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Propeller Head Plaza Technical and scientific discussion of amps, cables and other topics. |
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Propeller Head Plaza Technical and scientific discussion of amps, cables and other topics. |
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In Reply to: Re: Amplifier harmonics vs real instruments posted by Steve Eddy on May 8, 2003 at 16:43:20:
Basically, this pattern of odd-order distortion will tend to behave as a filter or synthesizer, causing everything that passes through it to take on a clarinet-like "reedy" coloration. This is only approximately true, and is based on the additive effect of the odd-order harmonics to the input signal. This superposition of harmonics is complicated by the possible phase differences among the harmonics. To quote myself: “The typical instrumental timbre...contains so many harmonics that we cannot ordinarily distinguish their individuality. What we hear from instruments is the resultant blend of the harmonic intervals; that is, the composite tone.†This is true for tones passing through amplifiers as well.The problem is that it is very difficult to predict what the audible result of all these complicated additions will be. To quote myself again: “The blending effect can be easily tested with a guitar. For example, playing F (below open E) together with open E causes objectionable beating. Adding an A intermediate to the two tones smoothes out the subjective effect considerably. The interval of F with E is a major seventh (8:15). Adding the A, however, creates two new intervals: a major third (4:5) and a perfect fifth (2:3). The two consonant intervals then "swamp out" the one dissonant interval to create an overall composite consonance. The critical parameter for composite consonance is thus not masking, but blending.â€
This simple little experiment that anyone can make shows the complexity of human hearing, and the resulting difficulty that arises when we try to make formulaic judgments about its action.
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Follow Ups
- Re: Amplifier harmonics vs real instruments - Scott Frankland 05/8/0317:22:05 05/8/03 (0)
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