Your Voice Changes When You Talk to Someone Attractive
permeates the history of the study of sound, dating back . A simulation ( Patterson, Allerhand, & Giguère, ) Frequency analysis and pitch perception. In. Instructions. To play a constant tone, click Play or press Space. To change the frequency, drag the slider or press ← → (arrow keys). To adjust the frequency by . Here is a frequency analysis of single guitar note - horizontal axis is frequency, vertical axis is amplitude. Each spike is a different harmonic.
Here are some waveforms: Here is a frequency analysis of single guitar note - horizontal axis is frequency, vertical axis is amplitude. Each spike is a different harmonic.
WHY do harmonics happen? - Music: Practice & Theory Stack Exchange
It's the precise mixture of frequencies, and how quickly each one dies away, that provides the timbre of the instrument. A good way to get a feel for this is to play with an analogue synth or a simulation of one. These use "additive synthesis", in which an oscillator produces a pure sin wave, and you build up a timbre by adding in "harmonics" using more oscillators, choosing the relative pitch and volume for each one.
You may have noticed that your guitar sounds "boomier" if you pluck it near the 12th fret, and more trebly when you pluck it near the bridge. That's because when you pluck near the middle of the string, you're giving lots of energy to the 1st harmonic, and very little to the other harmonics.
Now, what happens if you gently touch the midpoint of the string?
You kill the 1st harmonic. That involved the string moving at exactly the point you've suppressed. It took 11 iterations to produce the results presented here.
Not every partial present in the original recording is present in the simulation. Of course, all the loudest are there. I also made special efforts to include all the higher partials which contribute to generation of the strike note.
In the previous simulation, I experienced problems because I discovered that the recorder had overloaded during the initial splash of the bell's sound.
The Sound of Bells - Simulation of bell sounds
I chose this recording of Lyminge second to simulate because it was a good quality recording of an old-style bell with hardly any initial overload. The basis of the simulation is the setting of the parameters for all the significant partials so that the envelope of the simulated partial's intensity over time matches as closely as possible that in the original recording.
I plotted the original and the simulated envelopes against one another and adjusted the parameters for the best fit. The example below is the nominal of the Lyminge bell - 'org' is this partial in the original recording, 'sim' is the simulated version: One of the problems I have experienced in simulating bell sounds is that they sound thin and computer generated. My recording of the bell at La Vinzellewhich was taken with a very gentle clapper blow indeed, also has this 'computer generated' sound even though it is a real bell, which might give some clues as to the cause.
Based on experiments with simulations, I now believe that four factors affect this: The first point is obvious. The second was arrived at heuristically, and is presumably due to the difficulty in estimating amplitude via fourier transform over very short time intervals.
The third - the presence of doublets - is of some interest.
But the pitch of someone's voice may give another subtle clue as to how they feel about their conversation partner. If you're talking with a slightly lower-than-normal speaking pitch, it may mean you think the person you're gabbing with is a babe. Both heterosexual men and women tended to lower their voices if their opposite-sex conversation partner was deemed attractive. Imagine the sound of Barry White and Kathleen Turner chatting it up and you get the idea. For example, you'll probably alter the sound of your voice when talking to your boss or telling a lie.
And although the researchers in this study predicted men would lower their voices and women would raise the pitch of their voices when talking to an attractive target — as men with lower voices and women with higher voices are seen as desirable by the opposite sex — that wasn't the case.