Just went ahead and started.. The PHYSICS OF SOUND
- kensuguro
- Posts: 4434
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Components of a SIN Equation
The simplest and the purest of them all, the SIN wave. To understand how "waves" work in general (ie osc, lfo, etc.) I think it's essential to understand the basic components of the SIN function. In mathematics and physics alike, it is usually written like this.
y = Amplitude * [ sin (2*pi*frequency*x)]
Well, actually that's a lot of jargon so let's sort it out.
First of all, the big picture is that the right side of the equation vibrates, and makes y (the speaker diaphragm) vibrate. x is the time domain. The more the x, the more to the right you are in the waveform editor. I think most digital musicians are quite comfortable with that.
Take notice that x is in the sin parenthesis, and Amplitude is outside of the it. So no matter how the Amplitude changes, it will never affect the x value.. it only scales the wave in the y direction, making the speaker vibrate more. Quite obvious.. but not quite so obvious when written in math.
So now we go into the contents of the sin. This is where most of our phase cancellation headaches and whatnots occur.
For your viewing ease, here's the equation again:
y = Amplitude * [ sin (2*pi*frequency*x)]
First, frequency = w/2pi and you can write down w/2pi instead of frequency. The important thing is that you see a "2pi" in the equation. And in the field of trigonometry, for some very geeky reasons, "pi" means 180 degrees and "2pi" means 360 degrees. Screw the logic behind this, but just remember that it's from this very reason that effects such as phasers use the unit degrees for how much phase shift you want. 180 degrees is a complete phase shift, meaning the wave is turned completely upside down, hills becoming valleys and vice versa. So when you have a whole pie, or 180 degrees, you're completely out of phase. Beyond 180 degrees, it's the same as going from 180-0 so that's why it's usually left out. The guy who built the first phaser must have been a math geek.
Here's a sin wave:
and here's a sin wave that's 90 degrees, or 1/2pi out of phase, which happens to be called a cosine wave:
Well, now that we've got 2 waves, let's talk about mixing them together.. which naturally comes to a musician's mind. The act that we usually called "mixing", in mathematical term is an act of addition. We'll add 2 sines of the same frequency(5hz):
How uninteresting.. the volume got louder, obviously.
Let's try one with 2 sines at a slightly different frequency. (80hz and 75hz)
Yowsers! There's a pattern in volume!!!!! Actually, this pattern can be calculated by frequency of one sine wave - the frequency of the other sine. And yes, the resulting difference comes in units of hertz, which means when this number gets high enough, it will become audible. So a 140hz sine and 60hz sine will cause a difference of 80hz, fast enough to be audible AND makes quite a bad harmony. Therefore, you get a "beating" of 60 hertz and that sucks in a mix. But when this beating becomes fast enough, you get a strange effect.... part of what make up the notorious AM. (it adds AND subtracts the two waveforms) For a beating to occur, you need 2 waves. One of which you feed the AM. The other wave is generated by the AM module and then you get that ringing-metalico-ziing-zang tone. But that's if the beating is fast. When it's low, it's just phase cancellation and it messes up your bass.
We've done addition/subtraction of the waves.. how about multiplication? Yep, we're all familiar with this. It's FM. This produces a funny lookin' wave.. a sin wave made of a sin wave.. ain't that kind of neat? Anyway, the point of FM is to impose a waveform onto another. So the modulation signal takes the overall shape of the carrier. And since you get more bumps than you had before, you get more overtones, or brighter harmonics. That's the basic 2OP (operator) FM.
Heey, now that we've mentioned harmonics, here's a fun fact. When you FM, you get more lobes and you get more harmonics. Think of lobes as "change", and when you FM, the rate of change increases and so does the harmonic content.
See how many harmonics an FMed sin wave has as opposed to a sin wave:
Here's the whimpy sin:
Now check out a square wave.. it's just FULL of harmonics.. so full, that a jpg this small can't even depict them all!
It's obvious, but a sin wave is smooth. He's a chill-out, curvy, round type of fella that has NO harmonics. And the square wave?? Nooo waaaay. He's tough, rigid, has 90 degree corners and has a bunch of harmonics. See the difference? Harmonics has to do with the rate of change. Sin waves have a smoooth rate of change, and a square wave is very sudden... it's theoretically impossible to do a 90 degree corner, (because speakers need time to move) but it's pretty sudden nonetheless. Now think about synced waves... These guys are even more rougher, tougher, meaner sounding. Check this out:
See all the points and sudden jerks? These are what cuases the high, cutting edges of sync basses and leads. The edges are MUCH more pointier than 90 degrees. People don't call them "edgy" for no reason! Edges cut... RIGHT through the mix. The harmonics are just outrageous, all over the spectrum, and also kind of un-uniform, which gives it that distorted quality.
And when sounds cut RIGHT through the mix, they're precieved as loud, or punchy, or OUCHY. So let's talk about the energy of a sound. Everyone is probably comfortable with decibels but when it comes to defining just how much a difference a 3 dB cut will make is pretty tough. This is because the way sound is measured, in SL (sound intensity level) has a lot to do with the distance, and decibels are usually derived from a relative comparison of the SL.
The calculations are much, much, uhhh... MUCH too complex to write here.. Here's the theory behind it. Since energy means the "amount of work" in physics, it's measured in watts. People have decided to use a certain intensity of sound to use as a 0 dB guideline, and then measure sounds starting from there. Basically, it's something that's been "decided" on.
In a more practical sense:
"If a sound is not reflected or interrupted, the intensity drops 6 dB ( i.e. 0.25 of its value) every time we double the distance. Thus, if the SL is 90 dB at 2 metres from the source, it will be 84 dB at 4 metres and 78 dB at 8 metres."
http://www.avatar.com.au/courses/PPofM/ ... sity3.html
So now the sound has shot out of your speakers! Let's see what happens as it travels through the air in the Acoustics section. Thanx for taking your time to read all this.
By the way, feel free to use the images if they're of any use. They're always a drag to make!
<font size=-1>[ This Message was edited by: kensuguro on 2002-05-03 04:24 ]</font>
The simplest and the purest of them all, the SIN wave. To understand how "waves" work in general (ie osc, lfo, etc.) I think it's essential to understand the basic components of the SIN function. In mathematics and physics alike, it is usually written like this.
y = Amplitude * [ sin (2*pi*frequency*x)]
Well, actually that's a lot of jargon so let's sort it out.
First of all, the big picture is that the right side of the equation vibrates, and makes y (the speaker diaphragm) vibrate. x is the time domain. The more the x, the more to the right you are in the waveform editor. I think most digital musicians are quite comfortable with that.
Take notice that x is in the sin parenthesis, and Amplitude is outside of the it. So no matter how the Amplitude changes, it will never affect the x value.. it only scales the wave in the y direction, making the speaker vibrate more. Quite obvious.. but not quite so obvious when written in math.
So now we go into the contents of the sin. This is where most of our phase cancellation headaches and whatnots occur.
For your viewing ease, here's the equation again:
y = Amplitude * [ sin (2*pi*frequency*x)]
First, frequency = w/2pi and you can write down w/2pi instead of frequency. The important thing is that you see a "2pi" in the equation. And in the field of trigonometry, for some very geeky reasons, "pi" means 180 degrees and "2pi" means 360 degrees. Screw the logic behind this, but just remember that it's from this very reason that effects such as phasers use the unit degrees for how much phase shift you want. 180 degrees is a complete phase shift, meaning the wave is turned completely upside down, hills becoming valleys and vice versa. So when you have a whole pie, or 180 degrees, you're completely out of phase. Beyond 180 degrees, it's the same as going from 180-0 so that's why it's usually left out. The guy who built the first phaser must have been a math geek.
Here's a sin wave:
and here's a sin wave that's 90 degrees, or 1/2pi out of phase, which happens to be called a cosine wave:
Well, now that we've got 2 waves, let's talk about mixing them together.. which naturally comes to a musician's mind. The act that we usually called "mixing", in mathematical term is an act of addition. We'll add 2 sines of the same frequency(5hz):
How uninteresting.. the volume got louder, obviously.
Let's try one with 2 sines at a slightly different frequency. (80hz and 75hz)
Yowsers! There's a pattern in volume!!!!! Actually, this pattern can be calculated by frequency of one sine wave - the frequency of the other sine. And yes, the resulting difference comes in units of hertz, which means when this number gets high enough, it will become audible. So a 140hz sine and 60hz sine will cause a difference of 80hz, fast enough to be audible AND makes quite a bad harmony. Therefore, you get a "beating" of 60 hertz and that sucks in a mix. But when this beating becomes fast enough, you get a strange effect.... part of what make up the notorious AM. (it adds AND subtracts the two waveforms) For a beating to occur, you need 2 waves. One of which you feed the AM. The other wave is generated by the AM module and then you get that ringing-metalico-ziing-zang tone. But that's if the beating is fast. When it's low, it's just phase cancellation and it messes up your bass.
We've done addition/subtraction of the waves.. how about multiplication? Yep, we're all familiar with this. It's FM. This produces a funny lookin' wave.. a sin wave made of a sin wave.. ain't that kind of neat? Anyway, the point of FM is to impose a waveform onto another. So the modulation signal takes the overall shape of the carrier. And since you get more bumps than you had before, you get more overtones, or brighter harmonics. That's the basic 2OP (operator) FM.
Heey, now that we've mentioned harmonics, here's a fun fact. When you FM, you get more lobes and you get more harmonics. Think of lobes as "change", and when you FM, the rate of change increases and so does the harmonic content.
See how many harmonics an FMed sin wave has as opposed to a sin wave:
Here's the whimpy sin:
Now check out a square wave.. it's just FULL of harmonics.. so full, that a jpg this small can't even depict them all!
It's obvious, but a sin wave is smooth. He's a chill-out, curvy, round type of fella that has NO harmonics. And the square wave?? Nooo waaaay. He's tough, rigid, has 90 degree corners and has a bunch of harmonics. See the difference? Harmonics has to do with the rate of change. Sin waves have a smoooth rate of change, and a square wave is very sudden... it's theoretically impossible to do a 90 degree corner, (because speakers need time to move) but it's pretty sudden nonetheless. Now think about synced waves... These guys are even more rougher, tougher, meaner sounding. Check this out:
See all the points and sudden jerks? These are what cuases the high, cutting edges of sync basses and leads. The edges are MUCH more pointier than 90 degrees. People don't call them "edgy" for no reason! Edges cut... RIGHT through the mix. The harmonics are just outrageous, all over the spectrum, and also kind of un-uniform, which gives it that distorted quality.
And when sounds cut RIGHT through the mix, they're precieved as loud, or punchy, or OUCHY. So let's talk about the energy of a sound. Everyone is probably comfortable with decibels but when it comes to defining just how much a difference a 3 dB cut will make is pretty tough. This is because the way sound is measured, in SL (sound intensity level) has a lot to do with the distance, and decibels are usually derived from a relative comparison of the SL.
The calculations are much, much, uhhh... MUCH too complex to write here.. Here's the theory behind it. Since energy means the "amount of work" in physics, it's measured in watts. People have decided to use a certain intensity of sound to use as a 0 dB guideline, and then measure sounds starting from there. Basically, it's something that's been "decided" on.
In a more practical sense:
"If a sound is not reflected or interrupted, the intensity drops 6 dB ( i.e. 0.25 of its value) every time we double the distance. Thus, if the SL is 90 dB at 2 metres from the source, it will be 84 dB at 4 metres and 78 dB at 8 metres."
http://www.avatar.com.au/courses/PPofM/ ... sity3.html
So now the sound has shot out of your speakers! Let's see what happens as it travels through the air in the Acoustics section. Thanx for taking your time to read all this.
By the way, feel free to use the images if they're of any use. They're always a drag to make!
<font size=-1>[ This Message was edited by: kensuguro on 2002-05-03 04:24 ]</font>
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- kensuguro
- Posts: 4434
- Joined: Sun Jul 08, 2001 4:00 pm
- Location: BPM 60 to somewhere around 150
- Contact:
Ooops, sorry for my bad writing. I actually meant 2 sin wavs being added.
Anyway, thanx for actually reading all this baloni! But I really enjoyed writing this and sharing the info.
I forgot to add links for further delving so here they are:
http://www.avatar.com.au/courses/PPofM/INDEX.html
http://www-engr.sjsu.edu/~knapp/HCIROD3 ... /sines.htm
I'll add more as I find them. Keep checkin' back!
Anyway, thanx for actually reading all this baloni! But I really enjoyed writing this and sharing the info.
I forgot to add links for further delving so here they are:
http://www.avatar.com.au/courses/PPofM/INDEX.html
http://www-engr.sjsu.edu/~knapp/HCIROD3 ... /sines.htm
I'll add more as I find them. Keep checkin' back!
Good start Ken - I knew you'd be great at the number crunching!
Here's a practical exercise for the newbies:
A good place to start playing with the wave addition theory Ken has been explaining is with the BlueSynth. Turn off the LFO's and filter (set the cutoff slider to maximum or you won't hear anything), select a sine wave for each of the first two oscillators and experiment with changing the frequency of Oscillator 2 as you play a note. Alter the frequency with the "cent" dial to hear the effect of beat frequencies (refer to the fourth diagram above), then use the "semitone" dial to alter the frequency in bigger steps and you'll hear the "ringy zing-zang" effect that Ken so eloquently described You can then try choosing different waveforms, adding a third oscillator etc. to get a good grasp of how these waveforms interact.
A similar experiment can be done for multiplying waveforms with the FM synth, but I won't waffle on about that for now - I think you get the idea!
Here's a practical exercise for the newbies:
A good place to start playing with the wave addition theory Ken has been explaining is with the BlueSynth. Turn off the LFO's and filter (set the cutoff slider to maximum or you won't hear anything), select a sine wave for each of the first two oscillators and experiment with changing the frequency of Oscillator 2 as you play a note. Alter the frequency with the "cent" dial to hear the effect of beat frequencies (refer to the fourth diagram above), then use the "semitone" dial to alter the frequency in bigger steps and you'll hear the "ringy zing-zang" effect that Ken so eloquently described You can then try choosing different waveforms, adding a third oscillator etc. to get a good grasp of how these waveforms interact.
A similar experiment can be done for multiplying waveforms with the FM synth, but I won't waffle on about that for now - I think you get the idea!
- kensuguro
- Posts: 4434
- Joined: Sun Jul 08, 2001 4:00 pm
- Location: BPM 60 to somewhere around 150
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Ya know, actually making all the graphics for this tutorial thingy was a VERY good excercise for me. It's good to be able to aim for a certain waveform and patch it straight out of the Modular. And then, to make it even more challenging, turn OFF the sound and try to do it from scratch. Now that's a challenge.
So the visual waveform, the sound that rings in your head, and the actual patch becomes more and more synchronized the more you practice this. It's also a good idea to be able to imagine a wave's harmonic structure from it's waveform, but I already gave that one away. You just pay attention to HOW the waveform changes through time.
Frankly though.. this is good exercise.. but it's a bit geeky I think. My professor was very technical, and he tought very well. But essentially, he was a bit geeky about all this and we all don't want to be like that. So 1 hours geek time, and 2 hours "if you got the knowledge, USE it" time yeah?
So the visual waveform, the sound that rings in your head, and the actual patch becomes more and more synchronized the more you practice this. It's also a good idea to be able to imagine a wave's harmonic structure from it's waveform, but I already gave that one away. You just pay attention to HOW the waveform changes through time.
Frankly though.. this is good exercise.. but it's a bit geeky I think. My professor was very technical, and he tought very well. But essentially, he was a bit geeky about all this and we all don't want to be like that. So 1 hours geek time, and 2 hours "if you got the knowledge, USE it" time yeah?
- Nestor
- Posts: 6676
- Joined: Tue Mar 27, 2001 4:00 pm
- Location: Fourth Dimension Paradise, Cloud Nine!
This is a good day; this is Monday 6th of May!
<CENTER>
<IMG SRC=”http://www.iurc.montp.inserm.fr/cric/au ... cfetus.jpg>
<CENTER>
It seems incredible we can have so much fun with such a tiny and rather disgusting couple of thing.
This little things called EARS, are going to entertain and involved us into a heavy week of studying, travelling through the marvels of human scenery, as it has been made by Mother Nature! Isn’t that marvellous, to say the least?
Ken, I want to thank you from the bottom of my heart for your good will teaching us this staff, may everybody else get involved. I hope so!
<CENTER>
<IMG SRC=”http://www.iurc.montp.inserm.fr/cric/au ... cfetus.jpg>
<CENTER>
It seems incredible we can have so much fun with such a tiny and rather disgusting couple of thing.
This little things called EARS, are going to entertain and involved us into a heavy week of studying, travelling through the marvels of human scenery, as it has been made by Mother Nature! Isn’t that marvellous, to say the least?
Ken, I want to thank you from the bottom of my heart for your good will teaching us this staff, may everybody else get involved. I hope so!
*MUSIC* The most Powerful Language in the world! *INDEED*
- Nestor
- Posts: 6676
- Joined: Tue Mar 27, 2001 4:00 pm
- Location: Fourth Dimension Paradise, Cloud Nine!
I found these very interesting links, full of many other interesting links... endless. I guess we need nothing else to get started. Enjoy!
Ken, expect some little questions about… just as the wee goes by.
<A HREF=” http://physics.about.com/cs/acoustics/?once=true&”> Acoustics and the Physics of Sound</A>
<A HREF=” http://www.physicsofsound.com/”> Physics of Sound</A>
<A HREF=” http://exhibits.pacsci.org/music/MusicPhysics.html”> Music Physics</A>
<A HREF=” http://www.physics.usu.edu/classes/4020 ... /sound.htm”> Notes on the Physics of Sound</A>
<A HREF=” http://hep.physics.indiana.edu/~zieminsk/p105s01/”> P105, Basics Physic of Sounds</A>
<A HREF=” http://ldt.stanford.edu/~jvanides/AlumR ... anding.htm”> The Physics of Sound</A>
<A HREF=” http://www.cssd11.k12.co.us/science/4sound/4sound.htm”> Physics of Sound</A>
<A HREF=” http://www.avatar.com.au/courses/PPofM/INDEX.html”> Physics and Psychoacoustics of Music</A>
<A HREF=” http://csgrad.cs.vt.edu/~chin/chin_sound.html”> Sound Waves</A>
<A HREF=” http://www.smm.org/sound/nocss/top.html”> Science of Sound: Sound Site</A>
<A HREF=” http://www.glenbrook.k12.il.us/gbssci/p ... ndtoc.html”> The Nature of a Sound Wave</A>
<A HREF=” http://www.cln.org/themes/sound.html”> Sound Theme Page</A>
<A HREF=” http://www.pctechguide.com/11sound.htm”> PC Technology Guide</A>
<A HREF=” http://library.thinkquest.org/19537/Phy ... qtime=0506”> The Soundry, the Physics of Sound</A>
<font size=-1>[ This Message was edited by: Nestor on 2002-05-06 16:14 ]</font>
Ken, expect some little questions about… just as the wee goes by.
<A HREF=” http://physics.about.com/cs/acoustics/?once=true&”> Acoustics and the Physics of Sound</A>
<A HREF=” http://www.physicsofsound.com/”> Physics of Sound</A>
<A HREF=” http://exhibits.pacsci.org/music/MusicPhysics.html”> Music Physics</A>
<A HREF=” http://www.physics.usu.edu/classes/4020 ... /sound.htm”> Notes on the Physics of Sound</A>
<A HREF=” http://hep.physics.indiana.edu/~zieminsk/p105s01/”> P105, Basics Physic of Sounds</A>
<A HREF=” http://ldt.stanford.edu/~jvanides/AlumR ... anding.htm”> The Physics of Sound</A>
<A HREF=” http://www.cssd11.k12.co.us/science/4sound/4sound.htm”> Physics of Sound</A>
<A HREF=” http://www.avatar.com.au/courses/PPofM/INDEX.html”> Physics and Psychoacoustics of Music</A>
<A HREF=” http://csgrad.cs.vt.edu/~chin/chin_sound.html”> Sound Waves</A>
<A HREF=” http://www.smm.org/sound/nocss/top.html”> Science of Sound: Sound Site</A>
<A HREF=” http://www.glenbrook.k12.il.us/gbssci/p ... ndtoc.html”> The Nature of a Sound Wave</A>
<A HREF=” http://www.cln.org/themes/sound.html”> Sound Theme Page</A>
<A HREF=” http://www.pctechguide.com/11sound.htm”> PC Technology Guide</A>
<A HREF=” http://library.thinkquest.org/19537/Phy ... qtime=0506”> The Soundry, the Physics of Sound</A>
<font size=-1>[ This Message was edited by: Nestor on 2002-05-06 16:14 ]</font>
- Nestor
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- Joined: Tue Mar 27, 2001 4:00 pm
- Location: Fourth Dimension Paradise, Cloud Nine!
David Harris said:
“Most physics textbooks will imply that understanding the sounds created by musical instruments is relatively easy. Just plug a few numbers into equations and you have the frequencies of notes that can be played.
However, the reality is far different. Musical physics is extremely complex and how good musicians are able to detect differences that barely show up in scientific analyses remains a mystery.
As technologies and understanding of musical acoustics improves, we may yet be able to work out why a Stradivarius violin sounds so wonderful and why some musicians can play music that is so much better than others. The best part of all of this is that if you do get sick of thinking about all the physics, you can just relax and enjoy the music going on around you.”
In relation with what you have taught us Ken: One experiment done by Bonard was to look at whether instruments could be differentiated by looking at their harmonic spectra. Different classes of instrument are quite easily differentiable but he went further to look at different types of the same instrument. For example, he looked at B-flat and A clarinets. There is a substantial difference in the harmonic patterns created by these instruments. Interestingly, the difference between high and low quality B-flat clarinets was much smaller and very difficult to detect reliably. It seems that the human ear is more able to pick the difference than sophisticated technology in this case!
So, I guess the ear is the most important thing at the end, cos in fact, we can perceive “many things” into the music - sort of a “psychological state of mind” - created by the atmosphere of the song that no machine can measure. This way we can say music is a language to itself, deeper than anything known and nevertheless, open to anybody willing to HEAR!
I never expected to cross over such an extremely complex topic like this one, when talking about sound. It really goes far away into the deepest scientific speculations of modern time. Acoustics is related to so many important things that it’s amazing: health, printer technology, avionics, atmospheric perfume sprays, communications, Digital TV, some modern heating apparatus, it’s just too much. I’ll keep exploring cos it’s opening my mind to many things, and… of course, to the understanding of music itself. See you later…
“Most physics textbooks will imply that understanding the sounds created by musical instruments is relatively easy. Just plug a few numbers into equations and you have the frequencies of notes that can be played.
However, the reality is far different. Musical physics is extremely complex and how good musicians are able to detect differences that barely show up in scientific analyses remains a mystery.
As technologies and understanding of musical acoustics improves, we may yet be able to work out why a Stradivarius violin sounds so wonderful and why some musicians can play music that is so much better than others. The best part of all of this is that if you do get sick of thinking about all the physics, you can just relax and enjoy the music going on around you.”
In relation with what you have taught us Ken: One experiment done by Bonard was to look at whether instruments could be differentiated by looking at their harmonic spectra. Different classes of instrument are quite easily differentiable but he went further to look at different types of the same instrument. For example, he looked at B-flat and A clarinets. There is a substantial difference in the harmonic patterns created by these instruments. Interestingly, the difference between high and low quality B-flat clarinets was much smaller and very difficult to detect reliably. It seems that the human ear is more able to pick the difference than sophisticated technology in this case!
So, I guess the ear is the most important thing at the end, cos in fact, we can perceive “many things” into the music - sort of a “psychological state of mind” - created by the atmosphere of the song that no machine can measure. This way we can say music is a language to itself, deeper than anything known and nevertheless, open to anybody willing to HEAR!
I never expected to cross over such an extremely complex topic like this one, when talking about sound. It really goes far away into the deepest scientific speculations of modern time. Acoustics is related to so many important things that it’s amazing: health, printer technology, avionics, atmospheric perfume sprays, communications, Digital TV, some modern heating apparatus, it’s just too much. I’ll keep exploring cos it’s opening my mind to many things, and… of course, to the understanding of music itself. See you later…
- Nestor
- Posts: 6676
- Joined: Tue Mar 27, 2001 4:00 pm
- Location: Fourth Dimension Paradise, Cloud Nine!
Very simply, SOUND IS THE VIBRATION OF ANY SUBSTANCE. The substance can be air, water, wood, or any other material, and in fact the only place in which sound cannot travel is a vacuum. When these substances vibrate, or rapidly move back and forth, they produce sound.
To be a little more accurate in our definition of sound, however, we must realize that the vibrations that produce sound are not the result of an entire volume moving back and forth at once. If that were the case, the entire atmosphere would need to shift for any sound to be made at all! Instead, the vibrations occur among the individual molecules of the substance, and the vibrations move through the substance in sound waves. As sound waves travel through the material, each molecule hits another and returns to its original position. The result is that regions of the medium become alternately more dense, when they are called condensations, and less dense, when they are called rarefactions.
<font size=-1>[ This Message was edited by: on 2002-05-07 13:39 ]</font>
To be a little more accurate in our definition of sound, however, we must realize that the vibrations that produce sound are not the result of an entire volume moving back and forth at once. If that were the case, the entire atmosphere would need to shift for any sound to be made at all! Instead, the vibrations occur among the individual molecules of the substance, and the vibrations move through the substance in sound waves. As sound waves travel through the material, each molecule hits another and returns to its original position. The result is that regions of the medium become alternately more dense, when they are called condensations, and less dense, when they are called rarefactions.
<font size=-1>[ This Message was edited by: on 2002-05-07 13:39 ]</font>
Has anybody of you guys had the opportunity to test a Vibrasound-System? It's definitely the most powerful healing-with-sound-device I've ever been privileged to experience. You listen to the music with the whole body plus the ears.
It uses 2'Conductors' instead of speakers, which seem to work totally different than normal speakers. You can't hear much from the outside, but once you lie on the warm water matress, it's incredible.
I have not many words to describe the experience, but it's definitely *much* more intense and direct than standing in front of a good P.A. Softer. It doesn't hurt.
I was very impressed!!
Don Estes, the inventor, says, that the conductors only move the cells of your body that vibrate at the same frequency as the music - whatever that means.
And we shouldn't try certain frequencies around 10Hz as this can make a building tumble...
Seems it works more on resonance than on impact, but I haven't got the physical understanding to prove this feeling.
Sadly there are not many links in the web, but I found some 2or3.
And even more sadly, I don't have a system available at the moment...
here, here,
and and here
It uses 2'Conductors' instead of speakers, which seem to work totally different than normal speakers. You can't hear much from the outside, but once you lie on the warm water matress, it's incredible.
I have not many words to describe the experience, but it's definitely *much* more intense and direct than standing in front of a good P.A. Softer. It doesn't hurt.
I was very impressed!!
Don Estes, the inventor, says, that the conductors only move the cells of your body that vibrate at the same frequency as the music - whatever that means.
And we shouldn't try certain frequencies around 10Hz as this can make a building tumble...
Seems it works more on resonance than on impact, but I haven't got the physical understanding to prove this feeling.
Sadly there are not many links in the web, but I found some 2or3.
And even more sadly, I don't have a system available at the moment...
here, here,
and and here