Subject: Re: Five string bass From: Maribeth Back <mbb@xxxxxxxx> Date: Tue, 6 Feb 2007 12:09:45 -0500 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>This message is in MIME format. The first part should be readable text, while the remaining parts are likely unreadable without MIME-aware tools. --1427265581-329299912-1170781785=:9213 Content-Type: TEXT/PLAIN; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: QUOTED-PRINTABLE As an novice audio engineer years ago, I was told that "it takes five=20 years to learn to hear" -- by which my mentors meant, learn to distinguish= =20 what's happening in the soundscape of a multi-track mix. This could be=20 anything from a pop on the tape (yes, tape -- 2" tape for 24 tracks, some= =20 of you remember that I bet!) to overcompressed bass or vocals, to a mike=20 that's slipped off focus on the snare. Or which channel is getting just a= =20 wee bit distorted. The way it was taught to me was to listen to the whole frequency spectrum= =20 almost like a piano keyboard, and to pay particular attention to different= =20 frequency segments where typical problems (pops, e.g.) happened. This became very useful later in life when I started losing my hearing --= =20 I can still distinguish way more than I "ought" to be able to according to= =20 the charts, because I learned to hear at a finer granularity. --Maribeth On Tue, 6 Feb 2007, [iso-8859-1] Ole K=FChl wrote: > Dear Roy > > A musician's "ear" is a metaphor for the whole faculty of hearing. Of cou= rse=20 > musicians are not able to surpass biological constraints, but training do= es=20 > develop hearing (if not, all ear training in conservatories is wasted).= =20 > Anyway I agree with you that more research in this area would be welcome. > > Best wishes > > Ole K=FChl > kyhl@xxxxxxxx > www.cogmus.com > > > ----- Original Message ----- From: "Roy Patterson" <rdp1@xxxxxxxx> > To: "Ole K=FChl" <kyhl@xxxxxxxx> > Cc: <AUDITORY@xxxxxxxx> > Sent: Tuesday, February 06, 2007 2:52 PM > Subject: Re: [AUDITORY] Five string bass > > >> Ole K=FChl wrote: >>>=20 >>> Possibly, musicians with their highly trained ears are simply capable o= f=20 >>> hearing more than non-musicians? >> It is unlikely that it is the ears that are trained. It is more likely t= o=20 >> be the brain, or the use of words to describe perceptions. But to begin= =20 >> with we need to understand just what it is that trained musicians can do= =20 >> with low notes that the rest of us can't. >>=20 >> Do you really think they can reliably make finer pitch discriminations? >> I understand that they think they can, but is it true of the population = of=20 >> trained musicians? And if it is true, is it a big difference? >> If so, someone should try and demonstrate just how much better they are. >>=20 >> Regards Roy P >>=20 >>> Ole K=FChl >>> kyhl@xxxxxxxx <mailto:kyhl@xxxxxxxx> >>> www.cogmus.com <http://www.cogmus.com> >>=20 >>=20 >> --=20 >> * ** *** * ** *** * ** *** * ** *** * ** *** * >> Roy D. Patterson >> Centre for the Neural Basis of Hearing >> Department of Physiology, Development and Neuroscience >> University of Cambridge >> Downing Street, Cambridge, CB2 3EG >>=20 >> http://www.pdn.cam.ac.uk/cnbh/ >> phone: +44 (1223) 333819 office >> fax: +44 (1223) 333840 department >> email rdp1@xxxxxxxx or >> roy.patterson@xxxxxxxx >>=20 > > --1427265581-329299912-1170781785=:9213--