reply to post by Alxandro
Yes, I understand the in the last century that accents were very regional.
East Coast...like Boston, New York etc all have a nasal tone. If you speak, and your voice resonates in that part of your head then it will accent
Try it...if you use your diaphram you will get a lower tone. Listen to the vocals on Jerry Lee Lewis Great Balls of Fire.. His voice is very
compressed...very little presence...then listen to Jerry Lee Lewis's later stuff and you will hear presence in his voice....again that is a 3k to 6k
adjustment on a EQ.
Presence gives detail and tone. Early recordings very seldom had presence.
A really good example would be to listen to Judy Garland on Wizard of OZ before it was remastered and afterword.
If you listen to the early release Judy Garland's voice lacks detail and tone.
(get a VHS release for this) Then listen to the remastered version...big difference in her presence and tone.
Also..listen to early Chuck Berry. Get something is not remastered. Then listen to something remastered from his Box Set.
Also..listen to old John Cash recordings....same thing...I have a early LP of John Cash....I also have his box set....early John Cash sound
compressed, lacks detail, ..new..remastered brings back detail etc.
Also.. telephone..1950...voice frequncy was 300hz to 3400 hz...now it is all digital..but still compressed..notice how you sound compressed on
This also has to do with the fact that you are taking ACOUSTIC energy and tranfering it to the ELECTROMAGNETIC spectrum. In the early days the
average guy doing the recording knew very little about how sound changes when it morphs from acoustic energy to eletromagnetic energy.
We operate from 20hz to about 20k hz....the typical male human voice, at least for the past 100 years or so (lol) , will have a FUNDEMENTAL frequency
of from 85hz to 155hz. SO the HUMAN MALE fundemental frequency does not even fit into early microphone pickup patterns....which were about 300hz to
yea..wrap your head around that...it gets better...
If you only have the ability to pick up 300hz to 3400hz then how do get somebody to sound anywhere near normal. This was the issue they had in the
very early years.
The answer, of course, is if you can get enough of the harmonic series will be present for the MISSING fundemental to create the impression of hearing
the fundemental tone!! cool huh
So what is HARMONIC SERIES.
Harmonic series...if you look at vocal chord it vibrates...something like the string on a guitar or piano...
A good piano or guitar (any analog instrument) is based upon on a harmonic oscillator. This simply means that you will have a variety of tones or
ocsillations going on at the same time.
These ocsillations are called "standing waves".
Interaction with the surrounding air causes "traveling waves"..this is what you hear.
Because of the self filtering nature of resonance, these frequencies are limited to interger multiples called harmonics...starting at the lowest
possible frequency and these multiples form the harmonic series.!!cool!!
Then this frequency determines the musical pitch...this also influences tone!
SO the frequency being expressed causes other cool things to take place. This is known as OVERTONES.
Overtones are short wave tones that give the instrument its "personality"
Each fundemental frequency has overtones that are developed through "room" resonance as well as instrument resonance.
Harmonics are ALL partial waves within a sound or noise that are interger multiples of the fundemental frequency.
Among recording engineers harmonics and partial mean the same thing....although now with some of the DSP stuff a partial can be a structure that is
not related to the fundemental frequency.
That is because we are not dealing with "real" sound anymore we are dealing with digital signal processing that can place a "strange" partial into
Anyways if you are dealing in analog, as the early guys were, the places were you might get these partial would be on a TAM TAM or a gong.
So then we need to use our knowledge of harmonic structure to build amplitude, timbre, and tonality.
The relative amplitude of various harmonics will determine the timbre of the instrument...including the human voice.
If the mike can only pick up 300hz to 3400 hz your timbre will suck.
That is why many early recording sound compressed...or if you like nasel..or "high" pitched.
They fool you into "hearing" any of the fundemental frequencies of 85hz to 155 hz through harmonic series!
I hope that makes sense. I can go into more detail on amplitude and timbre if you want to realy get juicy.