“Timbre is the quality of a musical note or sound that distinguishes different types of sound production, such as voices or musical instruments. The physical characteristics of sound that mediate the perception of timbre include spectrum and envelope. Timbre is also known in psychoacoustics as sound quality or sound colour.”
The piece focuses on an examination timbre and localization, and tries to draw some rules on our perception and likeness to such parameters.
How to we localize sound, and how many sound we can localize at the same time?
If we divide a complex tone into a series of simple tone (as dictated by the Fourier theory), and then alter the localization of every single component of this sound, do we still have an understanding of the quality of the complex tone? Does a piano sound like a piano when the overtone series is dispatch in a musical space?
Is our relationship of complex tone is based on its partial or complete localization?
Can we simultaneously localize multiple sounds of similar pitch but different timbre or do we need them to be of very different nature in order to differentiate them?
This piece is introducing all these ideas and trying to draw conclusive rules on our understanding of such parameters. In the second part of the composition, I am trying to introduce the notion of wave shaping synthesis by recreating all sound effect, and creating grain of sound that will be played on different localization.
The localization will be left and right depending on the pitch, front or far using loudness and up or down, using a special algorithmic. In that way, we can investigate how fast we can localize one sound, and make a distinction between two sound spaces. In the future I also create time space environment where all sounds exist on a similar frame and judge how one can experience and make choice whereas what sound too follow.
Vespers is a sound labyrinths where everyone of us decide at any given time what road to follow…
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