![]() ![]() In fact, they’re overlapping so much that it can be difficult to to hear them individually on the recording. They each have distinct timbres, but when we record the performance with microphones, we notice the two sounds overlap. Going back to our example, let’s say we record the french horn player and the guitarist playing a unison melody. Keep this concept in mind as you move through the basics of EQ. When you use EQ to alter a sound, you’re really changing the volume of its partials relative to the rest. ![]() If not, they’re inharmonic.Ī highly harmonic sound like a bowed cello string is rich in evenly related partials, while a highly inharmonic sound like a cymbal crash is made up of only unrelated ones. If the partials are related to the fundamental by a whole number ratio (ie, 2:1, 3:1, 4:1 etc.) they’re harmonic. These basic components are called partials. Complex just means any sound other than a basic sine wave.Īll complex sounds can be broken down into simple sine wave components. Unique, identifiable timbres are a property of all complex sounds. What makes them sound different? Both instruments are playing a note with the same fundamental frequency, but each has its own unique timbre.Ī sound’s timbre gives our brains a lot of information about what it represents in the real world. Imagine a french horn and an electric guitar both playing the same A=440Hz note. Here’s a rough break down of where the common mix areas sit on the spectrum. Each element of your mix has energy in different parts of that range.ĮQ is the the tool you use to manipulate the frequency content of your mix so that everything is balanced and clear. Our ears can detect a huge range of frequencies-roughly 20 Hz to 20 kHz. The spatial relation between ourselves and that which surrounds us becomes a primary concern - stripped from function, style, or aesthetic value the furnishing around us becomes formal shapes that can either offer protection or be the very cause of danger.EQ (or equalization) in music is the process of changing the balance of different frequency components in an audio signal. Our bodies have a hard time coping - what to do and where to go, to stand or to duck - the anxiety and fear are such that we disassociate from the here and now, and the space we are at is no longer the space we were at. Trepidation, panic, horror, and dread find expression through laughter, running, hugging, and crying. ![]() The unpredictability of earthquakes places us in a category in which the fight or flight response doesn’t really work - an earthquake is not something to be defeated nor something we can run from. That in a city like Mexico City, the risk of being trapped indoors at home was less desirable than the one that sleeping exposed to strangers posed is telling.Įarthquakes are peculiar in that they provoke a profound shift in our perception of safety - the ground, which we associate with stability and solidity, and home, which we associate with refuge and shelter, become the very threat. ![]() Neighbors gathered and created makeshift community camps and slept on the sidewalk, exposed to what they usually would be taking refuge from. We want to investigate the intrinsic ambiguity of the definition and representation of safety and offer an alternate embodiment of space, through which we can reflect on safety as both a mental and a physical construct.įearful of the aftershocks, people felt safer on the street during the aftermath of the past earthquakes in Mexico than they did in their own homes. But lean in closer - through sound, the room will compel you to place yourself in it the way that you might if you were experiencing an earthquake. You enter a space that could be in almost any large city. Standard living quarters - a couch, a plant, a credenza, a table, a chair. ![]()
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