--Michael Darnton/VIOLIN MAKING/Understanding Tone--

[This is a copy o one section o the orthco!ing "oo# tentati$ely titled Violin Ma#ing% "y Michael Darnton% http&//darnton$iolins'co!% do(nloaded ro! http&//$iolin!ag'co! ' It is an inco!plete preli!inary $ersion% ) *+,* "y Michael Darnton' All p-"lication rights% in any !edia are reser$ed' .o- !ay do(nload one copy or personal -se' No co!!ercial -se% co!!ercial printing% or posting% either in (hole or o s-"stantial parts% in other locations on the internet or in any other or! (ill "e tolerated'/

A PLAN FOR UNDERSTANDING VIOLIN TONE Strategy I0$e heard it said that h-!ans don0t ha$e any !e!ory or so-nd' This !ay "e the easy o-t or those (ho can0t hear and thin# that yo- sho-ldn0t "e a"le to% either% "-t I don0t "elie$e that it0s really tr-e' The tric# to re!e!"ering tone is to de$elop a strategy to s-pport yo-r !e!ory o tone% and to train yo-r !e!ory "y e1perience' I0d li#e to o-tline "elo( the (ay I do it' 2irst% an analogy' I!agine setting -p a synthesi3er' It0s got all sorts o #no"s and ad4-st!ents or e$ery acet o tonality that yo- can i!agine% and a lot that yo- ne$er concei$ed o ' 5o( on earth can the player call -p those so-nds (ith all o those #no"s to (orry a"o-t6 The ans(er is si!ple% o co-rse& he 7or the !achine% or the so t(are8 re!e!"ers the settings that !a#e the e ect' Trigger the $iolin $oice% "y t(ea#ing the #no"s or calling -p a preset% and all the appropriate settings s(itch to those that !a#e the $iolin so-nd co!e o-t% relia"ly identical e$ery ti!e' No(% thin# o this in re$erse' 9hat i yo- heard the so-nd% and co-ld (or# yo-r (ay do(n a chec#list o tonal ite!s on one to ten scales:-sing !ental #no"s% so to spea#6 .o-0$e separated the so-nd into a list o degrees o $ario-s recogni3a"le para!eters' To!orro(% in yo-r !ind% yo- (ant to "-ild that so-nd% or i yo-0re thin#ing o the playing side% the speci ic "eha$ior% so yo- loo# at the list and "-ild% in yo-r !ind% the so-nd and tactile eeling those para!eters indicate% 4-st as the synthesi3er does' .o- ha$e a $iolin yo- (ere (or#ing on' ;e$eral (ee#s ago yo- did an in$entory li#e the one a"o$e% and no( it0s "ac# together% so yo- do the in$entory again' Are the res-lts the sa!e or di erent6 I yo- are s#illed% consistent% and e1perienced (ith yo-r chec#list 7all o (hich ta#e practice% o co-rse% li#e any other s#ill8% yo-0ll "e a"le to "-ild the old so-nd in yo-r !ind ro! the chec#list% and !eas-re it against the c-rrent chec#list and so-nd% and #no( (hat0s changed' This doesn0t really so-nd all that esoteric% right6

--Michael Darnton/VIOLIN MAKING/Understanding Tone--

Scaling ;o!e o these things are really si!ple% so!e !ore di ic-lt' 2or instance% ta#e response' I!agine a $iolin on (hich yo- can "o( the open G string (ith the side o the hair ri""on% at the tip o the "o(% (ith no press-re at all% as slo(ly as yo- can possi"ly !o$e the "o(% and still get a -ll% clear $oice' That0s a ,' No( i!agine a $iolin (here e$en (hen yostart (ith a ir! solid stro#e at the rog at a decent $ol-!e% notes (on0t start (ell' O ten yo-0ll see cellists starting a passage on the < string "y lic#ing the string (ith a inger on their le t hand at the sa!e ti!e they hit (ith the "o(' That0s the opposite o response% and that0s a ,+' Di$ide -p the distance "et(een those t(o sit-ations% and yo- ha$e the scale o response' Most $iolins at their "est% on !y scale co!e in at aro-nd a * or =% and that0s the place that !ost good $iolinists (ill call it not per ect% "-t >so!ething I can deal (ith?' They0d lo$e a , or response% "-t as yo- !ess (ith response at that end% so!ething co!presses at the other end% the !eas-re o ho( !-ch orce a note (ill ta#e "e ore it "rea#s -p and distorts' Great $iolins (ill per or! (ell at either end o the press-re/ orce scale% a clear note (ith a light "o(% and a clear one (ith a hea$y "o(' Lesser instr-!ents start losing at one end as they gain at the other% and can0t "e per ect at the t(o e1tre!es si!-ltaneo-sly' ;o!e instr-!ents are so good that the sol-tion is si!ply or the player to learn to "o( (ithin the de!ands o the instr-!ent' This pro"a"ly (on0t a ect total a$aila"le $ol-!e% any(ay& !ost good $iolins (ill p-t o-t a"o-t the sa!e a!o-nt o so-nd "e ore the tone "rea#s% so it0s 4-st a !atter o learning the $iolin0s li!its at the high end' Generally% thin instr-!ents are (orse (ith regard to range than thic#er ones% and !ore li#ely to "e responsi$e at the so t end% "-t i not (ell e1ec-ted thic#er ones can ha$e tro-"le getting !o$ing at the so t end' ;o !a#e a scale or the other end& ho( good the note is relati$e to (hat percentage o his po(er the $iolinist is -sing' I he gets a per ect so-nd (ith all the press-re he can "ring to the 4o"% that0s good% and gets a high rating' My personal rating scale s(itches directions according to (hat0s "eing !eas-red' ;ince this is a !eas-re o orce% I0d gi$e a good $iolin a ,+% or good "eha$ior (ith ,++@ o the player0s -ll orce' No( yo- ha$e "oo#ends or orceA (hat happens (ith no orce% and (hat happens (ith in inite orce' That pretty !-ch s-!s -p response in three easy to !eas-re para!eters& lo( press-re% high press-re% and range' Any(ay% that0s the concept o ho( to "-ild this syste!' Ma#e a si!ilar range o para!eters or e$erything that yo- can hear' Ma#e the range span ro! the "est yo- co-ld possi"ly i!agine in yo-r !ind to as "ad as yo-0$e e$er seen on any $iolin' B$ery $iolin (ill% logically% it in there so!e(here' *

--Michael Darnton/VIOLIN MAKING/Understanding Tone--

None o this is a"o-t ca-ses and sol-tions' Ce ore yo- can i1 so!ething% yo- ha$e to "e a"le to recogni3e it% irst% and second% yo- ha$e to "e a"le to e$al-ate ho( "ig o a pro"le! it really is' 2or instance% on response% !any soloists% (ho play against a -ll orchestra% response at the so t end really isn0t an iss-e "eca-se they (ill ne$er play there% "-t the pro"le! o a $iolin cho#ing -nder press-re is a deadly one' ;o!e o the para!eters yo-0ll "e a"le to gi$e distincti$e na!es to and e$eryone #no(s a"o-t the!% so!e yo-0ll ha$e to co!e -p (ith yo-r o(n nic#na!es "eca-se they don0t lend the!sel$es to really co!!on description' It (on0t ta#e a (hole lot o the! to "-ild a (hole $iolin so-nd' ;o!e (ill ha$e really narro( scales% li#e good/"ad rather than , thro-gh ,+' An e1a!ple o that or !e is ho( !any notes start (ith a "ad% sD-a(#y attac# in a nor!al passage length' It sho-ld "e% si!ply% 3ero' More than that is "ad% and a pro"le! that needs sorting o-t' It can "e the $iolin% "-t it also can "e a player (ith really rotten techniD-e 7I hear this a lot in recorded co-ntry iddle !-sic to the point (here I don0t listen to !-ch o that any!ore "eca-se the "ad attac#s are all I can hear8% and yoneed to at least #no( that the $iolin is capa"le o playing cleanly (hen so!eone (ho #no(s ho( to play is doing it' Parameters These are so!e o the things I #eep trac# o % in no partic-lar order' I0! s-re yo- can co!e -p (ith !ore o the! as yo- de$elop yo-r o(n syste!' Smoothness and unpleasant harmonics The so-nd o a $iolin needs so!e te1t-re% "-t !ost people ind ine-grained te1t-re 7a grainy or gran-lar so-nd8 o ensi$e% (here slight rando! and irreg-lar $ariations o$er longer periods o ti!e !a#e the so-nd !ore interesting and co!ple1' A $iolin (ith the har!onic $ariety o a shop $ac soon "eco!es atig-ing to the ear' This (as one o the "ig h-rdles that synthesi3ed so-nd had to o$erco!e' 5ere0s an article a"o-t the necessity o !a#ing co!p-ter synth so-nds !ore nat-ral "y inserting rando!ness and distortions to add character and personality& http&//((('so-ndonso-nd'co!/sos/4an,+/articles/(ar!ingsynths'ht! O ten harshness in the so-nd is the res-lt o -npleasant har!onics' It appears that the nat-ral $i"rational !odes o a $iolin0s higher reD-encies can so!eti!es drag har!onics o pitch 7yo- can so!eti!es e$en see this happening on a note0s -nda!ental% (here a ter the "o( is released a pitch can dri t -p or do(n' ;o!eti!es it0s a string pro"le!% "-t $ery rarely it0s the $iolin8% and this is (hat creates the dissonance that leads to a harsher so-nd' In !y ad4-st!ent chapter I do tal# a"o-t dealing (ith this'

--Michael Darnton/VIOLIN MAKING/Understanding Tone-Clarity 2or !ost people% clarity is a -nction o higher reD-ency presence% in the right places% and in t-ne' The opposite o clarity is $eiled or oggy' Response to bow position A cellist in the <le$eland Orchestra sho(ed !e a $ery D-ic# and easy (ay to deter!ine i an instr-!ent0s tone is le1i"le and (idely $arying' ;tart a long "o( stro#e -p o$er the inger"oard an inch or t(o% and thro-gh the d-ration o the stro#e% dri t the "o( to(ards the "ridge% listening or the tone D-ality to go ro! oggy and d-sty% thro-gh at and (ar!% past concise% and inally into hard and "right' Many players thin# only in ter!s o getting the >"est? so-nd o-t o their instr-!ent% "-t a !-sical tool needs to ha$e !any di erent tonal possi"ilities' 5-!oro-sly% this see!s !-ch clearer to roc# g-itarists than to classical $iolinists:this is the reason a 2ender ;tratocaster has three pic#-ps at di erent spots along the string and a s(itch that D-ic#ly chooses a!ong the!% and (hy yo- so!eti!es see g-itarists str-!!ing -p o$er the "oard% or pic#ing harshly at the "ridge' Violins can do this too% i it0s in the $iolin' E-ite o ten it0s not% tho-gh% especially i the !a#er had the idea that there (as only one proper $oice or a $iolin% the >"est? $oice% and had a (ay to deeply engra$e that so-nd into the $iolin0s "eha$ior' Uneven strings and notes; variation over span of strings No one li#es a really -ne$en instr-!ent% especially i the are "ig changes "et(een strings' ;o!eti!es !ore $ariety across the span o the strings is desira"le tho-gh% and this (as the idea "ehind the F-ssian stringing o (o-nd g-t G and D (ith steel A and B% (hich p-shes the "righter strings to(ards !ore "rightness and the "otto! strings to(ards a dar#er so-nd' Violists o ten -se a steel A or the sa!e reason% and cellists reg-larly e!ploy di erent types or the < and G $s the D and A' C-t in any case% the change sho-ld "e grad-al% and yo- (ill (ant to note pro"le!s in transitioning across the $ario-s strings' In partic-lar% the $iolin A and cello D can "e pro"le!atic% so-nding D-ieter and d-ller than the strings on either side o the!' Attack and punch 9hen a note irst recei$es i!p-lse ro! the "o( it does not i!!ediately resol$e into its inal state' The character o the transient period at the "eginning o a note is the pri!ary !ethod (e -se to identi y (hich instr-!ent (e are listening to' Once the note is started% it0s "een pro$en that telling (hole a!ilies o instr-!ents 7 or instance a $iolin $s a tr-!pet8 apart is di ic-lt or i!possi"le' There are "oth $ol-!e and pitch co!ponents to the transient' In the !ost general (ay% the "est $iolins start notes (ith a little pop% and the pitch resol$es D-ic#ly' That is% the note has i!pact% (ith a clean start'

--Michael Darnton/VIOLIN MAKING/Understanding Tone--

Separation ;eparation is the a"ility o each note to separate itsel ro! the ones "e ore and a ter it' The real trial "y ire or this characteristic is "y (hat0s heard in e1tre!ely ast sl-rred scales& e$en tho-gh the "o(ing is contin-o-s% the notes sho-ld e!erge as clearly distinct ro! each other% (ith a slight initial attac#% (itho-t "l-rring together into a !ess' Nasality Many older $iolins ha$e a s!all a!o-nt o nasality in their tone' 5o( !-ch is desira"le is p-rely a sit-ation o personal taste' Point source or cloud A pec-liarity o really good instr-!ents is that the so-nd appears to e!anate ro! no(here in partic-lar' The !ore closely one is a"le to locate the $iolin (ith eyes closed% the less it con or!s to this "eha$ior' O ten this characteristic is identi ied as "eing a >clo-d? o so-nd' This !ay "e associated (ith the act that so-nd radiation is not all o the top' This is (hy the player does not hear the sa!e $iolin as the a-dience' 2or the a-dience% radiation ro! the "ac# and sides has to tra$el o-t and re lect ro! so!ething% and this re lection is part o the total so-nd that they percei$e' That "etter $iolins create a clo-d o so-nd !ay "e an indication that !ore o the "ody o the instr-!ent is acti$e% (ith !ore parts arther ro! the "ridge0s i!!ediate $icinity contri"-ting to the o$erall so-nd' Ceca-se this is a roo! e ect% it0s not a-di"le on recordings' !ibrato The depth and ease o $i"rato is an easy to -nderstand indication and test o an instr-!ent0s tonal co!ple1ity' ;o!e reD-ire only the s!allest $i"ration to get a -ll $i"rato% and so!e need e1tre!es o inger !o$e!ent to get any e ect at all' O"$io-sly% the or!er is !-ch !ore desira"le' "oominess As (ith cheap spea#ers% so!e instr-!ents ha$e a clear% (ell-de ined "ass% (here ro! others it0s "oo!y and loose' This is -s-ally an inherent de ect o the instr-!ent% not responsi$e to e1ternal ad4-st!ent% "-t can "e c-red (ith e1tensi$e internal (or#' Response This (as disc-ssed in the pre$io-s section% "-t I0ll !ention it here as a re!inder' #agic I lea$e this or last' It0s the ence "et(een the sheep and goats o $iolins% the thing that !a#es the di erence "et(een $iolins that ha$e a ><re!onese? so-nd and those that H

--Michael Darnton/VIOLIN MAKING/Understanding Tone-don0t' Not all <re!onese $iolins ha$e it and not all non-<re!onese don0t ha$e it% "-t it0s the actor that is o ten present in the $ery inest !a#ers0 instr-!ents' It !ay "e the last characteristic yo- learn to identi y% and it0s hard to hear -nless di erent $iolins are "eing played against each other in rapid s-ccession% in person' It0s not a-di"le on recordings at all% (hich !ight indicate that it0s connected so!e (ay (ith the concept o the clo-d o so-nd !entioned a"o$e' Lots o !a#ers don0t "elie$e this D-ality e1istsA players are !ore li#ely to -nderstand it' The "est description !ight "e that the so-nd o the $iolin see!s to ha$e an e1tra di!ension to it' This addition to the D-ality o so-nd can "e added or enhanced "y a really ine "o(% too' Getting Ideas No( that yo- ha$e the "asic idea% yo- can !o$e or(ard learning to listen to so-nd and to de$elop (ays to o"4ecti$ely categori3e (hat yo- hear' One o the things I did at the start (as to read -p on the history o !-sic synthesi3ers and read a "oo# or t(o a"o-t ho( to -se one' All o the pro"le!s that yo- !ight ha$e in s-"di$iding so-nd into $ario-s aspects that yo- can de ine and !eas-re or synthesi3ing in yo-r !ind are things that the synth people (ent thro-gh H+ years ago' As I read% I "egan to hear !ore% "eca-se they had !ade !e a(are o things I sho-ld "e listening or' Ceca-se o the pro"le!s they aced in recreating instr-!ent $oices% I o-nd the (ay synth people thin# !ore hospita"le to !y progress than anything I got ro! or!al aco-stics reso-rces' Also% yo- can play (ith a synthesi3er% too' I did that or a (hile' There are so!e so t(are synths a$aila"le online or ree' The one I -sed is a$aila"le at http&//3ynadds-" 1'so-rce orge'net/ A poster (ith the -ser na!e ;trat!osphere at http&//((('thegearpage'net has "lended together ter!s and de initions ta#en ro! a $ariety o a-dio sites to !a#e the ollo(ing e1tre!ely -se -l list at http&//((('thegearpage'net/"oard/sho(thread'php6tIJK=,+K Not all o these descriptions are rele$ant to the $iolin a!ily% "-t it0s a good list to deri$e inspiration or i!pro$ing one0s hearing 7te1t "elo( -sed (ith per!ission o and than#s to "oth thegearpage'net and ;trat!osphere8&

Aggressive - Forward and bright sonic character. Airy - Spacious. Open. Instruments sound like they are surrounded by a large reflective space full of air. Good reproduction of high fre uency reflections. !igh fre uency response e"tends to #$ or %& k!'. Ambiance - Impression of an acoustic space( such as the performing hall in which a recording was made. Analytical - !ighly detailed.

--Michael Darnton/VIOLIN MAKING/Understanding Tone-Articulate - Intelligibility of voice)s* and instruments and the interactions between them. Attack - +he leading edge of a note and the ability of a system to reproduce the attack transients in music. ,alance - essentially tonal balance( the degree to which one aspect of the sonic spectrum is emphasi'ed above the rest. Also channel balance( the relative level of the left and right stereo channels. ,ass - +he audio fre uencies between about -&!' and %$&!'. ,assy . /mphasi'ed low fre uencies below %&&!'. ,lanketed - 0eak highs( as if a blanket were put over the speakers. ,loated - /"cessive mid bass around %$& !'. 1oorly damped low fre uencies( low fre uency resonances. See tubby. ,lurred - 1oor transient response. 2ague stereo imaging not focused. ,ody - Fullness of sound( with particular emphasis on upper bass. Opposite of thin. ,oomy - /"cessive bass around #%$ !'. 1oorly damped low fre uencies or low fre uency resonances. ,o"y - !aving resonances as if the music were enclosed in a bo". Sometimes an emphasis around %$& to $&& !'. ,reathy - Audible breath sounds in woodwinds and reeds such as flute or sa". Good response in the upper mids or highs. ,right - A sound that emphasi'es the upper midrange3lower treble. !armonics are strong relative to fundamentals. ,rilliance - +he -k!' to #-k!' range controls the brilliance and clarity of sounds. +oo much emphasis in this range can produce sibilance on the vocals. 4hesty - +he vocalist sounds like their chest is too big. A bump in the low fre uency response around #%$ to %$& !'. 4lear - See +ransparent. 4losed - A closed-in sound lacking in openness( delicacy( air( and fine detail usually caused by 5oll-off above #&k!'6 in contrast to Open. 4ongested - Smeared( confused( muddy( and flat6 lacking transparency. 4oloured - !aving timbres that are not true to life. 7on flat response6 peaks or dips. 4ool- 8oderately deficient in body and warmth( due to progressive attenuation of fre uencies below about #$&!'. 4risp - /"tended high fre uency response( especially with cymbals. 9ark - A tonal balance that tilts downwards with increasing fre uency. Opposite of bright. 0eak high fre uencies. 9ecay - +he fadeout of a note( it follows the attack. 9efinition )or resolution* - +he ability of a component to reveal the subtle information that is fundamental to high fidelity sound. 9elicate - !igh fre uencies e"tending to #$ or %& k!' without peaks. 9epth - A sense of distance )near to far* of different instruments. 9etail - +he most delicate elements of the original sound and those which are the first to disappear with lesser e uipment. 9etailed - /asy to hear tiny details in the music6 articulate. Ade uate high fre uency response( sharp transient response. 9ry - :ack of reverberation or delay as produced by a damped environment. 8ay comes across as fine grained and lean. Opposite of 0et. 9ull - See 9ark.

--Michael Darnton/VIOLIN MAKING/Understanding Tone-9ynamic - +he suggestion of energy and wide dynamic. 5elated to perceived speed as well as contrasts in volume both large and small. /dgy - +oo much high fre uency response. +rebly. !armonics are too strong relative to the fundamentals. 9istorted( having unwanted harmonics that add an edge or raspiness. /uphonic - An appealing form of distortion that generally enhances perceived fidelity( often ascribed to the harmonic elaborations of some valve amps. Fast - Good reproduction of rapid transients which increase the sense of realism and ;snap;. Fat - See Full and 0arm. Or( spatially diffuse6 a sound is panned to one channel( delayed( and then the delayed sound is panned to the other channel. Or( slightly distorted with analogue tape distortion or tube distortion. Focus - A strong( precise sense of image pro<ection. Forward)ness* - Similar to an aggressive sound( a sense of image being pro<ected in front of the speakers and of music being forced upon the listener. 4ompare ;:aid-back;. Full - Strong fundamentals relative to harmonics. Good low fre uency response( not necessarily e"tended( but with ade uate level around #&& to =&& !'. 8ale voices are full around #%$ !'6 female voices and violins are full around %$& !'6 sa" is full around %$& to >&& !'. Opposite of thin. Gentle - Opposite of edgy. +he harmonics )of the highs and upper mids* are not e"aggerated( or may even be weak. Grainy - A slightly raw( e"posed sound which lacks finesse. 7ot li uid or fluid. Grip - A sense of control and sturdiness in the bass. Grungy - :ots of harmonic or I.8. )Intermodulation* distortion. !ard - +oo much upper midrange( usually around = k!'. Or( good transient response( as if the sound is hitting you hard. ?ncomfortable( forward( aggressive sound with a metallic tinge. !arsh - Grating( abrasive. +oo much upper midrange. 1eaks in the fre uency response between % and - k!'. Or( e"cessive phase shift in a digital recorder@s low pass filter. !eadstage - +he perception of the Soundstage while listening to headphones. !ighs - +he audio fre uencies above about -&&& !'. !igh 8idrange )!igh 8ids( ?pper 8ids* - +he audio fre uencies between about %k!' and -k!'. !ollow - 5ecessed mids. !onky - :ike cupping your hands around your mouth. A bump in the response around $&& to A&& !'. Imaging - +he sense that a voice or instrument is in a particular place in the room. Buicy - Sound that has <oie de vivre( energy and life. :aid-back - 5ecessed( distant-sounding( having e"aggerated depth( usually because of a dished midrange. 4ompare ;Forward;. :i uid - +e"tureless sound. :ow :evel 9etail - +he uietest sounds in a recording. :ow 8idrange ):ow 8ids* - +he audio fre uencies between about %$&!' and %&&&!'. :ush - 2ery 5ich3Full. :ush )%* - A ;lush; sound has a sense of warmth and fullness. 7otes are more authoritative and have a sense of life about them. It is a sound free of any sibilance or brightness. It does not mean colored( however. It is an open and inviting sound enveloping the listener into its soundstage. )sourceC unkown headfier* 8ellow - 5educed high fre uencies( not /dgy.

--Michael Darnton/VIOLIN MAKING/Understanding Tone-8idrange )8ids* - +he audio fre uencies between about %$& !' and -&&& !'. 8uddy - 7ot clear. 0eak harmonics( smeared time response( I.8. distortion. 8uffled - Sounds like it is covered with a blanket. 0eak highs or weak upper mids. 8usical )or musicality* - A sense of cohesion and sub<ective ;rightness; in the sound. 7asal - !onky( a bump in the response around -&& !'. 7aturalness - 5ealism. Opa ue - ?nclear( lacking +ransparency. Open - Sound which has height and ;air;( relates to clean upper midrange and treble. 1ace - Often assoc. with rhythm( a strong sense of timing and beat. 1iercing - Strident( hard on the ears( screechy. !aving sharp( narrow peaks in the response around = to #& k!'. 15a+ - 1ace( 5hythm and +iming 1resence 5ange - +he presence range between >k!' and -k!' is responsible for the clarity and definition of voices and instruments. Increasing this range can make the music seem closer to the listener. 5educing the $k!' content makes the sound more distant and transparent. 1resence - A sense that the instrument in present in the listening room. Synonyms are edge( punch( detail( closeness and clarity. Ade uate or emphasi'ed response around $ k!' for most instruments( or around % to $ k!' for kick drum and bass. 1uffy - A bump in the response around $&& !'. 1unchy - Good reproduction of dynamics. Good transient response( with strong impact. Sometimes a bump around $ k!' or %&& !'. 5ange - +he distance between the lowest and highest tones. 5esolution )or 5esolving* - See 9efinition 5ich - See Full. Also( having euphonic distortion made of even order harmonics. 5oll-off )5olloff* - +he gradual attenuation that occurs at the lower or upper fre uency range of a driver( network( or system. +he roll-off fre uency is usually defined as the fre uency where response is reduced by = d,. 5ound - !igh fre uency rolloff or dip. 7ot edgy. 5hythm - +he controlled movement of sounds in time. Saturation - +he point at which a magnetic tape is fully magneti'ed and will accept no more magneti'ation. Seismic - 2ery low bass that you feel rather than hear. Shrill - Strident( Steely. Sibilant )or Sibilance* - ;/ssy;( e"aggerated ;s; or ;sh; sounds in vocals. Sibilant sounds carry most of their energy through the >Dh' to EDh' range( but can e"tend to #&k!'( depending on the individual. Sibilance is often heard on radio. Si''ly - See Sibilant. Also( too much highs on cymbals. Smeared - :acking detail. 1oor transient response( too much leakage between microphones. 1oorly focused images. Smooth - /asy on the ears( not harsh. Flat fre uency response( especially in the midrange. :ack of peaks and dips in the response. Snap - A system with good speed and transient response can deliver the immediacy or ;snap; of live instruments. Soundstage - +he area between two speakers that appears to the listener to be occupied by sonic images. :ike a real stage( a soundstage should have width( depth( and height.

--Michael Darnton/VIOLIN MAKING/Understanding Tone-Spacious - 4onveying a sense of space( ambiance( or room around the instruments. Stereo reverb. /arly reflections. Speed - A fast system with good pace gives the impression of being right on the money in its timing. Steely - /mphasi'ed upper mids around = to - k!'. 1eaky( non flat high fre uency response. See !arsh( /dgy. Strident - See !arsh( /dgy. Sturdy - Solid( powerful( robust sound. Sub-,ass - +he audio fre uencies between about %&!' and E&!'. Sweet - 7ot strident or piercing. 9elicate. Flat high fre uency response( low distortion. :ack of peaks in the response. !ighs are e"tended to #$ or %& k!'( but they are not bumped up. Often used when referring to cymbals( percussion( strings( and sibilant sounds. +elephone :ike - See +inny. +e"ture - A perceptible pattern or structure in reproduced sound. +hick - A lack of articulation and clarity in the bass. +hin - Fundamentals are weak relative to harmonics. ,ass light. +ight - Good low fre uency transient response and detail. +imbre - +he tonal character of an instrument +iming - A sense of precision in tempo. +inny - 7arrowband( weak lows( peaky mids. +he music sounds like it is coming through a telephone or tin can. +one - +he sound of definite pitch. +ransient - +he leading edge of a percussive sound. Good transient response makes the sound as a whole more live and realistic. +ransparent - /asy to hear into the music( detailed( clear( not muddy. 0ide flat fre uency response( sharp time response( very low distortion and noise. A hear through uality that is akin to clarity and reveals all aspects of detail. +ubby - !aving low fre uency resonances as if you@re singing in a bathtub. See bloated. ?pper 8idrange )?pper 8ids( !igh 8ids* - +he audio fre uencies between % k!' and k!'. 2eiled - :ike a silk veil is over the speakers. Slight noise or distortion or slightly weak high fre uencies. :oss of detail due to limited transparency. 0arm - Good bass( ade uate low fre uencies( ade uate fundamentals relative to harmonics. 7ot thin. Also e"cessive bass or mid bass. Also( pleasantly spacious( with ade uate reverberation at low fre uencies. Also see 5ich( 5ound. 0arm highs means sweet highs. 0et - A reverberant sound( something with decay. Opposite of 9ry. 0eighty - Good low fre uency response below about $& !'. A sense of substance and underpinning produced by deep( controlled bass. Suggesting an ob<ect of great weight or power( like a diesel locomotive. 0oolly - :oose( ill-defined bass. Sources for the definitionsC Sound Fuality Glossary( by ,ruce ,artlett. Pro Audio Review( 8arch #GGA 9escribing Sound - A Glossary. httpC33www.head-fi.org

,+

--Michael Darnton/VIOLIN MAKING/Understanding Tone--

FAFC rec.audio.H Systems %3GG )part % of

#=*. httpC33www.fa s.org3fa s3AudioFAF3part%3 SG!eadphonesC 9escription of Sound( +he Audiophile 0ay. httpC33www.sgheadphones.net3inde".phpIshowtopicJ#=> !ome +heaterC Glossary. httpC33www.hometheatermag.com3glossary3 StereophileC Sounds :ikeI An Audio Glossary. httpC33www.stereophile.com33reference3$&3 8agic Fre uencies. httpC33www.digitalprosound.com3%&&%3...gKe"cerpt#.htm /ssentials of 8usicC Glossary. httpC33www.essentialsofmusic.com3glossary3t.html 5ecording Institute Of 9etroit( Audio 5ecording +erms. httpC33www.recordinge .com3reflib.htmlLtop

,,