French horn (from German Waldhorn – “forest horn”, Italian. Corno, English french horn, French. Cor) – brass wind musical instrument bass-tenor register. It came from a hunting signal horn; it entered the orchestra in the middle of the 17th century. Until the 1830s, like other copper instruments, it had no valves and was a natural instrument with a limited sound scale.
Among its closest neighbors, brass instruments, the horn stands out for its particularly melodious, velvety and warm timbre, and its thoughtfully lyrical sound. Its distant predecessor was a hunting horn, as evidenced by the name itself: translated from German, “horn” means “forest horn”.
Hence, the first impression of the sound of the horn is associated with the boundless distance, nature, forests and fields. But the horn is also characterized by courageous, dramatic colors, they remind of the other side of the life of an ancient instrument, which in the Middle Ages gave a signal to the start of knightly tournaments. The hunting horn was held up to the bell. Only 14-15 sounds could be played on it. Continue reading
M-Audio, a pioneer in the development of compact MIDI keyboards, has released a new MIDI keyboard – the 88-key graduated USB MIDI controller with a hammer mechanism. What does this mean?
– Hammer keyboard, through the use of a system of levers and springs reliably conveys the sensation of pressing the keys, just like when playing on a real piano or piano
– Graduation suggests that keystrokes are somewhat heavier in low registers and easier in high registers – similar to playing an acoustic piano or grand piano Continue reading
Interference is the phenomenon of amplification of oscillations at some points in space and weakening of oscillations at other points as a result of the superposition of two or more waves arriving at these points. Wave interference is possible if the phase difference of the waves is constant in time, i.e., the waves are coherent. Wave interference is valid for waves of any nature and frequency.
When recording from several microphones, it is necessary to take care of their phasing: the signals from the microphones should not fall into the recording path in the opposite phase, since this can lead to their mutual compensation up to the complete disappearance. Without noticeable distortion of the timbre caused by interference of direct and reflected signals, the microphone can be brought closer to any reflecting surface at a distance of at least 1-1.5 m.
All efforts to improve the quality of the recording may be in vain if you do not follow the obvious rules. One Continue reading