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Re: [ARSCLIST] Rhythm, Tennstedt and the Haas effect
The effect of a "welling up" of sound of a heavily orchestrated chord is
created by the beat being anticipated slightly by the lower instruments of
the orchestra, usually the basses and, slightly later, the cellos. This
does not displace the feeling of a steady pulse as the rest of the group
plays on the beat. Klaus Tennstedt was one of the great masters at having
his orchstra create this sound when he felt it called for.
So the frequency band contributes to how this effect is percieved.
----- Original Message -----
From: "Marcos Sueiro" <mls2137@xxxxxxxxxxxx>
Sent: Friday, March 23, 2007 8:47 AM
Subject: [ARSCLIST] Haas effect
I do not normally disagree with your posts, but I thought the Haas effect,
strictly speaking, referred to localisation of a sound source; i.e., given
a pair of sound sources A and B in different places but the same signal,
the earlier (<40 ms) sound from A will determine the perceived overall
location, even if the sound from point B is quite a bit louder. At delays
> ~40 ms, the two sources start to be distinguishable.
I would think of what you describe more as a sort of masking effect.
George Brock-Nannestad wrote:
From: Patent Tactics, George Brock-Nannestad
Karl Miller commented on
Don Cox <doncox@xxxxxxxxxxxxxx> wrote:
****One major problem is that the various notes of a chord are played
at Indeed, and with the reproducing piano roll this is a given
different velocities (to use the MIDI term), in order to bring out the
counterpoint. I think it would be very difficult to disentangle this
the noisy waveforms.
the keyboard is divided into a treble and bass range with one dynamic
available for each.
----- I have to confess that I do not know what "velocity" means in MIDI,
but in piano playing this means the speed with which the key is
depressed, and that determines the "strength" of the note sounded.
However, it is the timing of a note and not its strength that determines
what is perceived - the precedence effect (used to be called the Haas
effect) says that the first sound to arrive will determine the timing,
and if the same sound is reproduced stronger slightly later, it is still
the first that determines the perceived timing. And fortunately, timing
is what a piano roll can provide, although it cannot provide individual
dynamics. I think that it is the precise timing that actually makes the
illusion created by piano rolls so good.
----- in stating the above I will not say that the pianist does not think
that he regulates the dynamics for each individual note - he may or he
may not - but then the pianist also thinks that the feeling with which
the key is held down _after_ the sounding will influence the sound. It
will influence the pianist only (and perhaps an audience with eyes open
to watch the antics).
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