Frederic Petitpas Posted February 17, 2013 Share Posted February 17, 2013 Some people resquested that video so I did it. I hope it's informative somehow www.youtube.com/watch?v=xITUDAK_Nzg Quote Link to comment Share on other sites More sharing options...
Sixto Posted February 17, 2013 Share Posted February 17, 2013 interesting. i dont really get it but numbers and math always confuse me Quote Link to comment Share on other sites More sharing options...
dannthr Posted February 17, 2013 Share Posted February 17, 2013 Interesting premise--I suppose this provides a reason to pick one key over another with purely electronic productions. But I pick my key based on the timbre of instrument ranges and let that selection be independent of tempo. Quote Link to comment Share on other sites More sharing options...
Rozovian Posted February 17, 2013 Share Posted February 17, 2013 Didn't watch, but it's a good idea. Tho I wanna see this applied to detuning. How detuned should things be (cents vs key relative) for this to work on two oscillators. Quote Link to comment Share on other sites More sharing options...
Fishy Posted February 17, 2013 Share Posted February 17, 2013 So... what exactly are you trying to achieve here? You're trying to make it so that your sinewaves for the root note of the key are at an instantaneous value of 0 on every subdivision? It's a nice maths lesson and all, but I hope you're not trying to suggest that this is a good reason to choose a key/bpm . Quote Link to comment Share on other sites More sharing options...
Frederic Petitpas Posted February 18, 2013 Author Share Posted February 18, 2013 interesting. i dont really get it but numbers and math always confuse me Basically, the click of the metronome hits when the waveform is exactly at zero dB (at the same milisecond it touches the X axis). Kinda useless anyway lol Interesting premise--I suppose this provides a reason to pick one key over another with purely electronic productions.But I pick my key based on the timbre of instrument ranges and let that selection be independent of tempo. Yes but you know, if we stay within that idea, we could find for a same frequency more than a single BPM. First, we can double or halve them and it'll still be in phase, but also use triplets or dotted notes instead of a "normal" note like 1/128th (or 1/8th. etc..). That would make 3 possible BPM for a same frequency. But no, I really don't use any sort of rule when choosing a BPM, I go with the groove I have in my head... we're not robots Talking of timbre and instruments, maybe you could help me. I'd like to try another useless idea and find the resonant frequency of an instrument (my acoustic guitar) and derive a tuning from it. Do you know how I could do it ? I thought about gluing a speaker on its back and record the soundhole while sweeping a sine tone. I dunno.. Tho I wanna see this applied to detuning. How detuned should things be (cents vs key relative) for this to work on two oscillators. Yes I was thinking about it. What's cool is when you have the equations, Excell can become very handy. I keep the 2 oscillator things in mind. So... what exactly are you trying to achieve here? You're trying to make it so that your sinewaves for the root note of the key are at an instantaneous value of 0 on every subdivision?It's a nice maths lesson and all, but I hope you're not trying to suggest that this is a good reason to choose a key/bpm . Exactly. In this example it'll work with 256 subdivisions in a bar (if we consider half a cycle). I'm actually suggesting that it can be an inspiring reason to do so but nothing more. Like, it can be cool to try it for a tune or something, but no.. I don't make my music based off that. Quote Link to comment Share on other sites More sharing options...
dannthr Posted February 18, 2013 Share Posted February 18, 2013 http://www.classicalguitars.ca/resonances.htm You'll find that an accoustic guitar is a fairly complex bit of engineering. The sounding board to which the strings are attached, resonates nicely at many frequencies (which is part of what makes it an effective musical instrument). The strings themselves will resonate based on their current tuning, and there are 6 (at least), providing a huge variety of fundamental and overtone based resonance opportunities. If you are really interested in your guitar, you'd have to remove the strings to get a more "honest" result to understanding the resonant frequencies of your sound board. Quote Link to comment Share on other sites More sharing options...
Frederic Petitpas Posted February 18, 2013 Author Share Posted February 18, 2013 Yes I was thinking without strings ;P Thanks for the link ! Quote Link to comment Share on other sites More sharing options...
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