Mixed timbre: Difference between revisions

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However, with most harmonic timbres, neither of these intervals ''sounds'' particularly consonant. The tritone is too far apart from both 7:5 and 10:7 to sound like either. By introducing some inharmonicity, though, it is possible to make these intervals sound much sweeter, as consonances should. That way, 22edo will not sound nearly as "out of tune" as it otherwise would.

Mixed timbres are one way to do this. A mixed timbre contains '''mixed [[~~partials~~]]''', which are partials consisting of two or more closely-spaced frequency components (they must be close enough that they are perceived as one "beating" partial rather than separate entities). One of the components is a perfect harmonic multiple of the fundamental, and the other(s) are slightly higher or lower.

Mixed timbres are one way to do this. A mixed timbre contains '''mixed [[partial]]s''', which are partials consisting of two or more closely-spaced frequency components (they must be close enough that they are perceived as one "beating" partial rather than separate entities). One of the components is a perfect harmonic multiple of the fundamental, and the other(s) are slightly higher or lower.

For example, we could imagine a mixed partial consisting of one component at 3''f'', where ''f'' is the fundamental frequency, and a second component with half the amplitude at ''3.03f''. Because of the harmonic component, this partial maintains some semblance of (imperfect) mode-locking with the fundamental, which results in a more stable timbre. Interference between the two components causes this partial to "beat", but beats on overtones are generally ''much'' less noticeable than beats on the fundamental, and because the inharmonic component is smaller to begin with, the beating will not be very noticeable and the timbre will sound very close to a perfectly harmonic one.

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 However, with most harmonic timbres, neither of these intervals ''sounds'' particularly consonant. The tritone is too far apart from both 7:5 and 10:7 to sound like either. By introducing some inharmonicity, though, it is possible to make these intervals sound much sweeter, as consonances should. That way, 22edo will not sound nearly as "out of tune" as it otherwise would.
-Mixed timbres are one way to do this. A mixed timbre contains '''mixed [[partials]]''', which are partials consisting of two or more closely-spaced frequency components (they must be close enough that they are perceived as one "beating" partial rather than separate entities). One of the components is a perfect harmonic multiple of the fundamental, and the other(s) are slightly higher or lower.
+Mixed timbres are one way to do this. A mixed timbre contains '''mixed [[partial]]s''', which are partials consisting of two or more closely-spaced frequency components (they must be close enough that they are perceived as one "beating" partial rather than separate entities). One of the components is a perfect harmonic multiple of the fundamental, and the other(s) are slightly higher or lower.
 For example, we could imagine a mixed partial consisting of one component at 3''f'', where ''f'' is the fundamental frequency, and a second component with half the amplitude at ''3.03f''. Because of the harmonic component, this partial maintains some semblance of (imperfect) mode-locking with the fundamental, which results in a more stable timbre. Interference between the two components causes this partial to "beat", but beats on overtones are generally ''much'' less noticeable than beats on the fundamental, and because the inharmonic component is smaller to begin with, the beating will not be very noticeable and the timbre will sound very close to a perfectly harmonic one.