Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, The Overtone Spectrum
course material, license: Creative Commons BY-NC-SA.
Course content:
1. What is the overtone spectrum?
Time and frequency representation of a sound, harmonic and inharmonic sounds, overtones, harmonic series, fundamental frequency, linear and logarithmic frequency scales
2. Physical generation of overtones
Tone generator, vibration modes, dependence on geometry
3. Shaping of the overtone spectrum in the instrument
resonator, resonance modes, dependence on geometry, formants, overtone singing
4. Designing the overtone spectrum by playing
harmonics glissandi, natural string harmonics, dependence of tone color on dynamics, decay, radiation patterns
5. Conclusion
The delocalization of σ-electron in to adjacent π orbital or p-orbital is called hyperconjugation. The contributing structures involving sigma electrons of C - H bond do not show any covalent bond between C and H. Hyperconjugation, therefore, is also called as "no bond resonance" or "Baker-Nathan effect
The delocalization of σ-electron in to adjacent π orbital or p-orbital is called hyperconjugation. The contributing structures involving sigma electrons of C - H bond do not show any covalent bond between C and H. Hyperconjugation, therefore, is also called as "no bond resonance" or "Baker-Nathan effect
The all the content in this profile is completed by the teachers, students as well as other health care peoples.
thank you, all the respected peoples, for giving the information to complete this presentation.
this information is free to use by anyone.
this presentation discusses the crystal field theory and its role in explaining the formation of coordination complexes by transition elements, their magnetic and colour properties; and its limitations!
This presentation describes the concept of Hyperconjugation in simple words, gives definition of hyperconjugation, explains why it is called as 'No bond Resonance' and gives the effects of hyperconjugation on the chemical properties of compounds: alkyl cations and their relative stability, alkyl radicals and their relative stability, alkenes and their relative stability, bond length, anomeric effect and Baker - Nathan effect.
An organic species which has a carbon atom bearing only six electrons in its outermost shell and has a positive charge is called carbocation.
The positively charged carbon of carbocation is sp2 hybridized.
The unhybridized p-orbital remains vacant.
They are highly reactive and act as reaction intermediate.
They are also called carbonium ion.
Fundamentals of Music Instrument AcousticsAlexis Baskind
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Fundamentals of Music Instrument Acoustics
course material, license: Creative Commons BY-NC-SA.
Course content:
1. General Considerations about instrumental acoustics
Functions of the different parts of a musical instrument, exciter, oscillator, resonator, radiation
2. Woodwinds
Definition of a woodwind instrument, principle of reed instruments, resonance in bore, different kinds of reeds, airjets, bores, open and closed cylindrical bores (quarter-wavelength and half-wavelength tubes), conical bores, formant regions, role of the keys, role of the bell, examples of radiation patterns
3. Brass Instruments
Definition of a brass instrument, modes in a cylindrical bore for a brass, role of the bell, brassiness, shock waves, examples of radiation patterns
4. Strings
Subcategories (plucked, bowed, struck), transverse standing waves in strings, vibration modes of the body, role of the soundholes, examples of radiation patterns
5. Percussions
Subcategories (membranes, plates, idiophones, tubes…), most percussions are inharmonic, pitched percussions, examples of vibration modes (cymbal, snare)
The all the content in this profile is completed by the teachers, students as well as other health care peoples.
thank you, all the respected peoples, for giving the information to complete this presentation.
this information is free to use by anyone.
this presentation discusses the crystal field theory and its role in explaining the formation of coordination complexes by transition elements, their magnetic and colour properties; and its limitations!
This presentation describes the concept of Hyperconjugation in simple words, gives definition of hyperconjugation, explains why it is called as 'No bond Resonance' and gives the effects of hyperconjugation on the chemical properties of compounds: alkyl cations and their relative stability, alkyl radicals and their relative stability, alkenes and their relative stability, bond length, anomeric effect and Baker - Nathan effect.
An organic species which has a carbon atom bearing only six electrons in its outermost shell and has a positive charge is called carbocation.
The positively charged carbon of carbocation is sp2 hybridized.
The unhybridized p-orbital remains vacant.
They are highly reactive and act as reaction intermediate.
They are also called carbonium ion.
Fundamentals of Music Instrument AcousticsAlexis Baskind
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Fundamentals of Music Instrument Acoustics
course material, license: Creative Commons BY-NC-SA.
Course content:
1. General Considerations about instrumental acoustics
Functions of the different parts of a musical instrument, exciter, oscillator, resonator, radiation
2. Woodwinds
Definition of a woodwind instrument, principle of reed instruments, resonance in bore, different kinds of reeds, airjets, bores, open and closed cylindrical bores (quarter-wavelength and half-wavelength tubes), conical bores, formant regions, role of the keys, role of the bell, examples of radiation patterns
3. Brass Instruments
Definition of a brass instrument, modes in a cylindrical bore for a brass, role of the bell, brassiness, shock waves, examples of radiation patterns
4. Strings
Subcategories (plucked, bowed, struck), transverse standing waves in strings, vibration modes of the body, role of the soundholes, examples of radiation patterns
5. Percussions
Subcategories (membranes, plates, idiophones, tubes…), most percussions are inharmonic, pitched percussions, examples of vibration modes (cymbal, snare)
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Room Acoustics
course material, license: Creative Commons BY-NC-SA.
Course content:
1. Time-Space perspective: Sound propagation in a room
Raytracing, example of a rectangular room, evolution from free field to diffuse field, initial time delay gap (ITDG), direct sound, first reflections, late reverberation, exponential decay of the pressure, definition of the reverberation time, T60, T30, T20, Schroeder curve, critical distance, flutter echoes, diffusion, effect of distance, effect of room size
2. Frequency-Space perspective: Room modes
Reminder: monodimensional standing waves, axial modes, tangential modes, oblique modes, eigenfrequencies, effect of room size on modal density, duration and bandwidth of modes, effect of absorption on modes, Schroeder Frequency
3. Time-Frequency perspective
Early reflections, modes and diffuse reverberation in an unified time-frequency perspective, waterfall view
4. Room acoustics design
prediction of the reverberation time, Sabine formula, frequency-dependent absorption, porous absorbers, effect of absorber’s thickness and air gap, resonant absorbers, membrane absorbers, Helmholtz absorbers
5. Room acoustics of listening rooms
importance of symmetry, need for a sufficient room size and controlled reverberation time, recommended reverberation time, need for controlling the early reflections, LEDE design, RFZ design
6. Spatial hearing in a room
perception of distance in a room, perception of the room size, clarity, apparent source width, envelopment, reverberation timbre
Fundamentals of Acoustics 2 - Phase, sound sourcesAlexis Baskind
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Fundamentals of Acoustics 2 - Phase, sound sources
course material, license: Creative Commons BY-NC-SA.
Course content:
1. The phase
sine wave, phase, angle, phase and complex signals, signals in phase, signals in quadrature, signals in antiphase, constructive and destructive interferences, comb filter, phase inversion, phase shift
2. Omnidirectional sources (monopoles)
Definition of omnidirectional sources, radiation pattern, spherical waves, Omnidirectional sources and distance law
3. Plane waves, near field, far field
definition of a plane wave, near field, far field
4. Bidirectional sources (dipoles)
Definition of bidirectional sources, radiation pattern
5. Dipoles in near-field and far-field
frequency-dependent behaviour of dipoles in near and far field
A PowerPoint presentation which explores the interference of waves when they do not have the same frequency. This includes a summary of important concepts and a two part question at the end of the presentation.
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Raumakustik
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Raum-Zeit-Betrachtung: Schallausbreitung in einem Raum
Raytracing, Beispiel eines rechteckigen Raumes, zeitliche Entwicklung vom Freifeld bis zum Diffusfeld, Anfangszeitlücke (ITDG), Direktschall, Frühe Reflektionen, Nachhall, exponentielle Abnahme des Schalldrucks, Definition der Nachhallzeit, T60, T30, T20, Schroeder-Kurve, Hallradius, Flatterechos, Diffusion, Einfluss der Entfernung, Einfluss der Raumgröße
2. Raum-Frequenz-Betrachtung: Raummoden
Erinnerung: eindimensionale stehende Wellen, axiale Moden, tangentiale Moden, oblique Moden, Eigenfrequenzen, Einfluss der Raumgröße auf die modale Dichte, Dauer und Bandbreite von Moden, Einfluss der Absorption auf Moden, Schroeder-Frequenz
3. Zeit-Frequenz-Betrachtung
Frühe Reflektionen, Moden und Nachhall in einer einheitlichen Zeit-Frequenz Sichtweise, Wasserfall-Darstellung
4. Raumakustik-Planung
Prognose der Nachhallzeit, Sabinische Formel, frequenzabhängige Absorption, Poröse Absorber, Einfluss von der Dicke des Absorbers und vom Hohlraum, Resonanz-Absorber, Membranabsorber, Helmholtz-Absorber
5. Raumakustik eines Regieraumes
Wichtigkeit der Symmetrie, Bedarf an genügender Raumgröße und kontrollierter Nachhallzeit, empfohlene Nachhallzeit, Bedarf an kontrollierten frühen Reflektionen, LEDE-Konzept, RFZ-Konzept
6. Räumliches Hören in einem Raum
Entfernungshören in einem Raum, Wahrnehmung der Raumgröße, Klarheit, Deutlichkeit, Wahrgenommene Schallquellenbreite, Einhüllung, Klangfarbe des Nachhalls
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Psychoacoustics 4 – Spatial Hearing
course material, license: Creative Commons BY-NC-SA.
Course content:
1. Introduction
sound localization, lateralization, perception of height, perception of distance
2. Interaural level and time differences
head as acoustic shadow, ITD, ILD, frequency dependence, interindividual differences
3. Cone of confusion
ambiguity of ITD and ILD in the cone of confusion, front/back confusions, need for extra information (vision, previous knowledge, head movements, distance-based cues, spectral cues)
4. Estimating distance in a dry environment
use of absolute level and spectrum of the sound
5. Cocktail-Party Effect
selective attention based on spectral, spatial and time cues
6. Summing Localization
base of stereophony, phantom sources, influence of interchannel time and level differences, time-based, level-based and mixed stereophony, sweet spot
7. Precedence Effect
Haas effect / Law of the first wavefront, echo threshold, application in music production
Grundlagen der Akustik 2 - Phase, SchallquellenAlexis Baskind
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Grundlagen der Akustik 2 - Phase, Schallquellen
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Die Phase
Sinuswelle, Phase und komplexe Signale, gleichphasige Signale, 90°-verschobene Signale, gegenphasige Signale, konstruktive und destructive Interferenzen, Kammfilter, Phasenumkehr, Phasenverschiebung
2. Ungerichtete Schallquellen (Monopolquellen)
Definition von ungerichteten Quellen, Abstrahlcharakteristik, Kugelwellen, Monopolquellen und Abstandsgesetz
3. Ebene Wellen, Nahfeld, Fernfeld
Definition von Ebene-Wellen, Nahfeld, Fernfeld
4. Dipolquellen
Definition von Dipolquellen, Abstrahlcharakteristik
5. Dipolquellen in Nah- und Fernfeld
frequenzabhängiges Verhalten von Dipolen in Nah- und Fernfeld
Psychoakustik 3 - Wahrnehmung der Tonhöhe und der IntervalleAlexis Baskind
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Psychoakustik 3 - Wahrnehmung der Tonhöhe und der Intervalle
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Was ist die Tonhöhe
Tonhöhe und Frequenz, Untere Grenze der Tonhöhenwahrnehmung, Tonhöhenklasse und Chroma
2. Kammerton
Entwicklung des Kammertons, Das « A 440 Hz »-Standard
3. Wahrnehmung der Intervalle
Intervalle und Frequenzverhältnisse, melodische Intervalle, harmonische Intervalle, Oktavspreizung, Schwebung, Rauhigkeit, Frequenzgruppen
4. Harmonizität und Konsonanz
Harmonik, die Naturtonreihe, Konsonanz – pythagoräische Definition, Reine Stimmung, Konsonanz – Moderne Definition
5. Stimmungen
Pythagoreische Stimmung, Zarlino Skala, Mitteltönige Stimmung, Wohltemperierte Stimmungen, Gleichstufige Stimmung
6. Komplexe Klänge
Komplexe Klänge, Residualton, Spektraltonhöhe, Tonhöhe von unharmonischen Klängen, Spreizung der Klavier-Stimmung
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Das Obertonspektrum
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Was ist das Obertonspektrum?
Zeit- und Frequenzdarstellung eines Klanges, harmonische und unharmonische Klänge, Obertöne, Naturtonreihe, Grundfrequenz, lineare and logarithmische Frequenzscala
2. Physikalische Ursachen der Obertöne
Tongenerator, Eigenmoden, Beziehung zur Bauform
3. Gestaltung des Obertonspektrums im Instrument
Resonator, Resonanzmoden, Beziehung zur Bauform, Formanten, Obertongesang
4. Gestaltung des Obertonspektrums durch das Spiel
Flageoletten, Eingluss der Dynamik auf die Klangfarbe, Ausklang, Abstrahlcharakteristik
5. Fazit
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: January 2020
To cite this course: Alexis Baskind, Psychoacoustics 1 – The ear, course material, license: Creative Commons BY-NC-SA.
Course content
1.What is psychoacoustics?
Psychophysics and psychoacoustics - Physical and perceptual attributes - Why is psychoacoustics important for music production?
2.The physiology of the ear
Inner ear, middle ear, outer ear - Inner hair cells - Corti organ
3.Hearing damages
Ear fatigue - ear damages
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
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Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
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In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
2. Alexis Baskind
The Overtone Spectrum
Course series
Fundamentals of acoustics for sound engineers and music producers
Level
undergraduate (Bachelor)
Language
English
Revision
January 2020
To cite this course
Alexis Baskind, The Overtone Spectrum, course material, license: Creative Commons
BY-NC-SA.
Full interactive version of this course with sound and video material, as well as more
courses and material on https://alexisbaskind.net/teaching.
Except where otherwise noted, content of this course
material is licensed under a Creative Commons Attribution-
NonCommercial-ShareAlike 4.0 International License.
The Overtone Spectrum
3. Alexis Baskind
Outline
1. What is the overtone spectrum?
2. Physical generation of overtones
3. Shaping of the overtone spectrum in the
instrument
4. Designing the overtone spectrum by playing
5. Conclusion
The Overtone Spectrum
4. Alexis Baskind
What is a spectrum?
=> Any sound is usually represented by two means:
a waveform…
(time representation)
…or a instantaneous spectrum
(frequency representation)
frequency
(log scale)
level
time
The Overtone Spectrum
5. Alexis Baskind
What is a spectrum?
=> Any sound is usually represented by two means:
frequency
(log scale)
level
time
The spectrum ist the decomposition of an excerpt of the
sound according to its frequency content
The Overtone Spectrum
6. Alexis Baskind
What are Overtones?
• According to (not verifiable) legends, Pythagoras (6th
century BC) discovered that all harmonic sounds are
composed of several tones that share simple
frequency ratios
• This observation probably lead to the so-called
harmonic series in music
• Joseph Fourier (1768-1830) gave a modern
mathematical background to this discover
• The corresponding theory is called Fourier analysis
• It’s been used not only for harmonic but also for
inharmonic sounds
The Overtone Spectrum
7. Alexis Baskind
What are Overtones?
original waveform
(square wave)
1st harmonic
3rd harmonic
5th harmonic
7th harmonic
9th harmonic
reconstructed
signal until order
N = sum of the
first N
harmonics
The Fourier decomposition in the time domain
The Overtone Spectrum
8. Alexis Baskind
What are overtones ?
Overtones are all frequency peaks in a spectrum
except its fundamental frequency
frequency (Hz)
(linear scale)
level (dB)
Fundamental frequency Overtones
The Overtone Spectrum
9. Alexis Baskind
Frequency structure of overtones
Fundamental frequency
(=> most of time, provides
the pitch of harmonics sounds)
Overtones
=> also called « harmonics »
for harmonic sounds
F 2F 3F 4F …
Harmonic sounds: overtone frequencies are
multiples of the fundamental frequency
frequency (Hz)
(linear scale)
level (dB)
The Overtone Spectrum
The frequency difference between neighboring
overtones is always the same
Partials = Fundamental Frequency + Overtones
10. Alexis Baskind
Frequency structure of overtones
Beware of the representation: harmonics don‘t look
equally spaced on a logarithmic frequency scale,
although they actually are
Frequency (Hz)
(linear Scale)
level (dB)
Frequency (Hz)
(log Scale)
level (dB)
F 2F 3F 4F 5F 6F 7F 8F
F 2F 3F 4F ...5F
The Overtone Spectrum
11. Alexis Baskind
Frequency structure of overtones
Harmonic sounds: overtone frequencies are
multiples of the fundamental frequency
Example: picked
double bass, G2
frequency
(log scale)
level
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB
The Overtone Spectrum
12. Alexis Baskind
Frequency structure of overtones
98 Hz 196 Hz 294 Hz 392 Hz 490 Hz …
Fundamental
frequency = 98 Hz
Harmonic sounds: overtone frequencies are
multiples of the fundamental frequency
frequency
(log scale)
level
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB
Example: picked
double bass, G2
The Overtone Spectrum
13. Alexis Baskind
Frequency structure of overtones
Inharmonic sounds: overtone frequencies are
not multiples of the fundamental frequency
Fundamental frequency
Overtones
=> the frequency
structure is not regular
frequency (Hz)
(linear scale)
level (dB)
The Overtone Spectrum
Partials = Fundamental Frequency + Overtones
14. Alexis Baskind
Frequency structure of overtones
Example: crash
cymbal hit with a
stick
frequency
(log scale)10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB
level
Inharmonic sounds: overtone frequencies are
not multiples of the fundamental frequency
The Overtone Spectrum
15. Alexis Baskind
Frequency structure of overtones
Example: crash
cymbal hit with a
stick
105 Hz 120 Hz 154 Hz 210 Hz 276 Hz …
frequency
(log scale)10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB
Inharmonic sounds: overtone frequencies are
not multiples of the fundamental frequency
level
The Overtone Spectrum
16. Alexis Baskind
Why is the overtone spectrum
important for music?
The frequencies and amplitudes over the overtones
determine largely the tone color
=> The overtone spectrum is an important attribute
of a sound, and consequently of an instrument, of a
playing technique...
The Overtone Spectrum
17. Alexis Baskind
Outline
1. What is the overtone spectrum?
2. Physical generation of overtones
3. Shaping of the overtone spectrum in the
instrument
4. Designing the overtone spectrum by playing
5. Conclusion
The Overtone Spectrum
18. Alexis Baskind
Physical generation of overtones
Classical model of a music instrument:
String instruments,
Piano: strings
Brass: lips
Woodwinds: reed,
airflow (flute)
Drums: skin (drumhead)
…
String instruments:
body and neck
Piano: body, resonance
board,
Winds: pipe, horn
Drums: body
…
The Radiation
pattern depends
among others on
frequency and on
the note being
played
Tone
generator
Resonator Radiation
The Overtone Spectrum
19. Alexis Baskind
Physical generation of overtones
The Overtone Spectrum
Basic vibration pattern for a bowed string
Example:
oscillation of
bowed string for a
violin, shown in
slow motion
Source: ViolinB0W, Creative
Commons Attribution 3.0 license
20. Alexis Baskind
Physical generation of overtones
• The vibration of the string can be
decomposed in simpler vibrations, each of
them at a single frequency (see 1. part)
• Each sinusoidal vibration is called Mode of
vibration (or simply „Mode“)
frequency
(linear scale)
level
F 2F 3F 4F
• The fundamental frequency “F”
depends on the length, the diameter
and the tension of the string
Mode 1
Mode 2
Mode 3
Mode 4
• Each mode corresponds to
the fundamental or to one
overtone
The Overtone Spectrum
=
+
+
+
+ ...
Position
Bow direction
21. Alexis Baskind
Physical generation of overtones
• The time evolution of
the oscillation of the
string, measured at
one point, is also
harmonic regarding
the time axis
• Therefore, the
waveform on the time
axis can be
decomposed in
fundamental
frequency and
overtones
Position
Measurement point
The Overtone Spectrum
time
Animation generated with Matlab-Code from the University of Wyoming
22. Alexis Baskind
Physical generation of overtones
• In wind instruments,
overtones originate from
the coupled oscillation of
lips (for brass) / reeds
(woodwinds) and of the
tube
• The oscillation frequency
of the lips/reed is
determined by the
oscillation of the air flow
in the tube and depends
on its length
Wind Instruments
(Source: IWK - Music acoustic Vienna / Matthias Bertsch)
The Overtone Spectrum
23. Alexis Baskind
Physical generation of overtones
The Overtone Spectrum
Example:
vibration of a
cymbal hit with a
stick, shown in
slow motion
Inharmonic Instruments
24. Alexis Baskind
• Inharmonic oscillations can
also be decomposed in
oscillation modes
frequency
level
Inharmonic Instruments
Physical generation of overtones
• Like for harmonic
oscillations, each mode
corresponds to a partial (=
fundamental frequency or
overtone)
• The frequencies of the
overtones are not on an
harmonic series (i.e. they
are not multiple of the
fundamental frequency)
The Overtone Spectrum
Animations
from Olex
Alexandrov
25. Alexis Baskind
Outline
1. What is the overtone spectrum?
2. Physical generation of overtones
3. Shaping of the overtone spectrum in the
instrument
4. Designing the overtone spectrum by playing
5. Conclusion
The Overtone Spectrum
26. Alexis Baskind
Shaping of the Overtone Spectrum
String instruments,
Piano: strings
Brass: lips
Woodwinds: tongue,
airflow (flute)
Drums: skin (drumhead)
…
String instruments:
body and neck
Piano: body, resonance
board,
Winds: pipe, horn
Drums: body
…
The radiation
pattern depends
among others on
frequency and on
the note being
played
Tone
generator
Resonator Radiation
The Overtone Spectrum
• The overtones created in the generator are shaped in the
resonator (=instrument body
• The (body and air) vibrations in the resonator are also
made of modes
27. Alexis Baskind
The whole body also has vibration modes
The Overtone Spectrum
example: some measured vibration modes (exaggerated) for the body of a guitar
Mode 1: “bending” mode (≈60 Hz)
Source: Dan Russell
(the red plate represents the motion of air in the soundhole)
28. Alexis Baskind
The whole body also has vibration modes
The Overtone Spectrum
example: some measured vibration modes (exaggerated) for the body of a guitar
Mode 2: “breathing” mode (≈100 Hz), synchronized with the Helmholtz resonance (see later)
Source: Dan Russell
(the red plate represents the motion of air in the soundhole)
29. Alexis Baskind
The whole body also has vibration modes
The Overtone Spectrum
example: some measured vibration modes (exaggerated) for the body of a guitar
Mode 3 (≈190Hz)
Mode 4 (≈200Hz)
Mode 5 (≈220Hz)
Mode 6 (≈230Hz)
Mode 7 (≈260Hz)
Mode 8 (≈315Hz)
Mode 9 (≈380Hz)
Mode 10 (≈480Hz)
Mode 11 (≈750Hz)
Source: Dan Russell
30. Alexis Baskind
The whole body also has vibration modes
The Overtone Spectrum
• The geometry of the body is carefully designed to fine-
tune the modes in amplitude and frequency
• For instances, guitar top plates (as well as soundboards
on piano) have braces on the back
Source: Neville H. Fletcher, Thomas D. Rossing, The Physics of Musical Instruments
31. Alexis Baskind
The whole body also has vibration modes
The Overtone Spectrum
• Those vibrations entail resonances (= formants) in the
overtone spectrum which are characteristic of the instrument
• The formants are independent of the pitch
example: some measured vibration modes (exaggerated) of the top and back of a violin
457 Hz 545 Hz 723 Hz 850 Hz
Frequenz
(linear)
Pegel
Animations by Terry Borman
32. Alexis Baskind
The Human Voice
In human voice,
vowels are
determined by a
precise controle of
the resonances in the
mouth, the nasal
cavity and the throat
Source: J. Meyer, Akustics and the Performance of Music
Frequency
The Overtone Spectrum
33. Alexis Baskind
The Human Voice
The vowel („i“)
remains unchanged,
only the fundamental
frequency changes
Formants are independent of the fundamental frequency!
(this is true for all instruments, not only for the voice)
Formants
The Overtone Spectrum
34. Alexis Baskind
The Human Voice
Example: Overtone singing
The Overtone Spectrum
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
Overtone singing implies a very precise control of the
formants, i.e. the resonances of the mouth and the throat,
independently from the vocal folds
=> The resonance is
so strong in the
1 kHz-2,5 kHz zone
that a second pitch is
perceived above the
fundamental
35. Alexis Baskind
Outline
1. What is the overtone spectrum?
2. Physical generation of overtones
3. Shaping of the overtone spectrum in the
instrument
4. Designing the overtone spectrum by playing
5. Conclusion
The Overtone Spectrum
36. Alexis Baskind
• Depending on the playing technique, Dynamics and
radiation pattern, the overtones can be amplified or
in contrary silenced
• This influences two main features of the sound
significantly:
1. The Pitch
2. The Tone Color
Designing the overtone spectrum by playing
The Overtone Spectrum
37. Alexis Baskind
Selecting overtones
(the slide of the
trombone does not
move, only the lips
are more and more
tightened and the
blowing pressure
higher and higher)
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
Example 1: natural harmonics glissando on a bass
trombone (fundamental: 59 Hz = Bb1)
=> The frequency of the overtones remains constant, only the
amplitude is changing (in red: overtone frequencies until 1,7kHz)
The Overtone Spectrum
38. Alexis Baskind
Selecting overtones
Example 2: natural string harmonics (“flageolets”) on
a double bass based on open string D2
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB
level
=> The frequency of the overtones remains constant, only the
amplitude is changing (in red: overtone frequencies until 2,2kHz)
The Overtone Spectrum
The string is gently
touched but not pressed
on the fingerboard
Frequency (log)
39. Alexis Baskind
Overtones depend on dynamics
In most instruments, the tone color changes
drastically with dynamics
Example 1:
crescendo with
bass trombone
The volume of low-frequency overtones rises only slightly, while
more and more high-frequency overtones appear during the
crescendo, thus making the sound brighter and louder (= “brassy”)
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
The Overtone Spectrum
40. Alexis Baskind
Overtones depend on dynamics
Example 2:
crescendo roll on
cymbal with
wool mallets
In most instruments, the tone color changes
drastically with dynamics
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
The Overtone Spectrum
The volume of low-frequency overtones rises only slightly, while
more and more high-frequency overtones appear during the
crescendo, thus making the sound brighter and louder
41. Alexis Baskind
Release: Time evolution of overtones
In the resonance, high-frequency overtones decay
faster than low-frequency overtones in most of
acoustic instruments
Example 1:
picked double
bass, G2
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
The Overtone Spectrum
42. Alexis Baskind
Release: Time evolution of overtones
In the resonance, high-frequency overtones
decay faster than low-frequency overtones
Example 2:
crash cymbal hit
with a stick
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
The Overtone Spectrum
43. Alexis Baskind
< 450 Hz (omnidirectional)
• Low frequencies
radiate in all
directions 650 Hz
Radiation pattern of a trombone
The Overtone Spectrum
Example: angular width of the regions of main radiation (between -3 dB
and 0 dB relative to the maximum level in the band) for a trombone for
various frequency zones
500 Hz
1 kHz
Between 2 and 5 kHz
Between 7 and 10 kHz
(highly directional)
• Except for the
650 Hz zone (the
first formant),
directivity increases
with frequency
44. Alexis Baskind
Radiation pattern of a trumpet
The Overtone Spectrum
The trumpet has a similar
radiation pattern than the
trombone, but shifted up
in frequency
The limit for
omnidirectional radiation
is around 500 Hz
(source: J. Meyer)
45. Alexis Baskind
Radiation pattern: trumpet
The Overtone Spectrum
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
Example: trumpet miked with a TLM-103:
1 – on-axis
46. Alexis Baskind
Radiation pattern: trumpet
Example: trumpet miked with a TLM-103:
2 – 90° off-axis
The Overtone Spectrum
10 Hz 100 Hz 1 kHz 10 kHz
0 dB
-60 dB
-120 dB frequency
(log scale)
level
47. Alexis Baskind
Outline
1. What is the overtone spectrum?
2. Physical generation of overtones
3. Shaping of the overtone spectrum in the
instrument
4. Designing the overtone spectrum by playing
5. Conclusion
The Overtone Spectrum
48. Alexis Baskind
Conclusion
• The overtone spectrum is an essential component of the
specific tone color of an instrument
• It is related to fundamental aspects of the perception of a
sound, like:
- Pitch
- Harmonicity
- Dynamics
• Its characteristics depends dramatically on the type and
construction of the instrument, as on the playing technique
• Those properties are used by the perception in order to
recognize the instrument and the playing technique
The Overtone Spectrum
49. Alexis Baskind
But...
• The sound of an instrument does not only consist in its overtone
spectrum!
• The perception of the timbre is not limited to the tone color. It‘s
much more complex and involve more features, that are equally
important:
– The Noise component, i.e. the part of the spectrum, which
cannot be modelled with sine waves
– The time evolution of frequencies: for instance Vibrato
– The time evolution of the amplitudes in the spectrum: for
instance Tremolo, Attack, Release...
=> The overtone spectrum is a very important, but not unique
component of the sound of a music instrument
The Overtone Spectrum
50. Alexis Baskind
To go further...
• Jürgen Meyer, Acoustics and the Performance of Music,
Springer-Verlag New York (2009)
• Neville H. Fletcher, Thomas D. Rossing, The Physics of
Musical Instruments, Springer-Verlag
The Overtone Spectrum