想要从两个声音创建中间声音 [英] Want to create intermidiate sound from two sound
问题描述
大家都有不同音阶[pa，ma，ni，sa]或音高[a，A＃，c，c＃，b等...]的Tanpura录制的2个wav立体声音[不是由等式生成的]。
http://en.wikipedia.org/wiki/Tanpura [ ^ ]
据我知道它有3个元素音[pa-SA-SA-sa]中间人打了两次。
我想创造两者的声音中间。
我怎样才能实现这个目标。
我试过了
1> fft的声音期待看到3个秒杀
2>获得2个声音fft的平均值
3>转换为ifft并保存它。
但是第一只手不能获得3个不同的秒杀。
这是正确的尝试方式吗？
我来自软件领域[电子和通讯作为我的学士学科]
没什么特别的关于这些数学部分。
我正在使用Octave。[如果 Octave 还不够，任何免费工具对我都没问题]
请帮忙。
提前谢谢。
Hi all I have 2 wav stereo sound recorded [not generated by equation] of Tanpura in different scale[pa,ma,ni,sa] or pitch[a,A#,c,c#,b etc...].
http://en.wikipedia.org/wiki/Tanpura[^]
As per i know it has 3 elementry sound [pa-SA-SA-sa] middle one played twice.
I want to create a sound intermidiate of both.
How can I achive that.
I tried doing
1>fft of the sound expecting to see 3 spike
2>making avarage of the 2 sound fft
3>Converting back by ifft and save it.
but in the first hand not able to get 3 distinct spike.
Is it proper way to try?
I am from software domain [with electronics and communication as my Bachelor subject]
Not much confident about these math part.
I am using Octave.[any free tool is ok for me if Octave is not sufficient]
please help.
Thanks in advance.
推荐答案
搞砸了一切。让我们看看平等的气质是如何起作用的。
你试图在12音欧洲系统的音调之间产生2个中间微调，以创造平等的气质。很明显，你使用平等气质和 A440音高标准作为基础。请参阅：
http://en.wikipedia.org/wiki/Equal_temperament [< a href =http://en.wikipedia.org/wiki/Equal_temperamenttarget =_ blanktitle =New Window> ^ ]，
http://en.wikipedia.org/wiki/A440_%28pitch_standard%29 [ ^ ]。
见我们还需要讨论关于微调的文章： https://en.wikipedia.org/wiki/Microtonal_music [< a href =https://en.wikipedia.org/wiki/Microtonal_musictarget =_ blanktitle =New Window> ^ ]。
现在，让我们看看。音乐听觉和音乐认知的物理学基于谐波，因此音调之间的频率比。接近最简单的有理数的固定比率易于记忆，清楚地被识别，当通过听觉感知时在所有音乐结构中产生强烈的联想。 它不依赖于特定的文化。这深深植根于物理学和生理学。我们认为 octave 区间（正好是双频）的声音为逻辑等效，两个声音的频率比接近4/3和3/2为谐波 - 完美四分之一和 quinta 。它们真的很和谐。
世界上有许多语调系统，现代古典音乐系统是欧洲的12音系统。你试图用半音中的2个（不是你写的3个）中间音来计算系统的频率，所以你试图描述36音系统。还有其他系统，值得注意的24音系统（例如，参见 https://en.wikipedia.org/wiki/Arab_tone_system [ ^ ]），我甚至听说过60-音调（如小时分钟）一个。
您还应该明白，用不同的键制作音乐作品的愿望在逻辑上相当，渴望制作所有导致平等气质的等价键迫使我们使用无理数来获得频率比，这使得平等气质成为非谐波谐波频率仅仅是真实谐波比的近似值，它们总是有理数。请参阅：
http://en.wikipedia.org/wiki/Rational_number [< a href =http://en.wikipedia.org/wiki/Rational_numbertarget =_ blanktitle =New Window> ^ ]，
http://en.wikipedia.org/wiki/Irrational_number [ ^ ]，
仅举例： http://en.wikipedia.org/wiki/Just_intonation [ ^ ]。
在现代所谓的真实音乐中，人们往往会回到不平等的气质基调系统，尝试音乐听起来更和谐，虽然在一些固定的键。它需要将乐器重新调整到每个特定的音乐片段，这实际上是在一个或另一个程度上完成的。欧洲巴洛克风格的现代琴弦乐器（特征示例：中提琴而不是大提琴）倾向于有音品，但是每一个由肠道制成的音品都可以单独调音，这实际上是完成的。
我们很快就能看到那些无理数，但请注意：我们需要使用浮点数据类型来计算频率，从不使用整数类型。
我们可以轻松构建任何音调系统的频率。对于12音的例子，让我们看看。
A和A（II），A和A在下一个八度音阶中，给我们双倍的频率。每个半音为您提供固定的比率S.
You messed up everything. Let's see how equal temperament works.
You are trying to create equal temperament based on having 2 intermediate micro-tones between tones of 12-tone European system. It it also pretty apparent that you use the equal temperament and A440 pitch standard as the base. Please see:
http://en.wikipedia.org/wiki/Equal_temperament[^],
http://en.wikipedia.org/wiki/A440_%28pitch_standard%29[^].
See also the article on microtones we would need to discuss: https://en.wikipedia.org/wiki/Microtonal_music[^].
Now, let's see. The physics of musical hearing and musical cognition is based on the harmonics and hence, frequency ratios between the tones. The fixed ratios close to simplest rational numbers are easy to memorize, are clearly recognized, create strong associations in all musical constructs when perceived by hearing. It doesn't depend on particular culture. This is rooted deeply in physics and physiology. We perceive the sounds of the octave interval (exactly double frequency) as "logically equivalent" and two sounds with frequency ratio close to 4/3 and 3/2 as "harmonic" — perfect quarta and quinta. They are really harmonic.
There are many intonational systems in the world, and modern classical music system is the European 12-tone system. You are trying to calculate the frequencies of the systems with 2 (not 3 as you wrote) intermediate tones in the semitone, so you are trying to describe 36-tone system. There are other systems, notable 24-tone ones (see, for example, https://en.wikipedia.org/wiki/Arab_tone_system[^]), and I even heard of 60-tone (like minutes in hour) one.
You should also understand that the desire to make the musical pieces in different keys "logically equivalent", the desire to make all keys "equavalent" which lead to the equal temperaments forces us into using irrational numbers for frequency ratios, which makes equal temperaments non-harmonic where the harmonic frequencies only approximation of truly harmonic ratios, which are always rational numbers. Please see:
http://en.wikipedia.org/wiki/Rational_number[^],
http://en.wikipedia.org/wiki/Irrational_number[^],
just for example: http://en.wikipedia.org/wiki/Just_intonation[^].
In modern so-called authentic music, people often go back to non-equal temperament tone systems, trying music to sound as more harmonic, albeit in some fixed key. It requires instruments to be re-tuned to each specific piece of music, which is actually done, to one or another degree. European baroque equivalents of modern strings instruments (characteristic example: viola de gamba instead of cello) tend to have frets, but each fret, made of the piece of gut, can be tuned individually, which is actually done.
We well see those irrational numbers soon, but make one note: we need to use floating-point data types for calculation of frequencies, never integer types.
We can easily build the frequencies of any of the tonal system. For 12-tone example, let's see.
A and A(II), A and A in next octave, gives us double frequency. Each semitone gives you fixed ratio S.
A = 440 Hz;
A# = A * S;
B = A * S * S;
...
A(II) = A * (S * S * ... 12 times) = A*2.因此S是1/12的幂2，根12度2，2 1/12 ， pow（2,12）。
您的36音系统将采用相同的计算方法。微调之间的间隔将更精细，2 1/36 。
再次，这是比率，而不是固定数字，如果赫兹！
我得到S = 2 1/12 = 1.0594630943592953，你的微调M = 2 1/36 = 1.0194406437021448。
让我们计算：
Therefore S is the 1/12 power if 2, the root of 12 degree of 2, 21/12, pow(2, 12).
The same calculation will go for your 36-tone system. The interval between microtones will be finer, 21/36.
Again, this is the ratio, not fixed number if Hertz!
I got S = 21/12 = 1.0594630943592953 and your microtone M = 21/36 = 1.0194406437021448.
Let's calculate:
Assuming A = 440,
we go in previous octave with C:
C = A *S*S*S / 2 = 261.6255653005987
C♯ = C * S = 277.18263097687213;
now, micro-intervals:
C1 = C * M = 266.71173469897985
C2 = C1 * M = 271.8967825044437
尽可能看，我的数据接近你的，显而易见的原因，但你使用的是完全错误的想法。
您没有回答我关于您在[pa，ma，ni，sa]和[pa-SA-SA-sa]示例中显示的符号的问题。但我发现那些是Carnaticrāgas中的音符，我知道它们听起来有多么类似于欧洲7/12音符系统。 但这是一个不同的系统，与你试图根据欧洲半音之间的两个中间微调建立的系统不同。它基于7个主要音符和16个变体。我需要更多的信息来分析我现在没有的rāgas。有不同的rāga风味，等等。我不确定我演示的计算是否可以应用，但我确信你可以应用我试图解释的一般原则：音调间隔由音调之间的比例定义。
印度音乐对我来说非常有趣，我很乐意学到更多东西，如果有人给我这个多元化主题的有趣和翔实的链接，我将非常感激。
我还想鼓励印度人对他们自己的文化产生更多的兴趣，不亚于我，一个外国人到印度，做的。 :-)
As you can see, my figures are close to yours, by apparent reasons, but you are using totally wrong idea.
You did not answer my questions on the notation you've shown in [pa,ma,ni,sa] and [pa-SA-SA-sa] examples. But I found that those are the notes in Carnatic rāgas, which I kinds know how they sound, somewhat similar to European 7/12-note system. But this is a different system, not the same as one you are trying to build based on two intermediate microtones between European semitons. It is based on 7 main notes and 16 varieties. I would need more information to analyze the rāgas, which I don't presently have. There are different flavors of rāga, and so on. I'm not sure the calculations I demonstrated can be applied, but I'm sure you can apply the general principle I tried to explain: musical intervals are defined by the ratio between tones.
Indian music is very interesting to me, I would gladly learn a lot more and would be very grateful if someone gives me interesting and informative links on this diverse topic.
I would also like to encourage Indian people to take more interest in their own culture, no less then I, a total foreigner to India, do. :-)
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