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Old 08-22-2001, 06:02 PM   #31
Fljotsdale
Thoth - Egyptian God of Wisdom
 

Join Date: March 12, 2001
Location: Birmingham, West Mid\'s, England
Age: 87
Posts: 2,859
Quote:
Originally posted by Yorick:
Oh man I'm sorry. Don't feel battered Fjlotsdale.

Me and my big mouth


No worries, Yorick! My opinions on this are just opinions - you are speaking from a position of greater knowledge - well, regarding sound, anyway!
I bow out, lol!

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Old 08-22-2001, 06:15 PM   #32
Yorick
Very Mad Bird
 

Join Date: January 7, 2001
Location: Breukelen (over the river from New Amsterdam)
Age: 52
Posts: 9,246
Kaz,

Perfect pitch is an aquired skill, though some may be born with an aptitude for it. Again it is association and familiarity so that one can identify the exact frequency as "G" and then, with "relative pitch" - which is the ability to accurately gauge the correct distance between notes in a scale - work out what the notes are.

Violinists often have perfect pitch because it is so critical to the instrument. A pianist is often able to recognise chordal shapes quicker than a solo melodic instrumentalist due to the time they spend playing such chords. Again, once a key is worked out, familiarity with the distances in the scale ease recognition. (ie "oh that's the fifth followed by the seventh chord with an ad 9 in it")

A good vocalist will often have practically perfect "relative pitch" as the voices pitching is controlled by the ear. Thus, they will jump the distances accurately yet not necessarily know what the name of the notes are, hampering what we call "perfect pitch".

Conversely a good live sound engineer will recognise the "notes" or tones of frequencies isolated in a graphic equaliser as opposed to notes of the musical scale. If they hear feedback, an experienced engineer will go straight to the culpable frequency and reduce it. Again, experience and exposure are paramount.

It's all about focus, and what you choose to do with your (in this case musical) mind.

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I am the walrus!.... er, no hang on....

A fair dinkum laughing Hyena!

[This message has been edited by Yorick (edited 08-22-2001).]
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Old 08-22-2001, 06:26 PM   #33
Yorick
Very Mad Bird
 

Join Date: January 7, 2001
Location: Breukelen (over the river from New Amsterdam)
Age: 52
Posts: 9,246
Quote:
Originally posted by Yorick:

Conversely a good live sound engineer will recognise the "notes" or tones of frequencies isolated in a graphic equaliser as opposed to notes of the musical scale. If they hear feedback, an experienced engineer will go straight to the culpable frequency and reduce it. Again, experience and exposure are paramount.

Actually something that may or may not interest you is that Tibetan/Mongolian throat singers use a bizzare effect to sound like they are singing two notes. They sing one held note, and through shaping the resonators (mouth, throat, nasal cavities etc) acheive the illusion of a second harmonic note.

Fjlotdsdale, you are a gentlewoman and a scholar, and full of grace. Respect sister.

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I am the walrus!.... er, no hang on....

A fair dinkum laughing Hyena!
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Old 08-22-2001, 06:39 PM   #34
Fljotsdale
Thoth - Egyptian God of Wisdom
 

Join Date: March 12, 2001
Location: Birmingham, West Mid\'s, England
Age: 87
Posts: 2,859
Funnily enough, Yorick, I understand what you mean about sound and the effect of experience, because I had the same thing with colour when I used to paint, years ago. I stopped seeing colours the way we 'normally' do. Instead, I was seeing finely graded tints and shades, shapes, lights, shadows, and knew precisely how to get those colours with the paints to hand. I stopped saying/seeing, 'red', 'yellow', 'blue', 'brown' and started seeing/saying 'cobalt blue', 'alizarin crimson', 'sepia', etc. Same thing as you with sound, but different medium. I just remembered! Must take up painting again...

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