When I had my Summit run through spectrum analysis several years ago at CMEA, the technician was floored by the nearly perfect amplitude with slow rolloff across the overtone series up to and beyond the 12th overtone with a low Concert C being sounded. No dips in energy at any overtone. Just a slow rolloff as the frequency went up.
Well done, thank you for all this years working for it. Nice job ! Curious about if the weight/thickness/density of alloys can change sound, pitch (even placed in specific points) or it’s just translate in harmonic partials ? Because of the vibration on tubes & bell, the more lighter will resonate more, showing this high partials, will “move” the nodal points of frequency, unlike the heavy / dense ones ? And it’s “tuning pitch” ? In other words, can a added height braced or Ring applied in specific places, change the tuning of some notes, like the sharp middle E or high G ? Thanks 👏
Hello Jason- I love my summit and can't imagine the muse being more efficient. Is this true or are you referring to the fact the muse has more capability to make adjustments?
You are correct. Noting the fundamental is an octave below the note that is sounded has been very confusing to much of our audience. We discuss the partials with the first one starting on the note that is heard (rather than the fundamental) for simplicity, which makes thinking about the entire overtone series easier.
@@harrelsontrumpets We are on the same page, the nth partial is n x the fundamental frequency hence the 1st partial is the fundamental. To add confusion, the trumpet had the fundamental one octave below C under the staff ;-)
@@hervehornung5092 yeah, we think of each partial as part of a formula to produce the frequency: 1/1, 2/1, 3/1... but most trumpet players stop listening when I explain how this works. 🙂
