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Harmoonilised ja heli "kõla"

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    Harmoonilised ja heli "kõla"

    Elfa foorumi otsing andis igatsugu arvamusi, kuid viiteid oli vähe.
    Teen otsa lahti:
    Russell O. Ham
    Journal of the Audio Engineering Society
    May 1973, Volume 21, Number 4, Page 272

    SIGNIFICANCE OF MUSICAL HARMONICS
    Having divided amplifiers into three groups of distortion characteristics, the next step is to determine how the harmonics relate to hearing. There is a close parallel here between electronic distortion and musical tone coloration that is the real key to why tubes and transistors sound different. Perhaps the most knowledgeable authorities in this area are the craftsmen who build organs and musical instruments [8], [9]. Through many years of careful experimentation these artisans have determined how various harmonics relate to the coloration of an instrument's tonal quality.
    The primary color characteristic of an instrument is determined by the strength of the first few harmonics. Each of the lower harmonics produces its own characteristic effect when it is dominant or it can modify the effect of another dominant harmonic if it is prominent. In the simplest classification, the tower harmonics are divided into two tonal groups. The odd harmonics (third and fifth) produce a "stopped" or "covered" sound. The even harmonics (second, fourth, and sixth) produce "choral" or "singing" sounds.
    The second and third harmonics are the most important from the viewpoint of the electronic distortion graphs in the previous section. Musically the second is an octave above the fundamental and is almost inaudible; yet it adds body to the sound, making it fuller. The third is termed a quint or musical twelfth. It produces a sound many musicians refer to as "blanketed." Instead of making the tone fuller, a strong third actually makes the tone softer. Adding a fifth to a strong third gives the sound a metallic quality that gets annoying in character as its amplitude increases. A strong second with a strong third tends to open the "covered" effect. Adding the fourth and the fifth to this changes the sound to an "open horn" like character.
    The higher harmonics, above the seventh, give the tone "edge" or "bite." Provided the edge is balanced to the basic musical tone, it tends to reinforce the fundamental, giving the sound a sharp attack quality. Many of the edge harmonics are musically unrelated pitches such as the seventh, ninth, and eleventh. Therefore, too much edge can produce a raspy dissonant quality. Since the ear seems very sensitive to the edge harmonics, controlling their amplitude is of paramount importance. The previously mentioned study of the trumpet tone |6] shows that the edge effect is directly related to the loudness of the tone. Playing the same trumpet note loud or soft makes little difference in the amplitude of the fundamental and the lower harmonics. However, harmonics above the sixth increase and decrease in amplitude in almost direct proportion to the loudness. This edge balance is a critically important loudness signal for the human ear.
    Digital is like formaldehyde, first it kills the music, then it stores it forever.

    #2
    Vs: Harmoonilised ja heli "kõla"

    No enam vähem on asi ka hetkel selline kui 1973 oli.
    Erinevate võimendite hulk on muidugi oluliselt suurem ja nii julmalt kolme liiki ei saa võimendeid jagada. Väga oluline on ka millise skeemi järgi võimendi on ehitatud. Lampidel on väga lihtne ehitada sellist võimendit, mis omab pea kõiki OP-võimendi karakteristikuid. Samuti on võimalik tänapäeval puhtalt väljatransidel ehitada väga lampvõimu sarnaste karakteristikutaga võime.

    Comment


      #3
      Kõrvaarsti vaatevinklist, psühhoakustikast: http://www.belozer.com/content/основы-психоакустики

      Tuleb välja, et kõige ebalineaarsem on inimese kuulmine. Kuulmise ebalineaarsusest tekivad subjektiivsed kombinatsioonsagedused. Inimese kuulmine on lisaks ebalineaarne kompressor.
      viimati muutis kasutaja vasaraonu; 13 m 2015, 14:42. Põhjus: kokku.

      Comment


        #4
        Vs: Harmoonilised ja heli "kõla"

        Kes tahab veel teemakohast kirjandust lugeda, raamat "Akustika ja helitehnika" (Eiskop,Sillart), päris põhjalik.
        http://hparchive.com/
        https://worldradiohistory.com/index.htm

        Comment


          #5
          Vs: Harmoonilised ja heli "kõla"

          Enamus sellest kuulmise ebalineaarsuses tuleb mängu kõrgetel või madalatel helirõhkudel, keskmistel rõhkudel on ka kuulmine palju lineaarsem.

          Comment


            #6
            Vs: Harmoonilised ja heli "kõla"

            Esmalt postitatud Starfish poolt Vaata postitust
            Kes tahab veel teemakohast kirjandust lugeda, raamat "Akustika ja helitehnika" (Eiskop,Sillart), päris põhjalik.
            Kindlasti ka: Avo-Rein Tereping, "Kuulmispshholoogia", Valgus 1988. Samuti Heino Pedusaare aastakümnetepikkused kogemused.

            Comment


              #7
              Vs: Harmoonilised ja heli "kõla"

              Siis on veel need: (ise lugenud pole, ei tea soovitada aga eks seal sama teema)
              http://www.raamaturinglus.eu/component/virtuemart/ehitus-ja-tehnika2012-10-09-11-25-27_/elektroakustika-ja-võimendusseadmed-detail?Itemid=0

              http://www.raamaturinglus.eu/compone...etail?Itemid=0
              http://hparchive.com/
              https://worldradiohistory.com/index.htm

              Comment


                #8
                Vs: Harmoonilised ja heli "kõla"

                Minu pärast võib teema kinni panna, läheb jamaks - kui interneti foorumis viitamise aluseks on kõigile ja koheselt puuduv paberraamat (st sisu tekstist internetis puudub foto või pdf, siis pole ju sellele viitamisest kasu). Samamoodi võin ma loetleda kõik oma raamaturiiulis olevad teemaga seotud trükised ja viidata stiilis "noormees loe seda teost lk 64 lõik 2".
                Digital is like formaldehyde, first it kills the music, then it stores it forever.

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