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location Cologne, Germany
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Functional programming enthusiast, audio engineer & musician. Whilst not busy with any of that, I study physics at Universität zu Köln / Bonn-Cologne Graduate School.


Nov
14
comment How to recognize the end of a piece of music
@msh210: no, it does answer the question, because "waiting for the others to clap" is what perhaps most people actually do. Some guys will always know the piece and either clap confidently or shush down others between movements; if most of the audience just listens to those then everything "works out right".
Nov
11
comment Recommendation for a computer-based virtual instrument for an acoustic piano sound
Not to forget, it also runs on Linux-based systems, which sadly very few other commercial plugins support by themselves.
Nov
8
comment Guitar Picking improvement… is forcing EVER good
I also agree absolutely, musically. However, this is bound to be subjective, and if some people just consider perfectly-played super-fast lines without much "true feeling" (for me, the prime example is Al DiMeola) the top notch of musical expression, than that's fine. Even if you don't, some hard precision & speed practise can't really hurt even if you're ultimately after just a reduced but expressive Blues tone. — So, I don't think this is a good answer.
Nov
5
comment Placement of F# on Alto Clef
Note how in tenor clef, the sharps go the other way around. Perhaps that's the reason: the composer may have been more acquainted to high cello / trombone etc. parts than to viola, and just translated this over to the alto clef. — IMO it's a bit harsh to say this is wrong; from a music theory perspective both ways of writing certainly are equivalent. It's just not helpful to the performers to use notation that diverges from the standard one, yet many composers do so, often in ways far more confusing than just the octave placement of accidentals.
Nov
4
comment How important is it to have an EQ pedal in your chain?
I rather doubt this works perfectly: guitar amps just don't have a sufficiently straight frequency response to get a good acoustic sound, regardless of what effects you use. But this is still a good point: EQ pedals can be used to literally equalise the sound of different guitars, if only approximately.
Nov
3
comment Why does the dominant chord contain a flattened 7th?
As I already said in my comment though, the 7th overtone isn't particularly well-represented by the minor 7th in well-tempered tuning, so for much of western music you can't apply this argumentation really well.
Nov
3
comment Why does the dominant chord contain a flattened 7th?
Those are both very unusual voicings of the maj7 chord. Usually at least either of the 3rd and 5th comes below the 7th, often the b will be the highest note. The minor-7th more often comes with that note in a lower position, which makes sense due to what we both said: b♭ matches better with the c, but is more dissonant with e and g if you put it above those.
Nov
3
comment Why does the dominant chord contain a flattened 7th?
@nonpop: you could argue the ideal minor-7th should sound less dissonant because the 7th harmonic overtone is in some scales on that interval, but at least in well-tempered tuning it's actually quite a lot off. The inversion, i.e. major second does sound good because here it's the 9th harmonic that matches, indeed quite well even in well-tempered tuning, but I don't think that's significant in 7th chords. And we also need to consider the other notes: both e and g harmonise much better with b than b♭.
Oct
20
revised What instruments are inexpensive, portable and not too loud?
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Oct
20
comment How to have a penetrating voice?
The human ear tends to perceive midrange frequencies as louder than bass frequencies, but also louder than treble frequencies (above 3 kHz, the response drops again). Which is why something white-noise-ish wouldn't really be efficient, that's rather what you get on many pop records (for a present, "close", literally breathing, yet soft sound). A "piercing" sound OTOH needs most of all strong formants, which are in the midrange. Sure you need good breathing technique, but only as an indirect tool.
Oct
11
comment Making alternate picking palm muting sound like downpicked palm muting
Most of the difference I can make out is, I think, simply because your all-down picking isn't quite in time; you seem to need a bit more endurance training on those repeated down strokes. If there are any subtler tonal differences then they're drowned by that uber distorted sound (let me guess: a Digitech Metal-nonsense pedal?); possibly there would be more to hear in a cleaner sample.
Oct
10
comment Why is the ''backbeat'' called the ''rock beat''?
It's not quite right anyway. In the rock beat, the snare accents are on 2 and 4, and the snare drum happens to be the (at least perceptively) loudest instrument in the band. The other instruments usually don't emphasise 2 and 4 particularly.
Oct
9
comment Why does my thumb hurt when I play bar chords?
Classical grip, if done right, is perfectly suitable for full-on barre chords. In particular, there is almost no pressure on the thumb because the force comes directly from the arm (the biceps) – though that, of course, only works properly when playing seated with a footrest.
Oct
9
comment Restringing a 12-string guitar with heavier strings - is it possible?
What would be really intersting is to get the base-strings down by a fifth, but keep the extra/octave strings at their original tuning...
Oct
5
comment “Dull” sound when recording dry audio from an Ibanez S series, not caused by old strings?
Note that "smile curve" is a quite simplified description on what goes on in a guitar amp. If you implement such a curve through a generic EQ, you're likely to end up with a muddy, interference-laden sound without much power in the mix. For a proper tube-amp sound, you always need to consider the complex nonlinear distortion effects as well, and the response of the cabinet itself. Effectively, this often boosts the midrange and cuts away even more highs; but the result still won't sound dull because of the nonlinear excitation effects etc..
Oct
5
comment Is there a difference between 2/4 and 4/4
@user2588: seen this xkcd?
Sep
17
comment How to algorithmically find a chord progression for an infinite arbitrary melody?
Ignore the code here, it's still mangled by html-tag "detection". The one on GitHub is right. — Great, Euterpea! Will you upload what you're doing there? I think I might fancy trying it myself otherwise... — As for minor parallels – I could explain briefly about those, but I don't think it would be very effective. Look at the code, and/or read a book on basic music theory. Wikipedia also has quite a bit on this.
Sep
15
revised How to algorithmically find a chord progression for an infinite arbitrary melody?
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Sep
15
revised How to algorithmically find a chord progression for an infinite arbitrary melody?
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Sep
15
revised How to algorithmically find a chord progression for an infinite arbitrary melody?
deleted 70 characters in body