 214. The frequency ratio formula gives a semitone number of about -0.48 relative to A3, or close to -0.5. This means that after having not been tuned in a number of weeks, for that particular note the error was about 50 cents - not enough to sound terrible, but halfway to being another note entirely. The lesson: tune your instrument (or at least a guitar) often. |
| Name: | Matt Balaguer |
|---|---|
| Date: | September 30, 2008 (22:59) |
| File uploaded: | harmonica HW1.ogg |
| Comment: | The two lowest notes on a harmonica in G. This gives an interval between two notes, both of which are on the western system of music and whose frequencies could be calculated from A440 |
| Name: | Mike Wu |
|---|---|
| Date: | September 30, 2008 (22:41) |
| File uploaded: | AirSanitizer.ogg |
| Comment: | This is the spraying sound from a can of Oust Air Sanitizer. Sharing a bathroom with roommates, this is a sound I hear daily. The amplitude of the signal is highest at the start of the spray and at the end of the spray when the nozzle is released. |
| Name: | MIchael Reilly |
|---|---|
| Date: | September 30, 2008 (22:37) |
| File uploaded: | Sound1.ogg |
| Comment: | This is the sound of a wolf howling. I have always liked the sound of them howling so I wanted to see what it looked like graphically. |
| Name: | Ryan O'Neill |
|---|---|
| Date: | September 30, 2008 (22:25) |
| File uploaded: | sheep.ogg |
| Comment: | It's a sheep. Sheep are my favorite farm animal. The noise has a cool graph |
| Name: | Brian Mengwasser |
|---|---|
| Date: | September 30, 2008 (20:43) |
| File uploaded: | Brian mengwasser.ogg |
| Comment: | Wind Chimes. These wind chimes reside outside my door, and I occasionally hit them once on the way in. To me, this track is roughly analogous to the beating amplitude when two tones of close frequencies are played together. Even though this sound is the combination of 6 tones (which are actually probably not pure tones within themselves), it reminds me of this 'beating' concept because each chime is being struck with different time spaces between hits. Therefore, sometimes they are struck together creating a noise which appears to be louder in amplitude, and sometimes they are struck independently, producing a softer, one tone-at-a-time sound. |
| Name: | Josh Curcio |
|---|---|
| Date: | September 30, 2008 (20:33) |
| File uploaded: | Josh Curcio.ogg |
| Comment: | The sound you hear is a ping pong ball being dropped from about 3 feet. The picture of this looks like a sound wave because the clicking is repetitive. it looks like a sound wave with a decreasing amplitude and increasing frequency. if this were made into a tone it would get softer over time with an increased pitch. |
| Name: | Dhruva Corrigan |
|---|---|
| Date: | September 29, 2008 (22:11) |
| File uploaded: | PaperBag.ogg |
| Comment: | The sound recorded is the sound of a paper bag. What I was really wondering about was the sound of rustling leaves, it just wasn't as easy to record. What I'm curious about is finding an average pitch of the rustling of leaves, as in find an average frequency that could be made into a pure tone. How could I do that? And assuming this is possible, would it be feasible to be able to tell different types of trees by the pitch of the rustling of their leaves? Just a thought. I suppose you would also have to take into consideration the humidity, the health of the tree, etc. There's probably too many factors affecting the sound to really determine anything. |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | September 28, 2008 (22:12) |
| File uploaded: | 221256guitarA.ogg |
| Comment: | I played an A note on a guitar. |
| Name: | Kyle Cavanaugh |
|---|---|
| Date: | September 28, 2008 (21:46) |
| File uploaded: | guitarA.ogg |
| Comment: | I played an A note on a guitar. |
| Name: | Tony Pastoors |
|---|---|
| Date: | September 28, 2008 (21:22) |
| File uploaded: | 212206Whistle.mp3 |
| Comment: | This is a whistle, it's short but very loud. |
| Name: | Tony Pastoors |
|---|---|
| Date: | September 28, 2008 (20:50) |
| File uploaded: | Whistle.mp3 |
| Comment: | This is a whistle, it's short but very loud. |
| Name: | Tom Curphey |
|---|---|
| Date: | September 28, 2008 (20:11) |
| File uploaded: | Chanter_A.mp3 |
| Comment: | The notes in this posting alternate between “low A” and “high A”, as played on a bagpipe practice chanter (sort of like a recorder). By expanding a small section of each note in Audacity, a complex waveform is revealed. However, there is a pattern for low A showing a period that corresponds to a frequency of 235.54 Hz. This, in turn, corresponds to 10.82 semitones below A4, or about 18 cents sharp of A#3. A similar analysis of high A shows a frequency of 465.26 Hz or 0.97 semitones above A4, which is 3 cents flat of A#4. The frequency ratio of the two notes is 11.78 semitones, or 22 cents flat of an octave. Why are the two notes tuned closer to A# than A? It probably has to do with the fact that bagpipe bands compete with each other (for money!). A higher pitch sounds “brighter” and tends to give a band a competitive advantage. As a result, as bands started to compete with each other, their pitch tended to drift higher and higher. One interesting consequence of this is that the drones (the three long pipes over the piper’s shoulder which play a continuous single note) of some older bagpipes cannot be tuned up to modern pitch. Why are the two A’s not tuned to exactly an octave apart? Apparently it’s just tradition! To an experienced piper, a high A tuned exactly an octave above low A sounds “screemingly sharp”, as I have seen it described. For a discussion of bagpipe tuning which is almost a short course in itself, see: http://www-personal.umich.edu/%7eemacpher/pipes/acoustics/pipescale.html Be aware that the “chanter” referred to at this site is the one on the bagpipes themselves, not the practice chanter used to play the audio clip. However, the tuning of the two chanters is essentially the same. |
| Name: | Jamila Smart |
|---|---|
| Date: | June 02, 2007 (12:37) |
| File uploaded: | alarm.wav |
| Comment: | After being awakened by my alarm, I started to wonder what exactly was waking me up. My alarm clock has a very harsh tone. I recorded it with audacity and analyzed the frequencies. Just as I expected, there were many higher frequencies. The main frequencies that I found were 836, 3193, 4907, 7104, 9086, and 1112. There is a very loose 3:4:5 ratio found in the last three frequencies, that would imply a fundamental of 2287.6, however the actual heard frequency was approximately half of that. |
| Name: | Jamila Smart |
|---|---|
| Date: | June 02, 2007 (12:36) |
| File uploaded: | forks.wav |
| Comment: | I hit two forks together so that they would "ring". The decay time is measured to be .15 seconds. |
| Name: | Jamila Smart |
|---|---|
| Date: | June 01, 2007 (18:04) |
| File uploaded: | forks.aup |
| Comment: | I hit two forks together so that they would "ring". The decay time is measured to be .15 seconds. |
| Name: | Jamila Smart |
|---|---|
| Date: | June 01, 2007 (13:29) |
| File uploaded: | alarm.aup |
| Comment: | After being awakened by my alarm, I started to wonder what exactly was waking me up. My alarm clock has a very harsh tone. I recorded it with audacity and analyzed the frequencies. Just as I expected, there were many higher frequencies. The main frequencies that I found were 836, 3193, 4907, 7104, 9086, and 1112. There is a very loose 3:4:5 ratio found in the last three frequencies, that would imply a fundamental of 2287.6, however the actual heard frequency was approximately half of that. |
| Name: | Hannah Rossman |
|---|---|
| Date: | May 31, 2007 (10:59) |
| File uploaded: | |
| Comment: | A friend passed on this website to me after seeing my pvc pipe flutes. Check out http://www.oddmusic.com/gallery/, it has all sorts of odd instruments. Some of the entries include the sea organ, singing river stones (listen to the sound clip!), and my favorite the vienna vegetable orchestra. You can see pictures of pipes made out of carrots, cucumbers, and peppers. Apparently the troupe of 10 performs and then turns their crafted instruments into a big soup for the audience. Check out their sound clip too, it's pretty funky stuff. |
| Name: | Elisse Lockhart |
|---|---|
| Date: | May 30, 2007 (21:48) |
| File uploaded: | |
| Comment: | http://video.google.com/videoplay?docid=-7765557442856739526 This is a link to an episode of Myth Busters in which they test to see if it is actually possible to break a wine glass using the human voice. They find the resonant frequency of the glass and experiment with using it to excite the glass enough to break it. I thought it was really interesting to see the application of resonance, and they discuss a lot of the things we have been going over in lecture. |
| Name: | John Malanga and Tavee |
|---|---|
| Date: | May 30, 2007 (18:31) |
| File uploaded: | ResNoise.ogg |
| Comment: | This sound is the recordings that come from holding a microphone at the openings of each resonating sphere of the Koenig sound analyzer. The spheres were all excited by the a noise track and in this clip you can hear how each sphere picks out its resonant frequency and creates a recognizable tone with noise |
| Name: | Erika Barton |
|---|---|
| Date: | May 30, 2007 (10:10) |
| File uploaded: | |
| Comment: | For my preoject, I will research/write a paper on the history of the steel pan, as well as invesitgate the properties of it. |
| Name: | Chris Burns |
|---|---|
| Date: | May 28, 2007 (22:57) |
| File uploaded: | |
| Comment: | http://david-heron.me.uk/blog/2007/04/08/virtual-barbershop/ My buddy showed me this site and it's pretty cool. You need headphones and a quiet room but it plays with the time your ears receive a sound. It gives the illusion that you are in a barbershop. |
| Name: | Emily Winkler |
|---|---|
| Date: | May 28, 2007 (11:57) |
| File uploaded: | Chamber Singers Clip.ogg |
| Comment: | This is a clip of my Chamber Singers rehearsal, recorded last week in Rollins Chapel. For this piece, there was a soloist and a chorus, so I thought it would be interesting to analyze a small section of the piece to see whether the soloists' notes come through more clearly in the spectrum than do those of the chorus. Sure enough, the soloist is singing a high F, and the spectrum shows a peak at 697 Hz, and then another one at the next partial: about 1380 Hz. |
| Name: | Jamila Smart |
|---|---|
| Date: | May 21, 2007 (15:28) |
| File uploaded: | |
| Comment: | I will research different tuning systems of the past and present I will also attempt to transpose a simple melody using some of the different systems. |
| Name: | Emily Winkler |
|---|---|
| Date: | May 20, 2007 (22:03) |
| File uploaded: | Mystery Jazz.doc |
| Comment: | In lieu of an aural posting, I am doing a visual posting - a diagram of a sound phenomena I experienced on Friday afternoon that was so compelling, I could almost see exactly how the sound was moving! I was walking towards the Green Friday afternoon from the east side of campus. As I passed between Thornton and Dartmouth Halls, I heard some jazzy folk music coming towards me. At first I couldn't discern where it was coming from, and then I suddenly had a powerful sense that the sound was coming from my right (see diagram). I remember wondering, for a brief instant, where the band could possibly be set up, since there's no good spot to do so on the north side of the Green. Suddenly, I remembered our in-class discussions about reflected sound. I realized instantly where the music was coming from, because I was now accounting for the equal angles between the reflected sound pulse and me, and between the original sound pulse and the source - Collis porch! Sure enough, when I finished passing between the two buildings, I heard the sound coming loud and clear from my left, across the Green. This set-up made for a great sound-mirror! |
| Name: | Emily Winkler |
|---|---|
| Date: | May 20, 2007 (21:43) |
| File uploaded: | |
| Comment: | For my project, I would like to write an essay about the history and construction of the Celtic harp! |
| Name: | JB Cholnoky + Cyrus Tingley |
|---|---|
| Date: | May 20, 2007 (19:32) |
| File uploaded: | |
| Comment: | [sorry, thought JB was posting this on Friday] For our project, JB and myself are going to analyze the acoustics of 4 different buildings/spaces on campus - Leverone Fieldhouse, Thompson Arena, the 1902 room in Baker Library, and the Lobby area of Fairchild - we will be playing a reproducable, identical sound source (probably the alarm button on a megaphone, or a loud cell phone chime) in each space and recording the echo, etc - and analyzing the results - maybe calculate some resonance times? Sky's the limit in math 5. Hopefully those buildings will work, we may need to find some smaller ones. Word! |
| Name: | Travis Maiers & Steve Cesaro |
|---|---|
| Date: | May 20, 2007 (17:24) |
| File uploaded: | |
| Comment: | For our project, we are going to research guitar effect pedals. In our paper, we will analyze how they work as well as the history behind their use. |
| Name: | Elisse Lockhart |
|---|---|
| Date: | May 20, 2007 (16:56) |
| File uploaded: | |
| Comment: | Instead of analyzing the acoustics of rooms around campus, I have decided to look more into the history of music theory. I will primarily focus on the developments in music theory by the Greeks. I hope to be able to find the history of many of the topics we have studied in class, as well as maybe some other interesting topics relating to math and music. |
| Name: | JB Cholnoky and Cyrus Tingley |
|---|---|
| Date: | May 18, 2007 (13:17) |
| File uploaded: | |
| Comment: | Term Project For our term project, we intend to examine the acoustics of several places on campus comprised of different materials, sizes, and shapes. Using a megaphone which will emit a repeatable, specific sound, we will visit Leverone Field House (steel and windows), Baker Berry's 1902 room (wood), Fairchild Tower (brick and concrete), and Remsen Hockey Rink (ice and steel) to build an analysis of these spaces and the echoes we produce. |
| Name: | Elisse Lockhart |
|---|---|
| Date: | May 18, 2007 (10:01) |
| File uploaded: | |
| Comment: | I'm going to examine the acoustics of a room. I haven't decided on which room yet, but I think it would be interesting to compare the acoustics of a small classroom to a larger hall. |
| Name: | Alex Bowers |
|---|---|
| Date: | May 18, 2007 (00:29) |
| File uploaded: | |
| Comment: | For my project I'm going to do an investigation into a device called a talk box. You're probably familiar with the talk box if you're a Peter Frampton fan as he used it extensively on his live album Frampton Comes Alive. Its basically a an air tight tube which the guitarist puts in his mouth at one end, the tubed taped to a microphone. At the other end, is a pedal box with an input from the guitar signal. It basically uses what we've been talking about with formants and applies it to a guitar signal. The result is sort of a robot sounding synthesis of voice and guitar, its pretty cool. I'm going to look into both the history of this device, and the math and science behind it. |
| Name: | Nick Andrews |
|---|---|
| Date: | May 17, 2007 (10:38) |
| File uploaded: | |
| Comment: | For my project I hope to experiment with different tuning systems by composing music with both synthesized and acoustic sounds. I also will use other mathematical methods of composition such as set theory. |
| Name: | Jay Ben Markson |
|---|---|
| Date: | May 16, 2007 (23:01) |
| File uploaded: | |
| Comment: | I am writing a paper about the mathematics and history of the calliope. |
| Name: | Hanh Nguyen |
|---|---|
| Date: | May 16, 2007 (21:54) |
| File uploaded: | |
| Comment: | I will do my project on the history and technology of the keytar. I plan to write an essay that incorporates the topics we discussed in class in relation to the information I discover in the research process. |
| Name: | Billy Accomando and Ariel Eckstein |
|---|---|
| Date: | May 16, 2007 (12:30) |
| File uploaded: | |
| Comment: | For our project we will be creating a new musical instrument. Our instrument will most likely be a piped instrument. We have not decided whether it will be open-open or open-closed yet. More details to follow. |
| Name: | Hannah Rossman |
|---|---|
| Date: | May 16, 2007 (12:16) |
| File uploaded: | |
| Comment: | For my project I am hoping to create several "flutes" using different materials, pvc piping, perhaps some copper pipes or other metals. I will use what we have been learning about frequencies in open-open pipes to create these instruments. |
| Name: | Hannah Rossman |
|---|---|
| Date: | May 16, 2007 (12:16) |
| File uploaded: | |
| Comment: | For my project I am hoping to create several "flutes" using different materials, pvc piping, perhaps some copper pipes or other metals. I will use what we have been learning about frequencies in open-open pipes to create these instruments. |
| Name: | Ann Kapusta |
|---|---|
| Date: | May 16, 2007 (11:15) |
| File uploaded: | sea_organ.ogg |
| Comment: | Project Idea: I originally thought it would be interesting to analyze the accoustics of the Great Hall in Thayer Engineering School. However, I went and looked at it and realize that it would be insanely difficult since it has so much structure and so many doors and hallways that lead into it. So, I started researching online to find an interesting instrument to analyze and write a report about its history. I stumbled across the "Sea Organ" which was originally created in Croatia. It is basically a set of stairs that is designed so that when the waves crash onto them it plays music. I've decided to analyze this structure and the history of how the Sea Organ was built. And, if possible (although I have no idea how difficult the structure is), build a replica of the "Sea Organ". Attached is a sample of the sounds of the Sea Organ. |
| Name: | Taveephol Chardtumrong |
|---|---|
| Date: | May 08, 2007 (21:57) |
| File uploaded: | Spiral.wav |
| Comment: | This has been taken from the track 'Windowlicker' from the group Aphex Twins. Using Praat, you will see a picture of a spiral. Supposedly, there is a face embedded in the track at 5:27minutes lasting for 10seconds but due to the limitations of Praat - can't see in color, etc... I can't find it. But here is an example of you can convert pictures into sound. |
| Name: | Jackie Olson |
|---|---|
| Date: | May 07, 2007 (00:30) |
| File uploaded: | banging pot.wav |
| Comment: | I hit an upside down stainless steel bowl and it produced a very interesting effect. Zooming in on the graph shows how the sound created pulses as it bounced off the walls of the bowl. To measure decay, I examined only the peaks of these minute pulses and found it to be about .036 seconds The strongest frequencies were all over the place with 552, 764, 1076, and 1480 Hz. |
| Name: | John Malanga |
|---|---|
| Date: | May 04, 2007 (12:23) |
| File uploaded: | malanga_lamp.ogg |
| Comment: | This is the sound of my metal lamp cover. The partials were 529 hz, 991 hz, 1989 hz, and 3913 was also strong. Some of the higher partials were stronger but decayed faster than the main partials and this effect can be heard in the sound clip. I have estimated the decay time to be about .025 seconds. |
| Name: | Hanh Nguyen |
|---|---|
| Date: | May 04, 2007 (12:22) |
| File uploaded: | pan and floor.wav |
| Comment: | This is the sound of a pan hitting the kitchen floor. The decay time is about 1.1 seconds, the amount of time it takes for the intensity to drop 8.69 dB and for amplitude to drop 0.37. There are frequency partials at 598, 819, 1343, etc., which indicate the frequency of different nodes since they are not harmonically related. |
| Name: | Erika Barton |
|---|---|
| Date: | May 04, 2007 (12:18) |
| File uploaded: | forkandlamp.wav |
| Comment: | I hit a steel fork against the base of my light (which is also metal). Some partials I came up with were 682, 1224, 4045 and 7125 hz. The decay time is roughly around .023 seconds. |
| Name: | Jay Ben Markson |
|---|---|
| Date: | May 04, 2007 (12:04) |
| File uploaded: | bookend.ogg |
| Comment: | This is a clip of me flicking a small metal bookend. The spectrogram came out rather blurry, but as best as I can determine it has partials at around 600, 1100, 1800 and 2200 Hz, among others. I estimate the decay time of this object at 0.02 seconds. |
| Name: | Travis |
|---|---|
| Date: | May 04, 2007 (11:55) |
| File uploaded: | snare.ogg |
| Comment: | This is a clip of a snare drum, which I found online. There are two main partials at 173 Hz and 339 Hz as well as a number of other partials. The initial amplitude was about 0.7. It reached 0.26 (one decay time) after about 0.042 seconds. |
| Name: | Ariel Eckstein |
|---|---|
| Date: | May 04, 2007 (11:48) |
| File uploaded: | 114838potsandpans.wav |
| Comment: | This is a sound recording of pots and pans clanging my a kitchen. It is repeated 3 times. The main frequency of the loudest clang is at 384 hz (G4). The decay time is very short (.1 seconds), hence we would have a very low Q-factor. |
| Name: | Pots and Pans |
|---|---|
| Date: | May 04, 2007 (11:48) |
| File uploaded: | potsandpans.wav |
| Comment: | This is a sound recording of pots and pans clanging my a kitchen. It is repeated 3 times. The main frequency of the loudest clang is at 384 hz (G4). The decay time is very short (.1 seconds), hence we would have a very low Q-factor. |
| Name: | Hannah Rossman |
|---|---|
| Date: | May 04, 2007 (11:35) |
| File uploaded: | woktop.ogg |
| Comment: | This is a recording of a spoon striking a wok top. The decay rate was very rapid (.05 seconds) but a low bass note hung around for a while afterwards, not always picked up by my computer recording. But if I held the wok to my ear I could hear the bass note really clearly, similar to a tuning fork. The partials were 126, 344, and 700 (strongly) as well as 1108, 1344, and 1544 (not so strongly). |
| Name: | Alex Bowers |
|---|---|
| Date: | May 04, 2007 (09:24) |
| File uploaded: | cereal bowl.ogg |
| Comment: | This is a recording of me hitting a metal cereal bowl with a plastic spoon towards the side of the bowl. If you analyze it with Audacity you can see that it has numerous partials at non-harmonic intervals, thus indicating the presence of multiple modes. According to pratt, the strongest mode is the one at 669 Hz, though there are others which are higher on the Audacity spectrum including 1569 and 1816 Hz. Other partials include 1141, 2424, and 2576 Hz. The overal decay time seems to be about 0.26 seconds. |
| Name: | Nick Andrews |
|---|---|
| Date: | May 04, 2007 (02:05) |
| File uploaded: | piano harmonics.ogg |
| Comment: | I produced this sound by holding my finger on a piano string (C4, equal-tempered frequency of 261.63 Hz) and playing the note normally. Rather than holding my finger at a specific node, which would have produced a harmonic, I isolated the percussive aspect of the piano hammer hitting the string. The decay time for the sound is approximately .034 seconds. There are many partials, but the strongest partials are at 38, 114, 248, 280, 560, 760, 1315, and 2100 Hz. It is important to note that there is no partial present at or around 261.63, the fundamental frequency of the string I used. |
| Name: | Johari |
|---|---|
| Date: | May 04, 2007 (00:50) |
| File uploaded: | johari.ogg |
| Comment: | I got this sound by hitting a metal box. The main partials were at about 600, 1050, 1550, 2270, 2700, 3000, 3200, and 3460 Hz. It was hard to get an accurate decay time because the envelope was not clear. I would gues it was about .05 sec. Almost all the partials decayed at the same rate except for two. One was the 3460 partial. The other was about 750 Hz which was not that intense but for some reason lasted the longest by far. |
| Name: | Emily Winkler |
|---|---|
| Date: | May 04, 2007 (00:00) |
| File uploaded: | Tapped Tin Whistle.ogg |
| Comment: | I tapped my tin whistle with a pencil. The main partials were at 1784, 3077, 4029, 4820 and 8707 Hz. One thing that makes determining the decay time difficult is that, upon closer inspection, I found evidence of a flutter echo. Sound pulses were probably emitted within the tube as well, and the microphone recorded some of the echoes. However, if I look just at the first sound, the initial amplitude is 0.26; the signal reaches 0.0962 - 37% of 0.26 - at about 0.017 seconds. This decay time is rather short, and the Q-factor would be short as well. |
| Name: | Chris Burns |
|---|---|
| Date: | May 03, 2007 (22:59) |
| File uploaded: | lamp.ogg |
| Comment: | This sound occurred when I hit the metal shade of my desk lamp. Partial frequencies were at 140, 396, 762, 1227, and 3640 Hz. The decay time is roughly 0.18. |
| Name: | Ann Kapusta |
|---|---|
| Date: | May 03, 2007 (21:30) |
| File uploaded: | InsideNalgene.ogg |
| Comment: | I placed my microphone inside my empty nalgene bottle and then hit it 3 times with a pencil in two different locations (side of the bottle, bottom of the bottle). Suprisingly, both locations have the same component frequencies, but have different strengths depending on the two locations. The frequencies are: 2325, 2555, 3844, 4011, and 4931. When I hit it on the side, the higher frequencies were more predominent (mainly 3844 and 4011), whereas when I struck the bottom the lower frequency peaks were higher (2325, 2555). The decay time is approximately .05 seconds. |
| Name: | Whiskey Bottle |
|---|---|
| Date: | May 03, 2007 (20:18) |
| File uploaded: | Whiskey Bottle.wav |
| Comment: | Whiskey Bottle has been hit four times in different places. Looking at the 'second hit': Peak Frequencies are - 33Hz, 302Hz, 2474Hz and 2787Hz. Decay time is approximately 0.157 seconds (3dp). |
| Name: | Elisse Lockhart |
|---|---|
| Date: | May 02, 2007 (20:53) |
| File uploaded: | clank.ogg |
| Comment: | I used a cooking pan and struck the bottom several times with a spoon. I first hit the middle of the bottom, then various places around the edges of the pan, and then in the middle again. I wanted to see what different partials would appear if I hit different places on the pan, to see maybe if the modes' shapes could be guessed at. When I struck in the middle, the partials 467, 930, 1764, 3339, and 4852 Hz. were present. 467 was the weakest of these and 3339 was the strongest. The hits around the edge of the pan all showed the same partials, including all of the partials from the center hit. In addition to the already listed partials, there was 2875, 4234, and a very faint 5778 Hz. The appearance of new partials shows that different modes were excited along the edge of the bottom than in the middle. You can hear this in the different tones of the two different locations. I found the decay time for the hits to be 0.0635 seconds. |
| Name: | Elisse Lockhart |
|---|---|
| Date: | May 01, 2007 (14:31) |
| File uploaded: | champagne.ogg |
| Comment: | I struck a champage glass with a key to create two different sounds: one without touching the glass, and one with my fingers touching the body of the glass. Looking at the signals created, the shapes appear to decay exponentially. I found that the tao value for the first strike was .0361 seconds, while the tao value for the second strike was only .0156 seconds. |
| Name: | Ann Kapusta |
|---|---|
| Date: | April 29, 2007 (12:37) |
| File uploaded: | EchoSteps.ogg |
| Comment: | This clip is from the beginning of the song "Love like Winter" and it came up on my iPod over the weekend. I thought it would be fun to try to analyze the steps and to figure out what type of setup created the echo. Analyzing the sample in Audacity, the echo appears to be a flutter echo, which means the person was walking between two flat and relatively close together surfaces. It sounds to me that the steps are created by walking down a long hallway or corridor. Using the formula derived in class and measuring the period in audacity to be around .003 seconds, the walls are approximately .51 meters apart. In feet, this is only 1.7 feet which would be an extremely narrow hallway. However, my thought is that our calculation didn't work exactly right because the person was probably walking down the center of the hallway and our calculation was for someone standing up against on of the walls. If we double it, the hallway is approximately 4 feet which is slightly more reasonable (still narrow, though!) |
| Name: | Hanh Nguyen |
|---|---|
| Date: | April 22, 2007 (21:56) |
| File uploaded: | CONVERSA.wav |
| Comment: | This clip of people chatting is the product of two combined identical audio clips. Since the intensity (I) of a single clip was doubled, the intensity increased by 10log2, or about 3 dB. |
| Name: | Emily Winkler |
|---|---|
| Date: | April 16, 2007 (12:20) |
| File uploaded: | Alarm.ogg |
| Comment: | This is my alarm clock going off. I wanted to find out whether the partials would not line up (like a telephone). However, the signal is indeed periodic, with partials appearing about every 4000 Hz. I'm guessing that it is high-pitched in order to make sure I wake up every morning! |
| Name: | Alan Goldblatt |
|---|---|
| Date: | April 10, 2007 (10:45) |
| File uploaded: | Tap Tones - Back.ogg |
| Comment: | This set is the tap tones for the back of the same violin. The different pitches can be heard better here. BTW the top is made of spruce, the back maple. |
| Name: | Alan Goldblatt |
|---|---|
| Date: | April 10, 2007 (10:34) |
| File uploaded: | Tap Tones - Top.ogg |
| Comment: | When making a violin, (I used to be a violin maker) one carves the top and back of the instrument and slowly reduces their thicknesses. As these plates get thinner one holds them at different points and taps on them at other points to hear how clearly they ring and at what pitches. Determining the pitch can drive one crazy. Here I recorded the tap tones of the top of a violin I am in the process of building. The first set of taps is the top vibrating in mode 5, the second set mode 2 and the third set mode 1 (I think Alex is going to talk about modal vibrations at some point). Looking at the spectrum plots of these tones gives a pretty good understanding of why it's so hard to hear the fundamental pitch -- there are lots of different frequencies (not in Fourier series) competing for ones attention.... |
| Name: | Billy Accomando |
|---|---|
| Date: | April 06, 2007 (13:52) |
| File uploaded: | |
| Comment: | Sorry, the frequencies of the harmonics that I played are actually both 220 Hz, not 880 Hz. |
| Name: | Billy Accomando |
|---|---|
| Date: | April 06, 2007 (12:18) |
| File uploaded: | bass hamonic beats.ogg |
| Comment: | I play a harmonic on my bass by touching the string just above the 5th fret on the A string and plucking the string. This creates a node at the 5th fret, causing the string to become a standing wave with a wavelength half as long as its entire length and with a frequency of 880 Hz. The next harmonic is played just above the 7th fret on the D string, creating a node at this location and generating a standing wave that also has a frequency of 880 Hz. I then tighten the D string, causing the frequency, and thus the pitch, of the second harmonic I played to increase. As this frequency increases while the first harmonic remains the same, we can hear beats generated that increase in frequency as the two pitches become more different. Then, I re-tune the two strings, causing the beat frequency to decrease as I loosen the D string and bring the two pitches back together. I then strike the two harmonics and loosen the D string further, again the beat frequency increases as the two notes move farther apart in frequency and decreases as they move closer together. This is the standard way of tuning a stringed instrument by ear. When the beats slow down and then disappear you know that the two strings are in tune with one another. |
| Name: | Jay Ben Markson |
|---|---|
| Date: | April 06, 2007 (12:08) |
| File uploaded: | Dissonance.aup |
| Comment: | A demonstration of the "beat" effect that occurs when two sounds are close in frequency, using a melodica. The respective frequencies are 329.1 (~E4) and 344.5 (~F4). |
| Name: | Elisse Lockhart |
|---|---|
| Date: | April 06, 2007 (11:58) |
| File uploaded: | water.ogg |
| Comment: | I recorded pouring water from one cup into another cup and then slowed down the speed of the recording so that it now separates into four distinct portions. There are a lot of frequencies adding into the sound, but some of the main ones are 52 Hz. (around G#1), 114 Hz. (around B2), 928 Hz. (about A#5), and 2562 Hz. (around E6). |
| Name: | JB Cholnoky |
|---|---|
| Date: | April 06, 2007 (11:56) |
| File uploaded: | Bells.ogg |
| Comment: | Here is a series of a bell ringing threee times. Several main component frequencies for the audio clip include 82Hz, 198Hz, and 488Hz. These frequencies become 4 cents sharp of E2, 20 cents sharp of G3, and 41 cents sharp of B4. The track was excerpted from AC/DC's "Hells Bells." |
| Name: | Erika Barton |
|---|---|
| Date: | April 06, 2007 (11:30) |
| File uploaded: | blitznotify.ogg |
| Comment: | This is the correct one. (I forgot to convert it) The sound I record was the Blitz Mail Notification sound on a Dell Laptop. A couple of the component frequencies are 837 Hz (.1327 cents sharp of G#5), and 1255 Hz (.1453 cents sharp of D#6). |
| Name: | Erika Barton |
|---|---|
| Date: | April 06, 2007 (11:27) |
| File uploaded: | blitznotify.aup |
| Comment: | The sound I record was the Blitz Mail Notification sound on a Dell Laptop. A couple of the component frequencies are 837 Hz (.1327 cents sharp of G#5), and 1255 Hz (.1453 cents sharp of D#6). |
| Name: | Hanh Nguyen |
|---|---|
| Date: | April 06, 2007 (10:51) |
| File uploaded: | cartoon.wav |
| Comment: | This is a sound with an increase in frequency, resulting in an increase in pitch. As this occurs, the amplitude decreases. |
| Name: | Travis Maiers |
|---|---|
| Date: | April 06, 2007 (10:43) |
| File uploaded: | knuckles.ogg |
| Comment: | This is a recording of me rapping my knuckles on a desk. It has a consistent period of 0.4 seconds with slightly increasing amplitude. |
| Name: | Cyrus Tingley |
|---|---|
| Date: | April 06, 2007 (10:37) |
| File uploaded: | guitar octaves.ogg |
| Comment: | On my guitar I played a series of notes to illustrate the sound and position of octaves. The first note I play is an open E (low), followed by an E one octave above, then the same on the next next, and so on - six notes paired with their respectively corresponding octaves, each pair separated by an interval of 12 equal semitones and possessing frequencies characterized by a 2:1 ratio to eachother. (I've been trying to complete, and am still working on, a different submission, but wanted to be sure to get one in for now) |
| Name: | Hannah Rossman |
|---|---|
| Date: | April 06, 2007 (09:32) |
| File uploaded: | teapot.ogg |
| Comment: | I chose one of my least favorite noises, the teapot whistle. I thought maybe I could come to like the noise more if I appreciated it on a musical, instead of purely obnoxious, level. Analyzing the sound with audacity, I found it is composed of primarialy D9 and D8 pitches. This is showing the 1:2 ratio of an octave. The notes have values of 4672 Hz and 9371, very close to a perfect octave. So my obnoxious teapot is singing a D octave. |
| Name: | John Malanga |
|---|---|
| Date: | April 06, 2007 (05:37) |
| File uploaded: | JMalanga_basstune1.ogg |
| Comment: | This sound clip starts out with a sample of my bass guitar playing an A2 (110 hz). A second later, a computer generated sine wave at 110 hz is played along side the guitar sample. The resulting effect is a superposistion in waves, and since one can hear an oscillating hum this means there is a slight difference in the two frequencies which is forming a beat frequency to occur. Also, by looking at the superposistion we can tell that the waves did not have the same frequency because they both constructively and destructively interfered. This therefore shows the A string on my bass guitar is not perfectly tuned. |
| Name: | Steve Cesaro |
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| Date: | April 06, 2007 (01:48) |
| File uploaded: | baba.ogg |
| Comment: | The into to Baba O'Riley...A perfect fifth! |
| Name: | Nick Andrews |
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| Date: | April 06, 2007 (00:54) |
| File uploaded: | Messiaen.ogg |
| Comment: | This is the opening of the cello-piano movement of Messiaen's Quartet for the End of Time. For the first note, B4, the first five peaks were, as expected, B4, B5, F#6, B6, and D#7. When the piano enters, the spectrum analysis naturally becomes more complicated, but it is interesting to observe the difference in timbre between the piano's sound and the cello's sound. One important thing to note about the cello's sound is that there is a considerable amount of vibrato; that is, the note seems to oscillate slightly around the pitch, a fact which is shown in the plot spectrum as smaller peaks centered around the main peaks for each note/harmonic. |
| Name: | Chris Burns |
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| Date: | April 06, 2007 (00:47) |
| File uploaded: | perfect5th.ogg |
| Comment: | Using my guitar, I played an A and an E. Since the frequencies of these notes are in a 2:3 ratio this is a perfect fifth. |
| Name: | Johari |
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| Date: | April 05, 2007 (23:57) |
| File uploaded: | |
| Comment: | This then, naturally, led me to believe it was A# so I generated an A# tone in Audacity and compared the two sounds. The plot spectrum was right... II II II II / II / / |
| Name: | Ariel Eckstein |
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| Date: | April 05, 2007 (23:52) |
| File uploaded: | hw1aeckstein.ogg |
| Comment: | This is a recording from the computer microphone of the repeated tapping of the 'f' key on my keyboard. using a spectrum analysis it the frequency of this sound was an A6. |
| Name: | Scatchy Sound |
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| Date: | April 05, 2007 (23:51) |
| File uploaded: | wonder.ogg |
| Comment: | This is a sound I got of a song in my iTunes library. When I used the plot spectrum to analyze it, it showed that all the component frequencies where A#'s at different octaves. |
| Name: | Jackie Olson |
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| Date: | April 05, 2007 (23:25) |
| File uploaded: | Auld_Lang_Syne.ogg |
| Comment: | This is the first 10 seconds or so of Auld Lang Syne. if you look at the frequency spectrum for the first note (from 0.7 sec to 1.5 sec), you can see that the first 4 peaks are in the 1-2-3-4 ratio ( C2, C3, G3, C4), which is why we hear a C chord. |
| Name: | Anna Stork |
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| Date: | April 05, 2007 (23:22) |
| File uploaded: | Keys.ogg |
| Comment: | In class, Professor Barnett jingled keys in front of the speaker and it sounded similar to bells. I think one of my favorite sounds is bells. For my first aural posting, I jingled my car keys near the speaker of my computer. I then amplified the audio track with audacity. After learning about the frequency of sound waves and what it means to amplify a sound, I find it interesting to analyze this audio track. When I amplify it, something inside the computer vertically stretches the sound waves by the percent I indicate. It is fascintating to think sounds reduce to functions that can be manipulated by percentages to create new sounds. The frequency of this audio track is mostly between 4000 Hz and 10000 Hz. |
| Name: | Anna Schumacher |
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| Date: | April 05, 2007 (22:54) |
| File uploaded: | GuitarE.ogg |
| Comment: | This is a recording of the low E string on my guitar. Although I tuned the instrument before recording, the Audacity 'spectrum' feature is telling me I really played an F#. Quite possible. Regardless of the pitch, this is a good example of a function which decreases in amplitude, has a relatively visable period (especially just after the initial plucking of the string), and has a pitch which remains pretty constant. |
| Name: | Emily Winkler |
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| Date: | April 05, 2007 (00:54) |
| File uploaded: | Do.ogg |
| Comment: | This is me singing a pitch on the syllable "Do," which I am using to illustrate the relationship between frequency and pitch. I determined pitch by two different methods: one by listening, and one by working with the graph of the note on audacity. After singing the note, I compared it to a note on my tin whistle, and determined by listening that the note I had sung was G4. I then zoomed in on the graph and determined that the length of the signal's period was in the range of .0025 to .0026 seconds. Thus, by 1/.00255, the frequency was 392.16 Hz. I plugged this number into our logarithmic equation, and determined that this pitch was almost exactly two semitones below A4 (-1.99), which is - as expected - G4. Another interesting thing I noticed about the graph, pertaining to this week's material, is that - especially near the beginning, when the tone is clearest - it looks almost exactly like the graph on today's Fourier Series worksheet: the graph of g(x) = sin(200 pi t) + sin (400 pi t). Both the graph and the clear timbre of the tone suggest that the signal's harmonic content includes one b1, and one b2. By the relation w = 2 pi f, I would thus suggest that the function of this tone is g(x) = sin(784.33 pi t) + sin (1568.64 pi t). |
| Name: | Ann Kapusta |
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| Date: | April 04, 2007 (20:28) |
| File uploaded: | thunder.ogg |
| Comment: | This is an audio clip I found of 3 thunder claps in a row. The immediate thing I noticed and found interesting about this sound clip is that it shows a periodicity of about 3 seconds. I found it pretty amazing for nature to be so periodic when storms seem by definition so chaotic. The other effect I noticed in the clip is the obvious fact of the amplitude change. Since it gets much louder when the thunder clap occurs the amplitude would increase dramatically when that happens. The amplitude decreases rapidly after the initial "boom" of the thunder but is still fluctuating with the crackling between the claps. |
| Name: | alex |
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| Date: | March 20, 2007 (22:12) |
| File Uploaded: | train_whistle_WRJ.ogg |
| Comment: | Here is a train whistle I recorded near White River Junction, VT, a few days ago (I was indoors so you can hear some background noise, and rumble). There's a lot going on here: there are 3 musical notes, and the chord seems to start out at C4-E4-A4, but the A4 drifts up to Bb4 by the end (moving from a minor to dominant-seventh feel, if you know harmony). I wonder why? Something to do with steam pressure changing? Each note has a harmonic series. We'll learn more about all these notes and concepts soon! |