Introduction
The sound varies from time to time. All of the meaning of the sounds also depends on the activities related to the time it was done. Thus, it is such an interesting idea to develop an analysis of sounds and know the techniques done to produce such sounds. It is also important to analyze the sounds of different objects for people to have a better understanding of the sounds they hear. The sound itself is not enough so an experiment should be taken to know the dynamics on how to analyze a particular sound.
Most experiments concerning the quality of sound are comparatively safe except the danger which is not in a straight line connected with the sound as discussed in another place. On the other hand, it is probable for very deep sounds to enduringly smash up the ear, especially after a very long experience. As a result, in the demonstration described in this paper, the intensity of sound should always be held at a level well below the way in for hurt (Kryter et al., 1966).
This project should use the sound analysis program of Canary or the Raven in studying the sounds of a guitar. This research has the idea of using the programs to have a better understanding of the sounds and learn how to be experimental in using the programs.
Discussion
To open a sound file from the raven interactive software in this experiment, you may drag the sound file of the guitar from the source into the location of the icon of the raven. If not, you may go to the file section and then opt to choose to open the sound file of the guitar and then highlight the file in the examples. If by any chance, you wish to open a file you have saved somewhere else, you may click on the box at the top of the window of the Open Sound Files. You may also use the blue vertical slider on the right side to locate the place of your file and then highlight the location for example in the desktop or another folder, and then highlight the file. Select the open and you will now see the arranged sound file on the page that you have opened. In the preset section, select the Physics of Music Default and then click Ok. To have a picture of the default setting, it looks like a waveform at the top of the graph, after that is the spectrogram, and then the spectrum slice, and the table where you can make a selection under the place of the graphs. You will see the spectrogram of the sound under the display of the waveforms. Each loudness of the sound is measured by the grey line which is a horizontal line and is detected by the darkness or brightness of the line. This is the way how to use the raven interactive sound analysis software. The other elements will then be observed on the instructions that were said. After that, to make an analysis you may now view the experiment that you have conducted. With the use of the personal computer, to see the illustration of any window that is active, hold the Alt key and then press the Print Screen. The picture of the active window will then be copied on the clipboard. It is now ready to be pasted on the document that you have.
In the sound analysis program, go to the edit button and then copy the image of the guitar and it will then put the image on the clipboard. After that, paste the image onto your document. There is another helpful technique for putting graphs into emails, just follow the instruction: open your raven window, select file, move down and then export the image of the guitar or for example in the spectrogram window, select the desktop on the next pop up window and then name the file and choose.png files in the type box below. You will then send your email, attach the document or the file you have to the email. Anyway, a lot of applications can be open to using the file format used (Handel, 1989).
Conclusion
The experiment done in this subject comprises the ideas which relate to the elements of the sound of the guitar. The guitar string has a numeral of frequencies at which it will vibrate accordingly. We call the natural frequencies of the guitar the harmonics. As what is said earlier, the frequency of the guitar depends on the vibration of the strings, the linear thickness of the string, and the measurement lengthwise of the string. Also, the natural frequencies of the harmonics as it was called are connected with the pattern of the standing wave. The graphics that were depicted in the experiment have the patterns of the standing wave for the lowest three vocals or the frequencies of the guitar string (Worrall, 1998a).
The length of the string is connected to the wavelength of the standing wave for any harmonics that were given and also the reciprocal of the two. If you know the guitar length, the wavelength that was linked with every single harmonic frequency can be located. Therefore, the length and the wavelength connection and the equation of the wave which is frequency times the wavelength equals the speed can come together to exercise the probability calculations in the length of the string to have a natural frequency. On the other hand, the calculations can be done to know the natural frequencies that were from a recognized length of the string. In addition, these connections will be used to help out the solution to problems that include the standing waves in instruments of music.
However, there are dangers in the recognition of sounds especially when the loudness of the sound is high. The smash-up is commonly by way of tearing or ripping the tiny hair cells of the cochlea. Particular damage more often than not is only provisional unless the sound is recurrent or may be constant. Especially concentrated sounds are proficient in breaking the eardrum. The threshold of the damage depends on the frequency, and the ear is most capable of the damage by sounds of around 3000 Hertz in part because the auditory canal is a closed tube that has a reverberation in this area. Long experience with sounds of a common range of frequencies can lastingly lessen the understanding of the ear to the frequencies (Chowning, 1979).
Keeping an eye on sound levels has to have a particular scale of sound level meter with a response of frequency which is matched to the answer of the ear or one which has the ability to display the sound level for all of the different ranges of frequency.
References
Kryter, K. D., Wood, W. D., Miller, J. D. and Eldredge, D. H. Journ. Acoustical Soc. Am. 39, 451 (1966).
Chowning, J.M. 1971. “The simulation of moving sound sources”. In Journal of the Audio Engineering Society 19,1. pp2-6.
Handel, S. (1989). Listening: an introduction to the perception of auditory events. Cambridge, Massachusetts: MIT Press.
Worrall, D. (1998a). Space in sound: sound of space. Organised Sound Vol 3 No. 2 Cambridge University Press pp 93-99.