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39

Wave is an uncompressed or lossless format, whereas MP3 is compressed or lossy. Technically .wav is just a container format and can hold various types of compressed or uncompressed audio, but typically you'll see it containing LPCM uncompressed audio (the same as on audio CDs). With .wav files, you are essentially getting a raw bitstream representation of ...


25

"Worth the money" is very subjective. Let's instead talk about the various factors you have to consider. Fitting A into B Good quality microphones usually have XLR connectors. These have three wires arranged so that any interference picked up in the cable is cancelled out. Many USB audio interfaces have XLR sockets (but check that the one you choose ...


17

What you see and hear in the final waveform is the sum of all the instruments, the sum of all the individual sources. All those sounds can be encoded in a single waveform. In the case of your first example (stereo sound) you have two channels (two waveforms, two signals) instead of one. In other words, yes, it is a single sound (or two sounds in the case ...


15

I know exactly what you mean and I've thought about it quite hard myself. Not everyone can do this, but as you attune to music more and get used to what a drum kit or guitar playing in a room sounds like, it's easier to pick out the characteristics of live vs. recorded. I think it's a mixture of things: The mix- sometimes live music isn't mixed as well ...


14

First of all, when using or abbreviating a unit named after a person (in this case, Alexander Graham Bell), it is customary to capitalize the abbreviation, so the most respectful way to write the common measurement of the ratio between to values is dB. Capitalization is not used when the unit is spelled out with a scale prefix ("deci-", in this case), but ...


13

You can't. Even if you get the sound guy to feed the FOH sound through the stage monitors (or your IEM) it won't give an accurate representation of the FOH sound, there are simply too many variables. If you want to check FOH sound you need to walk off the stage during sound check to hear it. A long lead or a wireless pack will allow this. Be aware the ...


11

This is an extremely broad topic, so I'm going to try to distill it down to just a handful of points: There are (basically) two ways of generating sounds electronically: sampling and synthesis. Confusingly, we tend to call all of this sound generation "synthesis", as you are generally working with a "synthesizer". You will want to read Wikipedia - ...


11

I have absolute pitch and associate colors with specific keys. I have had this ability for as long as I can remember and only discovered in adolescence that others did not have it; the two are very much intertwined in terms of how I think about music. FWIW, absolute pitch runs in my family on both sides, with my mother possessing it and my paternal ...


11

The executive summary of Charles' very detailed answer is: Use WAV for recording and editing. Use your audio editor's native file format with references to the WAV files to keep disk space under control use MP3 for distribution. 44.1 and 160kbps is lots, unless your audience has a home stereo that is worth more than their car and ears to match.


11

The difference is in the number of channels (signals) used. Mono uses one, stereo uses more than one. In monaural sound one single channel is used. It can be reproduced through several speakers, but all speakers are still reproducing the same copy of the signal. In stereophonic sound more channels are used (typically two). You can use two different ...


11

While sound proofing can be very effective, sound can be very easily transmitted through air and solid like walls or floors. So in a condo you may be able to sound proof your walls to limit the sound to neighbours, but as anyone who has ever lived above a neighbour knows, your floor will transmit a lot of sound. A detached house will be much better, as ...


10

Consonants are primarily just noise—largely high, semi-random frequencies. Vowels are generally the only part of speech that have harmonic content as opposed to the inharmonic content of consonants. Bright, forward vowels like EEEEEE have way more overtones than dark, back vowels like AHHHHHH. Most consonants other than the nasals are so brief that I'd ...


9

As others have mentioned, those strings do not have dampers (the felt things that mute a note when you release the key). The reasoning is several-fold. First, the higher notes have much less sustain than lower notes. The dampers wouldn't really have much effect since those notes die out so quickly. Second, undamped strings are free to vibrate ...


9

Obviously, headphones are the very first thing to recommend if you aren't already using them. A good pair of noise-cancelling headphones works both ways; you can be thumpin' it at 95dB and nobody but you will hear it. The sound produced by you hitting a rubber pad with a drumstick is a dull thunk, typically quieter than an ordinary conversation. If you have ...


9

Yes. All tenor and bass trombones are pitched the same. The difference between student instruments and professional ones is actually more in the bore size than whether or not the instrument has a trigger (which is typically called an "F attachment"). The F attachment's primary use is to extend the low range of the instrument, and enable technical facility ...


9

This sounds similar-to (but more general than) the so-called Speech-to-Song effect, a musical illusion discovered and described by musical psychologist Dr. Diana Deutsch, whereby a repeated phrase of speech comes to sound like music. I think the effect you're discussing is a more general effect, since it involves any repeated sound, and does not necessarily ...


8

There's seven billion people on this planet: pick one you trust and ask them to go to the back of the house for a sound check. Fans are great for this; they're just so honored to be asked, and they have some idea of what your music is supposed to sound like. Or if there's more than one act going on, you can often ask the musicians in another band to help ...


8

I'm wondering if the choice of the strings on this guitar could have a very significant impact on its sound and playability. Yes, definitely. Well, I suppose it might depend on what you consider "significant". In terms of the sound, the change between string gauges can be subtle, but I notice it right away on my guitars - perhaps because I'm so familiar ...


7

Sounds to me like exactly the same principle. The first rhythm gets faster and faster until it becomes a blur of noise and is removed from the sound, but over the top of that is superimposed the same rhythm at half speed. While you're listening to the first rhythm get faster, the second does the same, and eventually becomes the main focus of attention. By ...


7

You need to reproduce the full spectrum for each note and model the way the amplitude (and harmonic mix) varies over time. See Analysis and Parametric Synthesis of the Piano Sound For accurate reproduction you also need to take into account complex effects such as induced vibrations in other undamped strings.


7

There are many different types of synesthesia, and it is only recently that it has been taken seriously as psychological phenomena. For anyone who is unfamiliar (or too bored to click the links in the OP's question,) synesthesia is essentially where a person's brain is hard-wired to experience sensory stimulation in multiple, simultaneous ways. For ...


7

Having faced this issue some times, the best reccomendation i can give you is first of all, listen to your recordings in various systems, the more, the best, because if you want the world to listen to it, you can never test every system in the world, so, try as many as you can and try to balance for the best in all the systems. Particularly, one of the best ...


7

Most musicians constantly fuss over how they sound. It is understandable, given the way we communicate using sound; we want our sound to be the best sound we can create. So, you are not alone here. It is important for you to learn to separate the sound from your self-worth as a human being. You ask your friends to be specific, but you need to be specific: ...


7

As naught101 says, your particular case here is a sinusoidal wave with a quiet third harmonic. To hear what this sounds like at an audible frequency, go to http://meettechniek.info/additional/additive-synthesis.html in a browser that supports the Web Audio API (like Firefox or Chrome), turn the audio on, and set it like this: H1 there represents your ...


7

If you are serious about this, you need to spend a LOT of money. You really need to build a "room within a room", with the floor mounted on a very soft foundation such as flexible airbags, so there is no vibration transmitted through the structure of the house. Then you can think about soundproofing the walls, floor, and ceiling of the inner room to stop ...


6

Mesh should certainly be quieter, but to help save the sanity of your neighbours below, you will need to look at an isolated drum riser. Tennis balls could work, but more commonly you see neoprene pads as these do a very good job reducing transmission of vibrations. Underneath that you could also use a square of carpet cut to the size of the riser as this ...


6

Another big clue is the use of compression. Originally compression was used to fit the dynamic range to the limits of vinyl/shellac recording, but our ears are now so used to it, and it's used so routinely in recording, that uncompressed music sounds 'live' or even 'wrong' depending on context.


6

In band rehearsal, the mix typically isn't really good anywhere in the room. And it needn't be, because since everybody has their own amp, there's very good spatial separation. Which is almost as useful as frequency separation for making everything audible. To fully exploit this, make sure everybody hears everybody else from a different direction, i.e. place ...


6

Covering the hole would bring the note down to Bb 3. With the hole covered (or no hole at all) you would get a standing wave with a wavelength of twice the length of the instrument as the fundamental pitch. The reason for this is because the instrument is a tube capable of holding pressure in the middle, but not capable of holding pressure at either end ...



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