magnetic field

On Fri, 29 Apr 2005 21:18:59 +0000, Ben Bradley wrote:

In
sci.electronics.design,sci.electronics.misc,comp.dsp,comp.arch.embedded,
On Fri, 29 Apr 2005 16:49:44 -0400, Jerry Avins <jya@ieee.org> wrote:

Rich Grise wrote:

... (my brugly other is a professional guitarist, on the side.)

Please translate "brugly" for me. I'm still trying to learn.

Know what a Spoonerism is? "brugly other" :)
As a fadder of mact some people say things verse visa.

--
Keith
 
On Fri, 29 Apr 2005 16:29:41 -0700, Jon Harris wrote:

"Rich Grise" <richgrise@example.net> wrote in message
news:pan.2005.04.29.20.35.57.887837@example.net...
On Fri, 29 Apr 2005 14:53:37 +0100, John Woodgate wrote:

I read in sci.electronics.design that David Tweed <dtweed@acm.org> wrote
(in <42722C7B.294C02F0@acm.org>) about 'DIGITAL GUITAR AUTO-TUNER
PROJECT', on Fri, 29 Apr 2005:

I happen to play trombone, which is an extreme example of this,

My colleague, John Bowsher (a physicist as well as a trombonist)
demonstrated this to an AES British Section meeting many years ago. Two
demos:

- producing a constant pitch note while collapsing the slide.

- producing a swept pitch note with the slide stationary.

I don't really believe it, and I was there!

Embouchure, comrades, iron embouchure!

How much did he vary the pitch by in the second example? I can change the pitch
maybe a half-step either way on my French horn using embouchure, but not much
more than that.
I'm skeptical too. ...at least without losing all tone. A trombone (I
was a t-bone player in HS) is a 2/3 straight 1/3 conical instrument (like
a trumpet). A baritone (cornet) is the opposite, so has a lower Q and
can be shifted more. I don't recall the straigh/conical ration of
a freedom horn, but given it's lack of stright sections it has a low Q,
which is why it's a bitch to play.

--
Keith
 
On Fri, 29 Apr 2005 16:28:18 -0700, Jon Harris wrote:

"Jerry Avins" <jya@ieee.org> wrote in message
news:QtWdnRDwnIJLAe_fRVn-vg@rcn.net...
Kelly Hall wrote:
David Tweed wrote:

An instrument that's in "perfect tune" can be played
out of tune by a bad player (or deliberately by a good player), and
a badly-tuned instrument can be played in-tune by a good player.


A trombone will be played out-of-tune by a bad player and will not be
touched by a good player. Same thing for the soprano sax and oboe.

In all seriousness, I would much rather play trombone than trumpet (my
two main axes) in a large ensemble because it's so much easier for me to
adjust the pitch while I play.

Your trumpet is too pretty. The bugler in Boy Scout camp played so
beautifully that he could bring tears of joy to listen to him noodle.
The camp bugle was battered from years of abuse, ans the Campmaster, a
Presbyterian minister in real life, thought it a disgrace to his
administration. He replaced it with a shiny new one, lacquer intact, a
joy to behold. It sounded awful, with sour notes that resisted all
skill. Campmaster refused to return the old instrument, claiming that he
had disposed of it (a lie). The bugler, a fine trumpeter, was literally
in tears, berating himself for not having his trumpet with him.
Trumpeter and I retired to the woods with a variety of implements: a
broomstick, pieces of firewood, and a blackjack made from a rock encased
in six socks. We took turns "distressing" the poor bugle, at one point
denting it in so deeply that we needed the broomstick to round it out.

Hearing the sweet sound again made Campmaster come running to gloat that
the instrument was fine, that as he had said all along, practice would
make perfect. Boy Scouts don't lie. Bugler said, "We fixed it" and
proudly displayed the dents. "The prof helped." Thanks a lot!

Great story! What do you think made the difference? I've heard that removing
lacquer opens up the sound slightly, but have never known anything good to come
from dents. Any explanation?
Dents lower the Q? ...allowing the _musician_ to play it as he wished.

--
Keith
 
Jon Harris wrote:
Great story! What do you think made the difference? I've heard that removing
lacquer opens up the sound slightly, but have never known anything good to come
from dents. Any explanation?
Brass intruments are dominated by second and third order effects, so
it's really hard to get conclusive explanations. Particularly when the
player is an active part of the feedback loop (ears - chops - horn -
sound). Often, a little resistance in the horn helps the player move
more easily between the partials. Just as often, thinking that the horn
will sound/play different/better is enough to make it so.

Kelly
 
I read in sci.electronics.design that Jon Harris
<jon_harrisTIGER@hotmail.com> wrote (in
<1175gofjhq6f1f5@corp.supernews.com>) about 'DIGITAL GUITAR AUTO-TUNER
PROJECT', on Fri, 29 Apr 2005:

How much did he vary the pitch by in the second example? I can change
the pitch maybe a half-step either way on my French horn using
embouchure, but not much more than that.
I don't know exactly, of course, but more than an octave.
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk
 
I read in sci.electronics.design that Rich Grise <richgrise@example.net>
wrote (in <pan.2005.04.30.15.57.37.258265@example.net>) about 'DIGITAL
GUITAR AUTO-TUNER PROJECT', on Sat, 30 Apr 2005:

"Hi. I'm John Audubon. I watch birds."
"Hi. I'm Bill Spooner. I watch birde."
"Hi. I'm Rich Grise. I jotch bokes."
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk
 
Ben Bradley wrote:
In
sci.electronics.design,sci.electronics.misc,comp.dsp,comp.arch.embedded,
On Fri, 29 Apr 2005 16:49:44 -0400, Jerry Avins <jya@ieee.org> wrote:


Rich Grise wrote:


... (my brugly other is a professional guitarist, on the side.)

Please translate "brugly" for me. I'm still trying to learn.


Know what a Spoonerism is? "brugly other" :)
Gotcha! No need to sew me to a sheet.

Jerry
--
Engineering is the art of making what you want from things you can get.
ŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻ
 
Jon Harris wrote:
"Jerry Avins" <jya@ieee.org> wrote in message
news:QtWdnRDwnIJLAe_fRVn-vg@rcn.net...

Kelly Hall wrote:

David Tweed wrote:


An instrument that's in "perfect tune" can be played
out of tune by a bad player (or deliberately by a good player), and
a badly-tuned instrument can be played in-tune by a good player.


A trombone will be played out-of-tune by a bad player and will not be
touched by a good player. Same thing for the soprano sax and oboe.

In all seriousness, I would much rather play trombone than trumpet (my
two main axes) in a large ensemble because it's so much easier for me to
adjust the pitch while I play.

Your trumpet is too pretty. The bugler in Boy Scout camp played so
beautifully that he could bring tears of joy to listen to him noodle.
The camp bugle was battered from years of abuse, ans the Campmaster, a
Presbyterian minister in real life, thought it a disgrace to his
administration. He replaced it with a shiny new one, lacquer intact, a
joy to behold. It sounded awful, with sour notes that resisted all
skill. Campmaster refused to return the old instrument, claiming that he
had disposed of it (a lie). The bugler, a fine trumpeter, was literally
in tears, berating himself for not having his trumpet with him.
Trumpeter and I retired to the woods with a variety of implements: a
broomstick, pieces of firewood, and a blackjack made from a rock encased
in six socks. We took turns "distressing" the poor bugle, at one point
denting it in so deeply that we needed the broomstick to round it out.

Hearing the sweet sound again made Campmaster come running to gloat that
the instrument was fine, that as he had said all along, practice would
make perfect. Boy Scouts don't lie. Bugler said, "We fixed it" and
proudly displayed the dents. "The prof helped." Thanks a lot!


Great story! What do you think made the difference? I've heard that removing
lacquer opens up the sound slightly, but have never known anything good to come
from dents. Any explanation?
I thought I knew what I was doing when I did it, but (as always) I'm
open to correction. I had read (and still believe) that because baroque
horns were hand made, therefore slightly irregular in the bore, they had
lower Q, making it possible -- though difficult -- to play without
valves. (Horn players were the elite of baroque orchestras, usually
seated on a raised platform as, I read, a mark of honor.) Baroque
mouthpieces had relatively larger bores, too, making the player's mouth
part of the resonant cavity. Valves were first used to make playing
easier. It seems likely that when machine-made instruments made nearly
impossible to play without valves, nobody noticed. I could do little
about the mouthpiece, but it was easy enough to "modify" the bore. Not
needing a section with valves, a bugle's bore is more conical than a
trumpet's, hence more compliant to the player's skill.

That trombone that was pulled a long way: was there anything special
about the mouthpiece?

Jerry
--
Engineering is the art of making what you want from things you can get.
ŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻ
 
keith wrote:

...

Dents lower the Q? ...allowing the _musician_ to play it as he wished.
Exactly!

Jerry
--
Engineering is the art of making what you want from things you can get.
ŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻ
 
I read in sci.electronics.design that Jerry Avins <jya@ieee.org> wrote
(in <_oudnUFJh-GaTu7fRVn-pg@rcn.net>) about 'DIGITAL GUITAR AUTO-TUNER
PROJECT', on Sat, 30 Apr 2005:

That trombone that was pulled a long way: was there anything special
about the mouthpiece?
I don't know. Perhaps.
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk
 
"Jerry Avins" <jya@ieee.org> wrote in message
news:QtWdnRPwnIJyAO_fRVn-vg@rcn.net...
Rich Grise wrote:

... (my brugly other is a professional guitarist, on the side.)

Please translate "brugly" for me. I'm still trying to learn.
The key is to group "brugly" with "other". Then move the initial consonants
from the first to the second work. At least that's how I interpreted it.
 
Jonny wrote:
That's funny! All the ideas are smart.
What's funny? What ideas?

Usenet messages need to stand by themselves. There is no guarantee
that any older messages are available to the receipient. That is
why we quote the relevant portions, and post replies after (or
intermixed with) the quoted portion. The google usenet interfact
is seriously broken, but you can live with it if you follow the
instructins below in my sig.

--
"If you want to post a followup via groups.google.com, don't use
the broken "Reply" link at the bottom of the article. Click on
"show options" at the top of the article, then click on the
"Reply" at the bottom of the article headers." - Keith Thompson
 
I read in sci.electronics.design that David Tweed <dtweed@acm.org> wrote
(in <42722C7B.294C02F0@acm.org>) about 'DIGITAL GUITAR AUTO-TUNER
PROJECT', on Fri, 29 Apr 2005:

I happen to play trombone, which is an extreme example of this,
My colleague, John Bowsher (a physicist as well as a trombonist)
demonstrated this to an AES British Section meeting many years ago. Two
demos:

- producing a constant pitch note while collapsing the slide.

- producing a swept pitch note with the slide stationary.

I don't really believe it, and I was there!
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk
 
Jon Harris wrote:
"Jerry Avins" <jya@ieee.org> wrote in message
news:QtWdnRPwnIJyAO_fRVn-vg@rcn.net...

Rich Grise wrote:


... (my brugly other is a professional guitarist, on the side.)

Please translate "brugly" for me. I'm still trying to learn.


The key is to group "brugly" with "other". Then move the initial consonants
from the first to the second work. At least that's how I interpreted it.
Thanks. I was slow on the uptake. You could say that I bren badly.

Jerry
--
Engineering is the art of making what you want from things you can get.
ŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻŻ
 
On Sat, 30 Apr 2005 17:18:39 +0100, John Woodgate wrote:

I read in sci.electronics.design that Rich Grise <richgrise@example.net
wrote (in <pan.2005.04.30.15.57.37.258265@example.net>) about 'DIGITAL
GUITAR AUTO-TUNER PROJECT', on Sat, 30 Apr 2005:

"Hi. I'm John Audubon. I watch birds."
"Hi. I'm Bill Spooner. I watch birde."
"Hi. I'm Rich Grise. I jotch bokes."
Yabbut, Laura Bush knows how to pronounce "nuclear".

Thanks!
Rich
--
(I wonder if I should have signed this, "Big Pladder"?)
------
"There was once a mechanic named Bench
Whose best tool was a sturdy gut-wrench.
With this vibrant device
He could reach, in a trice,
The innermost parts of a wench."
 
On Sat, 30 Apr 2005 10:43:43 -0700, Glenn Gundlach wrote:

Dain bramage perhaps?
GG
Herpaps.
--
The Pig Bladder from Uranus, still waiting for some hot babe
to ask what my favorite planet is.
 
On Fri, 29 Apr 2005 21:30:04 -0400, keith wrote:

On Fri, 29 Apr 2005 21:18:59 +0000, Ben Bradley wrote:

In
sci.electronics.design,sci.electronics.misc,comp.dsp,comp.arch.embedded,
On Fri, 29 Apr 2005 16:49:44 -0400, Jerry Avins <jya@ieee.org> wrote:

Rich Grise wrote:

... (my brugly other is a professional guitarist, on the side.)

Please translate "brugly" for me. I'm still trying to learn.

Know what a Spoonerism is? "brugly other" :)

As a fadder of mact some people say things verse visa.
"Hi. I'm John Audubon. I watch birds."
"Hi. I'm Bill Spooner. I watch birde."

;-)
Rich
 
I read in sci.electronics.design that Rich The Newsgroup Wacko
<wacko@example.com> wrote (in
<pan.2005.05.01.19.40.20.556726@example.com>) about 'DIGITAL GUITAR
AUTO-TUNER PROJECT', on Sun, 1 May 2005:
Yabbut, Laura Bush knows how to pronounce "nuclear".
Maybe she's a closet Democrat.
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk
 
On Sun, 01 May 2005 21:37:44 +0100, John Woodgate wrote:

I read in sci.electronics.design that Rich The Newsgroup Wacko
wacko@example.com> wrote (in
pan.2005.05.01.19.40.20.556726@example.com>) about 'DIGITAL GUITAR
AUTO-TUNER PROJECT', on Sun, 1 May 2005:
Yabbut, Laura Bush knows how to pronounce "nuclear".

Maybe she's a closet Democrat.
I dun't think so. She's a First *LADY*, rather than *BITCH*. SHe's
leraned from her MIL.

--
Keith
 
In article <1114396375.307552.281880@g14g2000cwa.googlegroups.com>,
Mark <makolber@yahoo.com> wrote:
Is this really true?

I know if you excite a string (or any mechanical resonance) to vibrate
on an overtone, that the overtone is not exactly a harmonic of the
fundamental mode, just like a quartz crystal.

But in this case the string is vibrating on the fundamental frequency
and I would think that nay harmonics generated harmonics would be
exact. If what you say is true, then you should be able to hear a beat
note with only ONE string. The beat note would be between the true
harmonics of the fundamental and the overtones. I don't think it works
that way. Anybody know for sure?
Anything metallic will have wandering overtones. A pitch fork,
metal snares, steel drum (in the extreme!), bells.
Even organ pipes made of too stiff material, (pure tin, silver)
have a cheap metallic sound.

You can see it for yourself by putting a microphone on on oscilloscope
and excite a pitch fork ( or is that tuning fork?).


--
--
Albert van der Horst,Oranjestr 8,3511 RA UTRECHT,THE NETHERLANDS
Economic growth -- like all pyramid schemes -- ultimately falters.
albert@spenarnc.xs4all.nl http://home.hccnet.nl/a.w.m.van.der.horst
 

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