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In music, the range, or chromatic range, of a musical instrument is the distance from the lowest to the highest pitch it can play. For a singing voice, the equivalent is vocal range. The range of a musical part is the distance between its lowest and highest note. Among British English speakers, and perhaps others, compass means the same thing as chromatic range—the interval between the lowest and highest note attainable by a voice or musical instrument. The terms sounding range, written range, designated range, duration range and dynamic range have specific meanings. The sounding range refers to the pitches produced by an instrument, while the written range refers to the compass (span) of notes written in the sheet music, where the part is sometimes transposed for convenience. A piccolo, for example, typically has a sounding range one octave higher than its written range. The designated range is the set of notes the player should or can achieve while playing. All instruments have a designated range, and all pitched instruments have a playing range. Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre. The designated range is thus the range in which a player is expected to have comfortable control of all aspects. The duration range is the difference between the shortest and longest rhythm used. Dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music. Although woodwind instruments and string instruments have no theoretical upper limit to their range (subject to practical limits), they generally cannot go below their designated range. Brass instruments, on the other hand, can play beyond their designated ranges. Notes lower than the brass instrument's designated range are called pedal tones. The playing range of a brass instrument depends on both the technical limitations of the instrument and the skill of the player. Classical arrangements seldom make woodwind or brass instruments play beyond their designed range.
[2]Paolo Prandoni, [3]LCAV, EPFL
In this notebook we will investigate the effect of phase on the
perceptual quality of a sound. It is often said that the human ear is
commercial-grade audio equipment takes place in the magnitude domain
only.
In [1]:
%matplotlib inline
import matplotlib
import matplotlib.pyplot as plt
import numpy as np
import IPython
from scipy.io import wavfile
In [2]:
plt.rcParams["figure.fig [2]Paolo Prandoni, [3]LCAV, EPFL
The Karplus-Strong algorithm is a simple method to generate synthetic
sounds with arbitrary pitch. In this notebook we will explore a few
variations of the method to illustrate some basic notions of
discrete-time signal processing.
In [1]:
%matplotlib inline
import matplotlib
import matplotlib.pyplot as plt
import numpy as np
import IPython
In [2]:
plt.rcParams["figure.figsize"] [2]Paolo Prandoni, [3]LCAV, EPFL
In this notebook we will explore various ways to implement a system
that changes the voice of a speaker. Typical applications for these
techniques, strictly sorted by plausibility, include international spy
missions and prank telephone calls, and devices such as the one
displayed here can be easily bought on the web... or in a novelty shop.
No description has been provided for t "I defy anybody to find a record... unless it is some old blues
record from 1922... that uses feedback that way. So I claim it for
the Beatles. Before H