Contrabass Digest |
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Date: Wed, 19 Apr 2000 13:07:17 -0500
From: Topper <leo_g@carroll.com>
Subject: Re: [CB] Contrabass Clarinet
Reply-To: contrabass@contrabass.com
At 11:04 AM -0500 4/19/00, Topper wrote:>of the contras it is important to get the unisons in beating at the same
>time or it does not sound like a note. What you may get are sympathetic
>subharmonics and false overtones of them. Bad thing on bare walls and where
>standing waves lurk.What I mean to say here is that there are phase problems when sound waves
at the same frequrncies are not in paralelle syncronization. There are
effects when notes especially below 100 cycles but extremely crucial below
60 when the phase relation is important. It is easier to control this the
lower one goes with faster or slower are compensating with throat and
embochure for pitch. But when you get even lower the waves even at the same
frequency will change their rate of projection and volume depending on the
degree of axis. 180 degres is directly out of phase but will project better
than 15 dgrees out which will push up the higher overtones present in the
note and boost or resonate the instruments playing there and will effect
their tone/tibre. Phase relationships is crucial to the string basses in
the way that when contrabass clarinet and even the bass (not as much as
bassoon does) will set into motion the cavities of these instruments which
have a definate resonance frequency so here's another set of problems. They
are going to add volume in their resonance frequency so when the
contrareeds dip below or reach notes that do not resonate at an integer
they seem to lose their volume but they are losing the speaker cabinets
their instruments were plaing into. They should be equipped with flaps over
their f-holes... (kidding)Phase relationships in the mid rhelm of the ear account for many of the
syllabic sounds like the ah's oh's o's and e's. When a note bends it is not
just the pitch you hear it is also the "shape" shifting of phase, and
attenuation as in the "q"...Just a dyslexic thinking outloud...
Cheers, Leo
http://members.ebay.com/aboutme/leo_g@carroll.com/
"You Take The High Notes" http://helius.carroll.com/p/leo_g/ There is a
difference between "dealers" and musicians that love not only the sound of
music but the tools wchich make it possible for people to play music. It's
important to set things free so they may ultimately find their way to
their intended parties. I am especially interested in Musical Instrument
History and technical data. Please email me with interesting links. Thank
you:-) Leo
---------------------------------------------------------
Date: Wed, 19 Apr 2000 13:24:19 -0500
From: Topper <leo_g@carroll.com>
Subject: Re: [CB] Contrabass Clarinet
Reply-To: contrabass@contrabass.comI was responding to a post on Doublereed-L which said that a contrabassoon
can do everything a Contrabass Clarinet could do but better. They are just
different and the interesing thing is the single and double reed... each
create a much different sound waveform.This is why the Contra Clarinet is felt more than heard. Not to mention the bell.
Cheers, Leo
http://members.ebay.com/aboutme/leo_g@carroll.com/
"You Take The High Notes" http://helius.carroll.com/p/leo_g/ There is a
difference between "dealers" and musicians that love not only the sound of
music but the tools wchich make it possible for people to play music. It's
important to set things free so they may ultimately find their way to
their intended parties. I am especially interested in Musical Instrument
History and technical data. Please email me with interesting links. Thank
you:-) Leo
***End of Contrabass Digest***
________________________________________________________________________
________________________________________________________________________Message: 1
Date: Tue, 18 Apr 2000 02:21:30 -0700
From: David Flager <tubadave@jps.net>
Subject: Re: Digest Number 0Grant, I know you would like to improve the list when you have a chance,
but I do not think this little experiment is working out.I've recieved SO MANY contra Emails it's getting crazy. please lets go
back to the old way for now. It's OK, heck so I ignore a couple of
spams every once in a while, so what? this new system is worse than
spam.just my two cents.
tubadave@jps.net
________________________________________________________________________
________________________________________________________________________Message: 2
Date: Tue, 18 Apr 2000 09:43:25 EDT
From: SEMarcus@aol.com
Subject: Birthday of a ContrabassoonistWFMT in Chicago played a recording of Susan Nigro's this morning. Happy birthday, Susan!
Steve Marcus
BBb Bass, Prairie Brass Band
Director of Sales, THE BEAUTIFUL SOUND, INC. (630) 325-9999 (Steinway Piano Dealer)________________________________________________________________________
________________________________________________________________________Message: 3
Date: Tue, 18 Apr 2000 13:34:24 EDT
From: ninewinds@aol.com
Subject: unsubscribeunsubscribe
________________________________________________________________________
________________________________________________________________________Message: 4
Date: Wed, 19 Apr 2000 05:31:20 +1000
From: "Guy GRANT" <australian@globalfreeway.com.au>
Subject: ALTERNATIVE LIST SERVERSGday
I run the oddmusic e-mail list on onelist/eGroups. Onelist has been great. I
used to run oddmus e-mail on Coollist...they were so unreliable I swapped to
onelist. Wait a while and if you are still unhappy try Topica.Guy
________________________________________________________________________
________________________________________________________________________Message: 5
Date: Tue, 18 Apr 2000 22:56:39 EDT
From: MusicDayDream@aol.com
Subject: leblanc 352 contra alto...hi...i was curious if anyone here has used a silver/metal leblanc 352 contra
alto? if so how would you compare it to wood? Thanks!
dana________________________________________________________________________
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