Overtone Music Network2024-03-29T05:23:41ZJens Müggehttps://www.overtone.cc/profile/jensmueggehttps://storage.ning.com/topology/rest/1.0/file/get/12403616258?profile=RESIZE_48X48&width=48&height=48&crop=1%3A1https://www.overtone.cc/group/software/forum/topic/listForContributor?user=150iy09ln3vla&feed=yes&xn_auth=noHARMONYNC: a Dynamic Harmonics Calculatortag:www.overtone.cc,2016-01-15:884327:Topic:1809312016-01-15T00:54:56.906ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
<p>Hi everybody,</p>
<p>I am an overtone singer and some years ago I needed an interactive table of reference to hear the harmonics and how their intervals sound.</p>
<p>This software was born for my personal use and it is a prototype.</p>
<p></p>
<h2><span class="font-size-4">What is this?</span></h2>
<p>The Harmonync is a platform that allow the user/musician to play the Harmonic Series and changing its fundamental tone in real-time. Just like the overtone singers do with the polyphonic…</p>
<p>Hi everybody,</p>
<p>I am an overtone singer and some years ago I needed an interactive table of reference to hear the harmonics and how their intervals sound.</p>
<p>This software was born for my personal use and it is a prototype.</p>
<p></p>
<h2><span class="font-size-4">What is this?</span></h2>
<p>The Harmonync is a platform that allow the user/musician to play the Harmonic Series and changing its fundamental tone in real-time. Just like the overtone singers do with the polyphonic overtone singing technique.<br/> The idea is to play a fundamental-variable harmonic series on electronic and electro-acoustical instruments retuned via MIDI and in real-time.<br/> The name come from the union of the words “Harmonic” and “Sync”.</p>
<p><strong><em>The Harmonync can retune MIDI instruments via Pitch Bend Change messages or using the MIDI Tuning Standard (SysEx) protocol</em></strong>.</p>
<p>Actually the Harmonync is prototyped as a patch for <a href="https://en.wikipedia.org/wiki/Pure_Data" target="_blank">Pure Data</a> using the Extended Libraries. The first release was developed with <a href="https://puredata.info/downloads/pd-extended" target="_blank">Pd-extended</a> 0.43.4 for Mac OS X but it should run on other platforms.</p>
<p></p>
<h2><span class="font-size-4">How to get and use it?</span></h2>
<p>I know that the patch is difficult to use. It requires a knowledge base about the Harmonic Series, microtonal music, math of music and MIDI protocol.</p>
<p>I'm working on a comprehensive guide and a video tutorial, But it will take some time.<br/> In the meantime, to be faster, I am publishing the training material that I produced as textual tutorials on the project website.</p>
<p>Visit <strong><a href="http://harmonync.org/">harmonync.org</a></strong> for the updated <strong>Download</strong> links and the <strong>Tutorials</strong>. For any questions, you may discuss here or contact me on the project site.</p>
<p></p>
<h2><span class="font-size-4">Demo</span></h2>
<p>Now, to understand the potential of the program I quickly produced a demo.</p>
<p><a href="https://www.youtube.com/watch?v=ONYW7D32JQU">https://www.youtube.com/watch?v=ONYW7D32JQU</a></p>
<p>This is an exploratory session originally recorded on March 2014 to test the software under development. I quickly arranged the original performance and I released it as a demo to show how you can use the Harmonync.</p>
<p>Pure Data is a bit slow in updating the graphical interface. Sometimes, some tones are not displayed in the H-Stack because they are too short and quick.</p>
<p>I post it also on the video section of OMN: <a href="http://www.overtone.cc/video/the-harmonync-s-reconnaissance">link</a></p>
<p></p>
<h2><span class="font-size-4">Further developments</span></h2>
<p>The patch is published under the Afffero General Public License v.3.0 (AGPLv3).<br/> So... if someone wants to help me improving the software, <a href="https://github.com/IndustrieCreative/Harmonync">the repository is available on GitHub</a>. Contributors are welcome!!</p>
<p></p>
<h2><span class="font-size-4">Screenshot</span></h2>
<p><a target="_blank" href="http://harmonync.org/wp-content/uploads/MAIN-GUI_01.jpg"><img class="align-full" src="http://harmonync.org/wp-content/uploads/MAIN-GUI_01.jpg?width=450" width="450"/></a></p> Audacity - sound examples by using Audacitytag:www.overtone.cc,2010-12-21:884327:Topic:1112592010-12-21T13:02:37.813ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
<table width="610">
<tbody><tr><td><p>Once again, thanks a lot - Marco - for this <a href="/group/software/forum/topics/884327:Topic:28090" target="_self">list of free software</a>. I am learning how to use some of the effects by audacity.</p>
<p> </p>
<p><a href="http://audacity.sourceforge.net/" target="_blank"><img class="align-left" src="http://audacity.sourceforge.net/images/Audacity-logo-r_50pct.jpg" style="padding: 5px;"></img></a></p>
<p> </p>
<p>Some days ago I recorded a short video clip with a pocket camera (Samsung NV-9) - then I converted with the Free Studio from…</p>
</td>
</tr>
</tbody>
</table>
<table width="610">
<tbody><tr><td><p>Once again, thanks a lot - Marco - for this <a href="/group/software/forum/topics/884327:Topic:28090" target="_self">list of free software</a>. I am learning how to use some of the effects by audacity.</p>
<p> </p>
<p><a href="http://audacity.sourceforge.net/" target="_blank"><img class="align-left" style="padding: 5px;" src="http://audacity.sourceforge.net/images/Audacity-logo-r_50pct.jpg"/></a></p>
<p> </p>
<p>Some days ago I recorded a short video clip with a pocket camera (Samsung NV-9) - then I converted with the Free Studio from <a href="http://174.129.35.246/FreeStudio.exe" target="_blank">dvdvideosoft.com</a> the audio track in to a WAV file and made some experiments with audacity. It 's a nice process which makes really fun.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1798937018?profile=original" target="_self">The Original sound track</a> - converted from AVI to WAV with the Free Studio (great free stuff)</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1798939046?profile=original" target="_self">Variation II:</a> a mix with the original audio track and some effects from audacity.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/986565457?profile=original" target="_self">Variation III:</a> completly new arrangement using various different pitches what is one of the effects in audacity. I like this software to get a taste what's possible with audio software programs. I think it is good to improve my skills first with one free software and later it will be easier to use another program with more or maybe endless options.</p>
</td>
</tr>
</tbody>
</table> VTDemotag:www.overtone.cc,2009-02-15:884327:Topic:570122009-02-15T19:28:38.672ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
This is a nice software to understand the effects of Vocal Tract in our voical timbre.<br />
<p style="text-align:left"><img src="http://marcotonini.files.wordpress.com/2009/02/vtdemo2.png?w=569&h=354"></img></p>
<br />
Sorry but the link button is OFF, so...here a my video about it: <a href="http://www.youtube.com/watch?v=Afj1VGdnaRc">http://www.youtube.com/watch?v=Afj1VGdnaRc</a><br />
<br />
You can modify some parameters and see (and listen to) in real time what happened.<br />
Here the link, try for 3.5 version:…
This is a nice software to understand the effects of Vocal Tract in our voical timbre.<br />
<p style="text-align:left"><img src="http://marcotonini.files.wordpress.com/2009/02/vtdemo2.png?w=569&h=354"/></p>
<br />
Sorry but the link button is OFF, so...here a my video about it: <a href="http://www.youtube.com/watch?v=Afj1VGdnaRc">http://www.youtube.com/watch?v=Afj1VGdnaRc</a><br />
<br />
You can modify some parameters and see (and listen to) in real time what happened.<br />
Here the link, try for 3.5 version: <a href="http://www.phon.ucl.ac.uk/resource/vtdemo/">http://www.phon.ucl.ac.uk/resource/vtdemo/</a> Livid Loopertag:www.overtone.cc,2008-09-27:884327:Topic:386122008-09-27T08:31:21.494ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
<p style="text-align:justify;">Thanks to our friend <a href="http://www.overtone-network.org/profile/seralf">Seralf</a> I have tried <a href="http://lividinstruments.com/software_looper.php">Livid Looper</a>, an open source software (Mac and Win) for real time looping, designed in Max/MSP 5 visual programming environment. It allows to create and to manage at most 6 loops, using audio file or recording in real time, MIDI controller and…</p>
<p style="text-align:justify;">Thanks to our friend <a href="http://www.overtone-network.org/profile/seralf">Seralf</a> I have tried <a href="http://lividinstruments.com/software_looper.php">Livid Looper</a>, an open source software (Mac and Win) for real time looping, designed in Max/MSP 5 visual programming environment. It allows to create and to manage at most 6 loops, using audio file or recording in real time, MIDI controller and <a href="http://en.wikipedia.org/wiki/OpenSound_Control">OSC</a> devices. It means that people can play with multiple computers on separate interfaces controlling a single server computer, so it is possible to create a computer music band.</p>
<p style="text-align:justify;">Each loop module shows many controllers, a multi-filter bank, delay, pan, pitch and so on, but the most interesting are a Ring Modulator, a Grain, a Degrade, an Envelope and the VST plugin downloading.</p>
<p style="text-align:justify;">I don't use loop in real time, so I need more time to understand all the functions of this software, but it is very pleasant. A little problem for me can be the fiked size of each module, what a pity!</p>
<p style="text-align:left"><img src="http://lividinstruments.com/images/loopinterface_full.jpg"/></p> New book: Resonance in Singingtag:www.overtone.cc,2008-07-29:884327:Topic:318862008-07-29T08:59:11.785ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
I have just been to the Voice Symposium conference in Salzburg, where I got the new book <a href="http://www.voiceinsideview.com/resonance_in_singing.htm">Resonance in Singing</a> by Donald Miller, the author of the program <a href="http://www.vocevista.com/">VoceVista</a>.<br />
<br />
The book is about how to use his vocal analysis software to study and learn resonance strategies to achieve an optimal sound (mainly from a classical singers point of view). In our terminology, it is about how to adjust the…
I have just been to the Voice Symposium conference in Salzburg, where I got the new book <a href="http://www.voiceinsideview.com/resonance_in_singing.htm">Resonance in Singing</a> by Donald Miller, the author of the program <a href="http://www.vocevista.com/">VoceVista</a>.<br />
<br />
The book is about how to use his vocal analysis software to study and learn resonance strategies to achieve an optimal sound (mainly from a classical singers point of view). In our terminology, it is about how to adjust the vocal tract and the mouth such that the important harmonics are optimally amplified (something overtone singers take to the extreme).<br />
<br />
Donald also says that LPC (linear predictive coding, a method for finding formants) is of limited usefulness for analyzing singing, because it only works for very low frequencies and is therefore more for speech.<br />
<br />
I'll post a full review here once I have finished the entire book and have done the exercises. But I can already say that it is highly recommended for anyone who wants to learn more about vocal analysis software. Formant Synthesis Demotag:www.overtone.cc,2008-07-23:884327:Topic:311202008-07-23T17:10:33.029ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
Very very nice this no-install application.<br />
It shows the relation between formants and vowels, with the possibility to change pitch, source wave, shape, bandwidht.<br />
For win, linux and mac.<br />
<br />
From the site:<br />
<br />
What is this?<br />
This application demonstrates formant-based synthesis of vowels in real time, in the spirit of Gunnar Fant's Orator Verbis Electris (OVE-1) synthesizer of 1953.<br />
<br />
How to use<br />
Set source and filter parameters at the top. Click and drag in the "vowel space" to hear the…
Very very nice this no-install application.<br />
It shows the relation between formants and vowels, with the possibility to change pitch, source wave, shape, bandwidht.<br />
For win, linux and mac.<br />
<br />
From the site:<br />
<br />
What is this?<br />
This application demonstrates formant-based synthesis of vowels in real time, in the spirit of Gunnar Fant's Orator Verbis Electris (OVE-1) synthesizer of 1953.<br />
<br />
How to use<br />
Set source and filter parameters at the top. Click and drag in the "vowel space" to hear the vowels.<br />
Right-click to select target language for vowel symbols.<br />
LPC power spectrum of source (red) and output signal (green) are to the right, waveforms are displayed at the bottom.<br />
The source type "sampled" will use a sound file containing a single period of a waveform as voice source.<br />
<br />
<a href="http://www.speech.kth.se/wavesurfer/formant/">http://www.speech.kth.se/wavesurfer/formant/</a><br />
<br />
<p style="text-align:left"><img src="http://www.speech.kth.se/wavesurfer/formant/formant.gif"/></p> Software that I use, and how: harmonics and resonancetag:www.overtone.cc,2008-07-16:884327:Topic:302912008-07-16T11:01:46.856ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
So, to fix the features of a timbre we can consider the current harmonics, but these are inadequate informations.<br />
<br />
We must consider the envelop ADSR, especially attack kind, harmonics development in time and others noise-sounds, as noise attack, for example.<br />
<br />
Another important thing is the body that produce the vibration. The sound of a piano is very different if I strike its strings with hammers or with fingertips, or something else (John Cage docet).<br />
<br />
There are always:<br />
<br />
- an exciting body<br />
- a…
So, to fix the features of a timbre we can consider the current harmonics, but these are inadequate informations.<br />
<br />
We must consider the envelop ADSR, especially attack kind, harmonics development in time and others noise-sounds, as noise attack, for example.<br />
<br />
Another important thing is the body that produce the vibration. The sound of a piano is very different if I strike its strings with hammers or with fingertips, or something else (John Cage docet).<br />
<br />
There are always:<br />
<br />
- an exciting body<br />
- a resonant body (harmonic case).<br />
<br />
The relation between them creates our timbre perception.<br />
<br />
The theoretic rule tell us that in a harmonic sound one overtone component has lower amplitude than the previous one,<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935471?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935471?profile=RESIZE_320x320" alt="" width="300" height="96" style="float: left;"/></a><br />
<br />
<br />
<br />
<br />
<br />
but really it is not always thus.<br />
<br />
In this network many people use voice in several ways, so I write something about vocal resonance and vocal formants.<br />
<br />
Vocal tract is an harmonic case very special: it is not rigid. It is made up of many little changeable cavities in which acoustic energy develops itself.<br />
<br />
Resonance cavities are full of air:<br />
<br />
- when a sound wave collide with air, air vibrates<br />
<br />
- so, in function by the shape and structure of the vocal tract in that exact istant, sound will undergo the increase of some harmonic components (and not others), fixing exact formantic zones<br />
<br />
Formant = acoustic energy concentration in a some frequency band<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935447?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935447?profile=RESIZE_320x320" alt="" width="300" height="136" style="float: left;"/></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
The resonator object is not the resonance cavities or the vocal tract, but the air included into them.<br />
<br />
Sound of vocal folds is like a weak drone and it transform and develop itself by the over-glottical cavities (vocal tract). I say over-glottical and not under-glottical cavities because the way of the air, from lungs to vocal tract, is vertical, from down toward upper resonance cavities.<br />
<br />
All that is under vocal folds can not resonate because it is collide by no kind of acoustic energy.<br />
<br />
Acoustic energy can't exist under vocal folds.<br />
<br />
Air from lungs to vocal folds is of not-vibrating kind, so our chest can't be a resonator.<br />
<br />
Vocal coaches and singing teachers (only few, unfortunately) tell about this as a resonance sensation.<br />
<br />
Resonance sensations are fixed by skeletal and muscular vibrations, and their amplitude is really very slow. They are only sensations.<br />
<br />
All that is under our vocal folds can't be amplified because it is not in resonance.<br />
In case it is in consonance, and this is very different. Another free software listtag:www.overtone.cc,2008-07-05:884327:Topic:291282008-07-05T14:07:52.650ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
From <a href="http://www.phon.ucl.ac.uk/">UCL DEPT OF PHONETICS & LINGUISTICS</a><br />
<br />
There are others very nice software for Win in this site.<br />
<br />
It is not necessary that I copy and paste their description, so I give you the link page directly:<br />
<br />
<a href="http://www.phon.ucl.ac.uk/resource/software.html">http://www.phon.ucl.ac.uk/resource/software.html</a><br />
<br />
In my opinion very interesting are:<br />
<br />
CochSim<br />
<br />
ESECTION<br />
<br />
ESYNTH<br />
<br />
ESYSTEM<br />
<br />
RTSPEECH<br />
<br />
RTSPECT<br />
<br />
SFS - I used it for my images on "...harmonics…
From <a href="http://www.phon.ucl.ac.uk/">UCL DEPT OF PHONETICS & LINGUISTICS</a><br />
<br />
There are others very nice software for Win in this site.<br />
<br />
It is not necessary that I copy and paste their description, so I give you the link page directly:<br />
<br />
<a href="http://www.phon.ucl.ac.uk/resource/software.html">http://www.phon.ucl.ac.uk/resource/software.html</a><br />
<br />
In my opinion very interesting are:<br />
<br />
CochSim<br />
<br />
ESECTION<br />
<br />
ESYNTH<br />
<br />
ESYSTEM<br />
<br />
RTSPEECH<br />
<br />
RTSPECT<br />
<br />
SFS - I used it for my images on "...harmonics and FFT"<br />
<br />
VTDemo - this is very useful and pleasant Software that I use, and how: harmonics and FFTtag:www.overtone.cc,2008-07-04:884327:Topic:291052008-07-04T23:32:41.025ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
Look at this:<br />
<br />
<p style="text-align: left;"><a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935444?profile=original" target="_blank"><img alt="" height="162" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935444?profile=RESIZE_320x320" width="300"></img></a></p>
<br />
It is 1 second of pink-noise. A the top you can see the waveform, at the bottom a very confusional image, its spectrogram.<br />
<br />
Now look at this:<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935527?profile=original" target="_blank"><img alt="" height="162" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935527?profile=RESIZE_320x320" style="float: left;" width="300"></img></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
It's the same waveform…
Look at this:<br />
<br />
<p style="text-align: left;"><a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935444?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935444?profile=RESIZE_320x320" alt="" width="300" height="162"/></a></p>
<br />
It is 1 second of pink-noise. A the top you can see the waveform, at the bottom a very confusional image, its spectrogram.<br />
<br />
Now look at this:<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935527?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935527?profile=RESIZE_320x320" alt="" width="300" height="162" style="float: left;"/></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
It's the same waveform zoom in at 12 millisecond; you note the irregularity of wave and its spectrogram.<br />
<br />
An other picture:<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935577?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935577?profile=RESIZE_320x320" alt="" width="300" height="162" style="float: left;"/></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
This is 1 second sawtooth at 1500 Hz (or CPS, Cycles Per Second); it means 1500 crests waveform in 1 second. In this image you can't see them because 1500 crests in few centimeters are very constrict, so:<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935632?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935632?profile=RESIZE_320x320" alt="" width="300" height="162" style="float: left;"/></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
The same waveform with zoom in. Now you can see the crests (crest= section of the wave that rises above the 0 line position); you can count 15 of them in 10 milliseconds, 1500 Hz : 1 second = 15 Hz : 10 milliseconds.<br />
Here the spectrogram represents a series of lines, the harmonics, each one at the same distance.<br />
<br />
In this way you can understand that:<br />
<br />
1 - noise hasn't got an exact frequency, its spectrogram is irregular, this sound is enharmonics, its crests are irregular<br />
<br />
2 - frequency (Hz) represents the repetitions number of crest in 1 second; frequency is closely connected to the pitch of a sound.<br />
<br />
3 - if a wave is periodic (regular repetion of crest), probably has got harmonic components.<br />
<br />
4 - if a wave is not periodic, it has got enharmonic components (for example gong, noise, handmade bells).<br />
<br />
so:<br />
<br />
5 - a periodic wave produce a pitch sensation.<br />
<br />
6 - the pitch sensation is not so definite if the wave periodicity is less regular.<br />
<br />
7 - harmonics are all multiples of fundamental frequency (called F0 or h1 or 1° harmonic component)<br />
<br />
<a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798937159?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798937159?profile=RESIZE_320x320" alt="" width="300" height="153" style="float: left;"/></a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
A nice aspect is the relation among octave intervals; now we consider an harmonic sound at 100 Hz, it is create by:<br />
<br />
<b>h1</b> (1° harmonic component) or <b>F0</b> (fundamental frequency) = 100 Hz<br />
<br />
h2 = 200 Hz<br />
<br />
h3 = 300 Hz<br />
<br />
and so on, but the 1° octave is 200 Hz, the 2° octave is 200*2=400 Hz, the 3° octave is 800 Hz, the 4° octave is 1600 Hz.<br />
These are all octave intervals, 100 Hz and 200 Hz, but 800 Hz and 1600 Hz too (or 10.000 Hz and 20.000 Hz).<br />
What does it means?<br />
<br />
Our auditory perception rates the <b>ratio among frequencies</b>, not the frequencies.<br />
So we always perceive the same interval only if the ratio among frequencies is steady (in this case ratio 2:1).<br />
<br />
FFT - Fast Fourier Transform<br />
<br />
By this theorem, each audio signal can be split in many harmonic components, each one with its frequency, amplitude and phase, as show in the upper images.<br />
So we understand that each natural harmonic sound is the amount of many overtones, and the relation among their intensity fix our timbre perception.<br />
<br />
There is a problem: if it is true, I could re-add harmonics to obtain the original sound, but the result can't be the same, because each natural sound is living and develop itself through time. For example it is impossible reproduce the sound of piano only re-adding its harmonic components because thay can't reproduces the hammers sound, and second after second each harmonic can turn its amplitude or lenght.<br />
<br />
The same things about voice.<br />
<br />
By spettrograms and sonograms we can analyze all the harmonic or enharmonic components of a sound, but that's not all. There are formants too.<br />
<br />
Very important: harmonic components, or overtones, are sine waves (pure sounds)<br />
<br />
to be continued... Software that I use, and how: INTROtag:www.overtone.cc,2008-07-01:884327:Topic:287712008-07-01T22:42:39.083ZJens Müggehttps://www.overtone.cc/profile/jensmuegge
I show my way to work with formants and overtones.<br />
Before I need to explain the A B C of formantic theory and classic theory of harmonics because can be somebody that doesn't know them, but I wouldn't seem a teacher.<br />
Sorry for my bad English.<br />
<br />
Some simple acoustic notes: to measure a sound timbre we need many parameters, it can't be maked by frequencies and intensity only.<br />
Helmholtz advanced this theory:<br />
each natural sound is composed by a group of different frequencies, called harmonic…
I show my way to work with formants and overtones.<br />
Before I need to explain the A B C of formantic theory and classic theory of harmonics because can be somebody that doesn't know them, but I wouldn't seem a teacher.<br />
Sorry for my bad English.<br />
<br />
Some simple acoustic notes: to measure a sound timbre we need many parameters, it can't be maked by frequencies and intensity only.<br />
Helmholtz advanced this theory:<br />
each natural sound is composed by a group of different frequencies, called harmonic components, everyone with different intensity. These harmonics create our timbre perception.<br />
So each sound wave can be divided in many sine (or cosine) waves, each one with its frequency, its intensity and its phase.<br />
<br />
<p style="text-align: left;"><a class="noborder" href="http://storage.ning.com/topology/rest/1.0/file/get/1798935439?profile=original" target="_blank"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/1798935439?profile=RESIZE_320x320" alt="" width="300" height="152"/></a></p>
SINE WAVE<br />
<br />
(to be continued)