The spectrum of the musical signal. Part 5. Scheme, description

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ENCYCLOPEDIA OF RADIO ELECTRONICS AND ELECTRICAL ENGINEERING
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The spectrum of the musical signal. Part 5. Encyclopedia of radio electronics and electrical engineering

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Encyclopedia of radio electronics and electrical engineering / Speakers

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Hitting the tambourine during playback will become a blow to the squeaker. Not dangerous at all even at high power.

Are there musical instruments that can only be played with beepers? We searched our own corners and found it. Here is a spectrogram of an ordinary, completely non-academic tambourine.

Here, in any system, the entire load will fall on the tweeter, because below 5 kHz the signal amplitude drops simply rapidly. And what is usually fatal for HF emitters is precisely the high signal levels at relatively low (for tweeters) frequencies, near their resonance frequency. Note to experimenters: drums are different.

This is the situation at the top. And the bottoms?

The bottoms don't want

An attentive reader (you, for example) has noticed how interesting the relationship has developed with the standard spectral composition curve named after the German standard DIN. At lower frequencies, reality differs from the standard, just as life differs from literature. That is, tougher. The frequency response of real musical activity proudly rises above the boring German standard. But not all the time, but only up to about 40 - 50 Hz. And below the amplitude it quickly fades out, trying to hide below the -20 dB mark. How is it possible, where is the rebellious spirit, where are the wild, impossible, sweet super lows, like there are 20 hertz, or, okay, 25? Yes, they are not in NORMAL music. No, that's all. And we are now undertaking to prove this.

Double bass solo: the bass, it turns out, is not so “contra” after all...

The first proof that in real musical phonograms there are no serious components with frequencies below 40 - 50 Hz is the average graph you have already seen. But statistics, in the sense of averaging, is a matter akin to stock market speculation, so we will try to be more specific. Which bass instrument should I show you, recorded separately from the others, so that it sounds like infrasound? Well, or at least at the border of the audio range, at 20 Hz? After all, the rules of car audio competitions require a uniform frequency response starting from 20 Hz. A step up, a step down - an attempt to defeat.

Let's take a double bass. Let's look closely at the spectrum of frequencies produced by the playing of a certain talented black musician on the largest bass string. Let's look and see: despite all the efforts of black talent, frequencies below 60 Hz are sparse. The maximum spectral density occurs at 100 Hz, according to our classification - the typical midbass range. The subwoofer is almost on vacation when performing this solo.

Spectrum of a bass drum hit: maximum amplitude occurs at 40 Hz.

Not convincing? Well, that's right. What is a double bass, there is also a bass drum, on which either a sweaty and bare-to-the-waist labuk, or an orchestra member dressed in a pair of tails, will crackle, and...

... and get the maximum amplitude of the spectrum at 40 Hz. And below everything continues to fall rapidly, and by the 20 Hz mark, so sacred for some, all that remains of the sound of the most formidable bass instrument are horns and legs.

Well, what else can I show you? Do you want the famous Japanese Kodo drums, the largest of which weighs four hundredweight? Here is the spectrum of their sound, recorded, so that there is no talk, by the most competent company in such matters - Sheffield. From scratch they write as is.

The result of a careful and thoughtful (well, we’ve known you for years) study of the spectrogram: maximum - at 60 Hz, the limit of informative bass - 30 Hz. Everything below is small chatter.

Even the huge Japanese Kodo drums beat mainly in the 40 - 60 Hz band.

There are also the Chinese, where would we be without them? They, too, even under the Yellow Ancestor (the local King Pea), came up with super drums. Then these super drums were recorded for their needs by the super high-end company Burmester. The graph on the left shows the spectrum of all these supers.

The coolies defeated the samurai, the significant energy of the sound spectrum of their thunderous percussion instrument extends to 30 Hz. But no more (or rather, no less) than that.

Enough of the informers, they don't live up to expectations. There are still contenders for bass laurels. Let us remember the impressive passages on the keys of the cathedral organ: whoever they leave indifferent has, therefore, been vaccinated against bass in childhood...

For the rest, not vaccinated, the spectrum of the classical performance of Bach's Toccata in D Minor, a work that is generally recognized as iconic both musically and sonically (which is not the same thing, this is understandable).

Chinese version of bass drums. Already lower, but they are as you might think.

Music signal spectrum

Bach's Toccata in D minor: an example of a deep bass recording.

Cultism, as it turned out, is quite real in terms of spectral composition. The notes played by the cathedral organ really extend to the limits of audibility, although, admittedly, their amplitude there is not stunning. It is no coincidence that we have supplemented this graph with the standard spectrum curve according to the “old” IEC scheme. Within the limits of responsibility of the standard (up to 50 Hz) it is very similar, you will agree. But below 50 Hz, the amplitudes are in no hurry to fall, remaining small but noticeable up to infrasonic frequencies.

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Literature

Magazine "Autosound" № 11 / 2000

Author: Andrey Elyutin; Publication: avtozvuk.com

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