Instruments - please educate me!

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Instruments - please educate me!

Post by The Elf »

Can I kick this off with:

What’s the difference between concertinas and accordians?

What’s the difference between Northumbrian, Scottish and Irish bagpipes?

How does a pedal steel guitar work? What is all that hardware?

Feel free to add any other questions you thought were too dumb to ask, but realise that by asking them you are showing the wisdom of knowing your own ignorance! Ommmmm... :D
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Re: Instruments - please educate me!

Post by Aliweasel »

I believe the difference between concertinas and accordions is that the former are held in the hands and the latter is strapped to the body. As for your other questions, I'm afraid I can't help.

I'd like to add a question: How does the C extension on a double bass work? Is it 'fretted' on an E, then when the extension in 'active' that fret just drops away?
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Post by TheChorltonWheelie »

The Elf wrote:What’s the difference between concertinas and accordians?

I once heard a record rep say to hanger-on'er "Look at that clarinet!", and with the talkback mic still on, the engineer said "It's a f!cking bassoon you [email]tw@t!".[/email]

Laugh? I nearly followed through!
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Post by The Korff »

Absolutely everything that anyone could ever possibly want to know (and much, much more — almost too much, in fact) about pedal steel guitars can be found here (an article from the now sadly deceased Performing Musician magazine).

Cheers!

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Post by The Elf »

Korff wrote:Absolutely everything that anyone could ever possibly want to know (and much, much more — almost too much, in fact) about pedal steel guitars can be found here

Ouch! Lots of words! :headbang:

And the 60 word bluffer's version for we unversed in string-ridden things, might read?... ;)
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Post by Richie Royale »

I saw a How it's made about pedal stell guitars. The pedals bend some notes, that's about as much as I remember!

http://en.wikipedia.org/wiki/Pedal_steel_guitar Says

The pedals and knee levers raise and lower the pitch of certain strings "on the fly" while the instrument is being played. The exact action of these pedals and levers—which strings are affected—can be set by the player to their preference.

Characteristic effects are obtained by changing pitch of one or more strings while other strings' pitches are static or change at differing rates. Melodic lines are composed primarily of dyads (two-note chords). In the E9 tuning, many characteristic idioms involve tonic-dominant and tonic-subdominant harmonic relationships.


Bagpipes, well I don't know much about them, but it's the way they are played and how the bladder is filled IIRC that makes the variations.

Having said that, I looked them up:

http://en.wikipedia.org/wiki/List_of_bagpipes So many variations!
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Re: Instruments - please educate me!

Post by grab »

Northumbrian pipes are played sitting down, like uilleann (Irish) pipes. Both sets are inflated by pumping a bellows with your elbow, instead of blowing down a tube.
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Post by grab »

Why do some desks (and interfaces) not have pads on all channels? Does removing a push-switch and two resistors *really* save a worthwhile amount of money? And would adding 20p per channel to the price of a desk *really* make people buy something else?
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Post by grab »

Perhaps a more serious question. What's the highest documented frequency range of human ears?

There's Rupert Neve's famous story about Geoff Emerick apparently being able to hear artifacts around the 50K region. Nice story, but check the rest of the story - GE was pissed off that Neve were sending various oiks to him who hadn't a clue about how to fix problems. I could quite believe that someone who's paid a fortune for a top-line desk and was getting shafted on support might invent an issue just as a way to get someone on site who actually knew what they were doing. Kind of like the Van Halen brown M&Ms - the important thing is not the minutiae of it, but just that the other person's taking their responsibilities seriously. So the fact that Rupert Neve happened to find faults on two channels might be purely coincidental, when the real reason for GE being happy could be that it was RN who was personally doing the work.

So ignoring that, what's the *documented* highest frequency that anyone's been proven to hear in proper aural testing?
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Re: Instruments - please educate me!

Post by David Etheridge »

According to a book on amplification published some 10 years ago by a professor at one of the London Unis (sorry, memory fails on the exact author) 1% of the population can perceive frequencies up to 200k, or way above Geoff Emerick's quoted 56k.
No, I didn't believe that at first but the author's credentials in electronics are impeccable, so who am I to doubt?

Dave.
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Re: Instruments - please educate me!

Post by David Etheridge »

Aliweasel wrote: I'd like to add a question: How does the C extension on a double bass work? Is it 'fretted' on an E, then when the extension in 'active' that fret just drops away?

Hi,
there are 2 versions of the double bass extension: one has an extra bit of fingerboard under the E string that extends right up to the scroll and gives the extra string length and range. On the top not there's a pivoted bar (Fret) that can be swung out of the way to lengthen the string as desired, and then clipped back into place for 'regular' tuning and playing.
The other type is a mechanical system that has the fingerboard extension, but uses a system of keys and bars to press down on the extension so that you don't have to move your hand up to the extended part of the fingerboard.
This system seems ingenious, but every bass I've seen that has this seems to suffer from the fact that you need either an A level in Meccano to keep it going or a can of WD40 (or both :headbang:) , as the mechanism can clatter, squeak and generally make a lot of untoward noises.
The big drawback of both systems is that the extra string length means that when trying to play a bottom C loudly will produce a helluva lot of string slap and a rather iffy tone.

Me? I prefer a 5 string bass anyday; more logical, easier to play, and you get the extra semitone down to B!

Best wishes,
Dave.
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Post by Aliweasel »

Thanks David! I too prefer 5-string basses but it's more because that's what I learnt to play on and I miss the B-string when I pick up a 4-stringer.
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Post by Fat Cat Strings »

The Elf wrote:
What’s the difference between concertinas and accordians?

concertina: small, thin sound, can only play in certain keys
accordion: huge, lots of different fat sounds, can play in any key
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Post by grab »

Thanks David. Wow - that's amazing! That's well into the range of hearing bats directly. I bet switch-mode power supplies really annoy them too.
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Post by Sam Inglis »

I'm sure Concertina Chap will be along to correct this, but as I recall, there are three main systems of concertina fingering:

Anglo concertinas are quite similar to harmonicas, in that each button plays a different note depending on whether you're sucking or blowing (ie. on the way 'in' or 'out'). Like harmonicas they are usually restricted to playing in certain keys.

English concertinas are fully chromatic, but the notes are distributed between the two hands, so it's hard to play a melody on one hand and an accompaniment on the other.

Duet concertinas are bewilderingly complicated, but designed to have the low register on one hand and the high on the other.

I believe there are several different types of accordion, too. The only one I've tried to play is a piano accordion, which has a piano keyboard on one end and a huge number of buttons on the other.

Concertinas have a much 'harder' sound than accordions.
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Re: Instruments - please educate me!

Post by The Elf »

It's great to learn so many things I had no idea of! Thanks all!

I love those little hexagonal squeezeboxes with the woody 'honk'. The large chest-expander things covered in buttons just don’t appeal to me at all.

Just a taste thing... :D
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Re: Instruments - please educate me!

Post by narcoman »

David Etheridge wrote:According to a book on amplification published some 10 years ago by a professor at one of the London Unis (sorry, memory fails on the exact author) 1% of the population can perceive frequencies up to 200k, or way above Geoff Emerick's quoted 56k.
No, I didn't believe that at first but the author's credentials in electronics are impeccable, so who am I to doubt?

Dave.
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I'd like to know the source of that............. I have my doubts about that one!!!....
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Re: Instruments - please educate me!

Post by David Etheridge »

Hi Narcoman,
I finally found the source:
'High performance audio power amplifiers for music performance and reproduction'
By Dr. Ben Duncan (A.M.I.O.A.) Newnes published 1996.
(Ben's also the author of the Live Sound Manual)
http://www.amazon.co.uk/High-Performance-Audio-Power-Amplifiers/dp/0750626291#reader_0750626291
You can view the section 1.6 on the Amazon listing which quoted 0.1% of the world's population (several million) who's perception of sound can be 10 times theusual quoted norms, and in this case, up to 200kHz!!
I managed to put the cat amongst the pigeons at a Music Tech college
in 1999 when I quoted it!

Best wishes,
Dave
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Post by grab »

Hmm. The second page says "the ear can perceive the result of air moving over a distance equal to the radius of a single hydrogen atom". That's got to be fiction, for starters. If the human ear could do that, we wouldn't need electron microscopes!

Then Section 1.6 blatantly picks numbers out of his ass - "possibly 0.1%" with no reference at all. And section 1.7 states the requirements of audio as "0-200kHz" with no reference for this.

Sorry, but this excerpt isn't suitable as a source - simply making wild claims with no references doesn't prove a thing. If Duncan didn't do the testing himself, he needs to give references to the people who did. Oh, and if he's claiming 0.1% (1 in 1000 people), those tests need to have been run on at least 10,000 people to be even vaguely statistically significant. Amazon does also include the final few pages, including his list of references, and there's nothing on there about hearing studies.

Not to put too fine a point on it, I don't believe in fairies at the bottom of my garden, just because Enid Blyton got books published which say they exist. ;) And it's quite possible to be a very competent engineer or scientist and still have whacky ideas that aren't based in reality. If you're going to claim something out of the ordinary (e.g. 0.1% of people hearing to 200kHz), you'd better be able to back that up.
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Re: Instruments - please educate me!

Post by David Etheridge »

So you're putting yourself up as more of an authority on the subject than he is?
By the way, the section on hearing in the book is an adjunct to the book which is about amplifiers, so it may not be germane (strictly speaking) to the subject.
Maybe SOS' theoretical oracle Mr. Robjohns may care to wade in with some fax'n'info?

Dave
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Post by grab »

No, I'm putting myself up as someone capable of checking whether I might be being sold a line. :tongue:
  • He's made one provably-false claim: ear movement detection accurate to one hydrogen atom radius.
  • He's made one further claim which is plausible but has no reference to source studies: 0.1% of people hearing significantly outside the normal range. (Exercise for reader: define "significantly", define "outside", define "normal"...)
  • He's then stated the audio bandwidth to be *way* outside generally-accepted human norm, with no reference to source studies or in fact any justification at all: 0-200kHz. Wikipedia reckons this is even outside bats' hearing range. For all we know, this could be a typo.

Of course there's a bell curve of hearing performance - the question is where the bell becomes zero at each end. This is a fairly standard thing for audiologists to check, so I thought someone might have actual figures for it.

Thing is, if your amp is linear and stable from infrasound to ultrasound then you're likely to have rather good performance in the 20-20k region. (Assuming you don't blow up your tweeters/woofer, anyway.) It certainly wouldn't be the first time that someone's hit on a good design based on the wrong reasons. And especially when the subject relates to hi-fi, I'm *very* suspicious of outrageous and unsubstantiated claims.
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Post by Hugh Robjohns »

grab wrote:No, I'm putting myself up as someone capable of checking whether I might be being sold a line. :tongue:

But have you actually checked?

Ben Duncan is certainly no idiot and books like his are peer reviewed before publishing -- I've done a fair few for Focal myself! I see little reason to doubt his claims but, as always, it pays to make independent checks when facts like this seem so surprising.

So... since you're capable of checking, what is the radius of a hydrogen atom?

And... what is the average deflection of a human tympanum for a given sound pressure level, and how does that relate to the deflection at the threshold of hearing?

I've made some quick checks myself and as a result I am pretty confident that BD's claim is broadly correct.

He's made one further claim which is plausible but has no reference to source studies: 0.1% of people hearing significantly outside the normal range.

There have been several learned papers on ultrasonic hearing in humans that I've seen. Not all have withstood scrutiny and not all have had independently verified results... but some have shown fairly convincingly that some people can perceive something related to ultrasonic pressure waves -- although usually only at very high SPLs if I recall correctly.

But the ear is a very non-linear organ and it is quite possible that non-linearities cause ultrasonic signals to be detectable in some fashion or other -- if not as sound then at least as a sensation that some people can recognise reliably.

I've not searched for evidence to support his figure here, but 0.1% doesn't seem unreasonable to me. 0.1% of the population can run at extraordinary speeds, jump extraordinarily high, lift extraordinary weights or are extraordinarily intelligent or talented in some other way...

[*] He's then stated the audio bandwidth to be *way* outside generally-accepted human norm, with no reference to source studies or in fact any justification at all:

Again, there certainly are many papers that discuss this. Some I've read claim that human hearing perception is based at least in part on the time domain analysis of signals rather than the frequency domain, and that the temporal accuity of human hearing appears to be the fourier equivalent of something well in excess of 50kHz -- even though we can't detect 50kHz sine waves.

Okay, so that doesn't confirm BD's claim of 200kHz, but it is much higher than the 'accepted' limit of 20kHz and I dare say if I looked around hard enough I'd eventually discover the same literature that BD has read!

Of course there's a bell curve of hearing performance - the question is where the bell becomes zero at each end. This is a fairly standard thing for audiologists to check, so I thought someone might have actual figures for it.

There are plenty of published figures for simple sine-wave auditory frequency testing. But as we all know, few audio signals are simple sine waves. Most are harmonically complex and most have extremely complex transients which can not be analysed using simple fourier analysis techniques.

Although I think the jury is still out on this, I think it wise to maintain an open mind as to the actual range of audio signals we can perceive and which might be important.

I have in the back of my mind some research I read years back trying to explain how we could hear stereo imaging with the accuity we can, when the time of arrival differences were significantly smaller than the notional response time of normal brain nerve cells!

Thing is, if your amp is linear and stable from infrasound to ultrasound then you're likely to have rather good performance in the 20-20k region.

Very true... ;)

I'm *very* suspicious of outrageous and unsubstantiated claims.

It's always wise to be cynical and inquisitive, but equally it is important to confirm whether such cynicism is valid before pronouncing upon it...

hugh
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Re: Instruments - please educate me!

Post by Nell Glasper »

I think Sam's covered the concertina bases (that's not a pun, because concertinas don't have 'em!), but the difference between accordions opens up a whole new can of worms. There isn't just one kind, as Sam pointed out (I think). Accordion could mean piano or melodeon (diatonic accordion). People often refer to the melodeon as a button accordion, but I believe there's a third we've missed out here that I'll leave someone else to explain!

Unlike concertinas, accordions have a set of basses on one side, with all the tune-playing hardware at the other end. So you can essentially accompany yourself! With the concertina, the tune is played on both ends, but players often create intricate harmonies using both ends at once. This is pretty simplistic, but gives a vague idea of the sound created.

The melodeon is made to play in certain keys, whereas the piano accordion is, obviously, able to play in any key. Also, like the anglo concertina, melodeons play different notes 'in' and 'out', which isn't the case with piano accordions. I'm pretty sure I'm repeating now...

Of course, this only covers accordions of the British Isles. Cross the water south east or west and you'll find all kinds of variations.

Pipes:

I really wish I knew more about pipes. Highland pipes are blown into, as are most European variations, such as the Galician Gaita, which I believe is also the loudest. The highlands' distinctive sound comes from the drones, which is why they have that distinctive set of three pipes over the player's shoulder.

Irish (uilleann) pipes are blown up with bellows that sit under the arm of the player. They also have drones, known as regulators (that doesn't sound right to me...), but these are fitted with keys that can be operated (with great difficulty!) by the player while they're playing the tune. The chanter, unlike most pipes, is set on the knee of the player, which gives that distinctive, sweet, slightly muted sound, which 'pops' slightly when the player reaches a high-D (when all fingers are down, therefore closing the chanter completely, needing to open it from the bottom!).

I won't speculate on Northumbrian 'cause I've never played 'em!

Someone once told me that there was a different style of bagpipe for every country, but this can't be true, surely!

8-)
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Post by Niht »

What’s the difference between concertinas and accordians?


I think the difference is that accordions are played by nerds and concertinas are played by drunk Irishmen, pirates, and Tom Waits.
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Post by Folderol »

I used to play the piano accordion mmmfty mmmf years ago. Not only do you get bass notes, you also get bass chords, and with the 120 bass versions, you get a row of what are described as counter-bass buttons, in front of the main ones.

The button with the dimple in is C. Its counter-bass (diagonally down) is E. The first chord behind (diagonally up) is CMag, followed by Cmin, Cmag7, Cdim.

The pattern of keys 'vertically' is rather clever. Above C you have G, and above that D. All with their corresponding chords and counter-bass buttons. Below it's F, Bb etc. This makes most 'standard' progressions very easy.

The way the counter-bass notes relates to this means you can do a fast bass run while hardly moving your fingers :)
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