Quote:
Originally Posted by seancostello  The inability to discern exact pitch that Griesinger describes only occurs with a select group of signals, primary solo vocalists. This is due to the impulsive nature of vocal waveforms - even though the vocal tract adds resonances, the primary nature of the sound is impulsive, and the instantaneous amplitude of the signal varies according to the fundamental frequency of the voice. A small amount of decorrelation of the vocal signal results in the periodic variation of the instantaneous amplitude being lost. It is interesting that we perceive this as reverberation, or distance.
Other sustained musical signals do not have such correlated harmonics, and are not perceived as reverberant with the type of decorrelation Griesinger performs. Impulsive signals, such as percussion, rely on the harmonics being in phase sync in order to retain the shape of the impulse, so they will also bring out the perception of distance more than other signals. |
Be that as it may, it's certain that random modal decorrelaton adds a sense of depth.
Today, while mixing a rock tune with a close mic'ed string quartet, I decided to try a few experiments with my 224. I was using a fantastic program from the rev 4 software called "ROOM - A" (program 14). It's a very nice stereo algo . I set up a sound on it that really added life to the strings, then I turned off the modulation ...oh, there's the rear wall, there's the ceiling, etc... turning ON the modulation was like "...OH, listen to the rosin, ... nice, here's where the cello takes the melody" etc... NOT "wow man check out the chorusy strings" at all.... In fact, with the modulation off, it sounded nearly identical to my Sony / Ibanez verbs, which is to say great, but turning on the modulation made the walls recede while still providing the sense of the strings 'moving air'... perfect.