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  »  New  Remedies the Beauty..  This n that...  Playback Listening  Forum     349  533697  10-13-2021
11-23-2022 Post does not mapped to Knowledge Tree
rowuk


Germany
Posts 461
Joined on 07-05-2012
Post #: 21
Post ID: 27015
Reply to: 27013
A trumpet played into a tuba bell can sound like a mandoline - been there, done that
If I play my trumpet into a tuba bell and the tuba player just moves his fingers without playing, the trumpet tone is modified and sound like a mandoline. In addition, the upper register becomes almost unplayable due to the modulation affecting the trumpet internal standing wave effect on the lips.

As far as the Scanspeak modulating the red, I would start at the Schumann frequency and its harmonics. Be careful, infrasonics can cause diarrhoe...

Whenever I feel blue, I start breathing again.
11-23-2022 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,400
Joined on 05-27-2004
Post #: 22
Post ID: 27016
Reply to: 27015
Oh. No.
Oh god, you took it so literally. When you blew your trumpet inside of the tuba belt then you blow against tuba on flow. You are not sitting inside of the tuber and blow in face with tuba sound. Also, I was not talking about air modulation but about the air flow of tuba was able to modify the trumpet length. You just cannot take it literally but rather figuratively  and metaphorically.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
11-24-2022 Post does not mapped to Knowledge Tree
rowuk


Germany
Posts 461
Joined on 07-05-2012
Post #: 23
Post ID: 27021
Reply to: 27016
No problem
Romy, crazy musicians try all sorts of things out. In my case, I can even quote some firsthand experience. My antics with the trumpet and tuba simply add to my experiences.

I have the huge luxury of having played Bruckner on vintage low "F trumpets", rotary Bb trumpets and modern Bb and C trumpets. Even although the pitch is the same, the color between instruments and register changes dramatically. Articulation "speaks" differently even although the pitch is the same. This is what makes the historically informed playing especially different.

I certainly understand how someone would like to have intelligent response for playback. In my world, I think that an interface to the room through variable dispersion could very much improve the relation of articulation to tone in various playback ranges. I just wonder whether it must be intelligent, or if we could find a generic setting that gets "most things" right.

Whenever I feel blue, I start breathing again.
11-24-2022 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,797
Joined on 10-12-2006
Post #: 24
Post ID: 27022
Reply to: 27021
Set and Forget!
Robin, this is The Dream, is it not? How Nice, and If Only. I remember when Romy was deciding on a phono cartridge, and I was getting very strongly that he did not really want a "hard tracing" cartridge, because he really did not want to have to re-set VTA for every record! While I am willing to re-set VTA, it is only because I developed a relatively simple and repeatable system for so doing. And that, for me, is The Key and The Ballgame. I have to be able to get back to the same place for the same LP without busting a gut. Certainly, speakers should be close to set-and-forget. I still remember watching Mr. Walker play aimlessly with his TT the entire time it was operating. F*ck That!



Best regards,
Paul S
11-24-2022 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,400
Joined on 05-27-2004
Post #: 25
Post ID: 27023
Reply to: 27021
It is all bout me.
 rowuk wrote:
I certainly understand how someone would like to have intelligent response for playback. In my world, I think that an interface to the room through variable dispersion could very much improve the relation of articulation to tone in various playback ranges. I just wonder whether it must be intelligent, or if we could find a generic setting that gets "most things" right.

Well, despite how I sound to a common observer, I am very much not in crusade to “get most things right” or to make music to sound “perfect”. When I am talking about “intelligent response for playback” I simply imply not linear response from system but rather some kind of “adoptable response” that do not subordinate itself to non-musical static irrelevant rules, like mechanical suspension of diaphragms, impact that come with room reverberation or intermodulation distortions of a given speaker topology. I am a software engineer and in my design decisions I frequently try to mimic human perception by means of brainless computers, not necessary because I get paid but because it fascinates me to play God in terms of creativity. The very same in playback. I go a VERY serious move in my feeling how audio “might” sound last September. Instead of the stressing the topology that accidently gave me that opportunity I am trying to understand what that topology gave to me that I did not have before. I brough the Horn and the Milq back a few days agon but a am not turning them back and I do not wan to go to Macondo again. I would like to revise the Macondo with something new that I learned last September and all the I am trying to do is to figure out what it was. I am not planning to imitate Dannoy now but rather I would like to understand what in Dannoy impacted me so much and if possible to bring it to Macondo.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
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  »  New  Remedies the Beauty..  This n that...  Playback Listening  Forum     349  533697  10-13-2021
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