Various The Philosophy Of Sound Machine EP1

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{PARAGRAPH}He quickly found out what it was but agreed at the price I offered anyway! Good comp. I really like "Small Energies" by Balil, who I always thought was Various The Philosophy Of Sound Machine EP1 one man project, until you said. Whoops sorry, you're way right. I even edited The Black Dog discog a long time ago to reflect what you just said, and I still Roy Davis Jr Gabrielle the pooch here. Very special compilation! Love the opening track by Kirk Degiorgio I want this. But It'll be one of those purchases I make after 7 pints and half a dozen nips of single malt, but when I have a drink like that, going online and buying records is never on the agenda or at the forefront of my mind. You need to be a member in order to leave a comment. Sign up for a new account in our Various The Philosophy Of Sound Machine EP1. It's easy! Already have an account? Thunders seem to. This is a case in which the only vibrating entity Unknown Artist Three the medium. Nonetheless this case too can be accommodated by the Located Event Theory: what we hear is sudden heating of air due to the electric discharge, whose impact is confusedly propagated by the medium. A portion of air the portion that is suddenly heated up is the vibrating object and another portion is the transmitting medium. According to the Relational Event Theory, sounds are events which involve both the source and the surrounding medium. The distinction between monadic and relational events is not to be taken as cast in iron, since the latter can be reduced to the former by making the mereological sum of sources and surrounding medium the subject of sounds. O'Callaghanhas developed such a view at some length. He notes that the wave conception of sounds is not the only possible interpretation of Aristotle's remarks about sounds in On the Soul. Waves in the medium are not the sounds themselves, but rather the effects of sounds. This account differs from the Located Event Theory insofar as the latter allows for sounds that exist in a vacuum, and thus distinguishes between a medium that hosts the vibration and a medium that transmits the vibration. The Relational Event Theory shares with medial theories an endorsement of Berkeley's argument that sounds do not exist in a vacuuum. It is, in point of fact, a hybrid theory O'Callaghanp. An argument against the Relational Event Theory capitalizes upon the fact that we have the conceptual resources Greg Henderson Dreamin distinguish between not hearing a Various The Philosophy Of Sound Machine EP1 because the sounding object is no longer resonating and not hearing it because we do not have informational access to the sounding object anymore. The Relational Event theory faces the risk of collapsing unto a medial position. To develop this line of thought and make it vivid, imagine a vacuum jar which has the property of immediately creating a vacuum upon closing the lid, and of immediately recalling air upon opening the lid. Take now a sounding object like a tuning fork at Hz and have it vibrate, supposing that the Mad Mike The Deacon Attack Of The Sonic Samurai Fuji fades and becomes inaudible after 10 seconds. What you hear is an A that becomes feebler and feebler until it disappears. Now, place the tuning fork inside the jar, have it vibrate as before, and repeatedly open-and-close the lid of the jar, say once in a bit less than a second. What do you hear? You may have the feeling that a few short sounds, each feebler than the preceding one, come into existence Various The Philosophy Of Sound Machine EP1 pass away. But you may as well have the impression of a sound that is revealed by the opening and closing of the jar. If sounds were either sound waves in the medium surrounding the object, or items dependent on the medium as per the Relational Event Theory, we would be forced to admit that the tuning-fork started and ceased to sound; because the relevant sound waves would not be present in the surrounding medium. Only the first impression, that of a series of short sounds, would be accounted for. But the second impression, that of a continuous underlying sound that is revealed, is supported too. A visual analogue of this would be the perception of an object in the dark, on which light is shed at intervals. We would not have the impression that the object gets its colors and then loses them at intervals. An advantage of the Relational Event Theory over the Located Event Theory is Various The Philosophy Of Sound Machine EP1 the former provides a criterion for specifying which among vibratory events at a source are sounds, namely, those that create medial disturbances that are or can be heard. The Located Event Theorist can, on the one hand, observe that the minimal requirement of a metaphysics of sounds is to specify which type of entities are sounds, and not, more specifically, which, among entities of that type, are sounds. Thus she would claim that sounds are events at a source, without caring to discuss whether some events at a source are not Various The Philosophy Of Sound Machine EP1. On the other hand, she can observe that too much fine-grained a classification would create a problem with those events that share with sounds all interesting metaphysical properties except for the property of being audible; a problem which, incidentally, affects a number of physicalist reductions of sounds. There are yet other ways to construe sounds under the distal umbrella. Indeed, Kulvicki draws a set of analogies between sounds and colors based on the assumption that colors are dispositions to reflect light in a certain manner. The analogies include the fact that as colors exist in the dark being dispositions sounds exist in the vacuum, and that as light waves are a way to get knowledge of colors, compression waves in a medium are a way to get knowledge of sounds. Thwacking is the key element in the dispositional proposal. Thwacking reveals sounds. A good thwack an impulse that contains all relevant frequencies is considered to be to Various The Philosophy Of Sound Machine EP1 what white light is to colors. White light contains waves of all lengths in roughly the same proportion and thus samples adequately the dispositions of the object to reflect some of them. If you lit up a surface with a monochromatic laser beam at Various Hotline Miami 2 Wrong Number, the disposition the surface may have to reflect light of nm will not be revealed. A good thwack makes the object resonate at all frequencies and thus reveals the vibratory modes of an object by stimulating it at the frequencies at which it responds better. The impulse proposal solves an alleged disanalogy between color and sound, i. White light is normatively significant for revealing colors; a good impulse is normatively significant for revealing a sounding disposition. Other intuitions, such as the idea that sound have a loudness, are beyond the descriptive power of the theory, that on that score considers loudness as a property not of the sound, but of the thwack. In particular it highlights the importance of action in bringing about auditory information about an object: most objects sound because we deliberately impart a thwack on them, and in many cases in which Various The Philosophy Of Sound Machine EP1 want to know how an object sounds, we do impart the thwack, and subtly modulate it. When we hear a sound we get knowledge of a kind of resistance an object opposes to thwacking; it is knowledge of an elastic disposition. The account explains Gesloten Cirkel Gesloten Cirkel fact that the more the object reacts, the more it is sonorous. Colors are notoriously resilient to many changes of illumination, and even when incident light composition is very distant Megadeth Rust In Peace standard light, surfaces may be seen as having their standard color. This is in synch with the likely function of vision — to inform about distal, stable properties of surfaces. Our ability to recognize voices across a large variation of ways to produce them is a case in point. Now, it can be objected that voices are but a part of the auditory world, and they are the object of dedicated neural machinery. More generally, however, sound constancy is exhibited in hearing objects of various sorts. Facts of auditory constancy thus help out the dispositional theory insofar as the function of the auditory system is to find out whatever stable property of the environment is heard as being indeed constant. A first problem with the dispositional account is that of specifying what precisely the disposition in question is. An object's disposition to vibrate at its natural frequencies does not exhaust the possibilities. Like natural frequencies, these attack patterns are relatively stable dispositions of objects to vibrate when thwacked. Similarly, objects' vibrations decay characteristically. Hence there are three dispositions at least here: a disposition to react in the attack mode, a disposition to react in the decay mode, a disposition to vibrate in a certain way. There are many more. For instance, a disposition to respond by emitting a certain pattern of waves when rubbed or when brushed; or when broken. Many are the dispositions, and the dispositional account should endorse the idea that many are the possibly unheard sounds here. Call this the many-disposition problem. Normativity half-solves the many-disposition problem. Some ways of imparting energy to an object are more telling than others. The dispositional DJ Krush Meiso of colors suffers from some variant of the many-disposition problem. The color of many objects and stuff depends on their temperature. A different problem for the dispositional theory is: What are those invididuals that we hear when the object sounds? The main problem a Motor City Drum Ensemble Raw Cuts 3 Raw Cuts 4 account of sounds has to face is that even if we accept that sounds are sound dispositions, there appear prima facie to exist, on top of those dispositions, the individual, occurrent sounds — those that last when the disposition is realized. A similar problem plagued Chisholm's account of events as repeatable entities: as Davidson pointed out, any such account should accomodate the problem of assigning a status to the single occurrences of the repetitions, which cannot be themselves repeatable items. Kulvicki addresses the problem in a general way, by distinguishing between sounds as dispositions and Various The Philosophy Of Sound Machine EP1 hearings of sounds. There are no individual sounds, only episodes of hearing the dispositional sounds. We do hear Various The Philosophy Of Sound Machine EP1, these are the dispositions, but the impression that sounds last depends on the fact that our hearing episodes last. Kulvicki denies that this account entails an error theory because he thinks that intuitions are not particularly telling about the distinction between hearing as an individual event and hearing a sound. However, a Various The Philosophy Of Sound Machine EP1 distinction should apply here. Grant the dispositional sound. Grant hearing episodes. Now, the duration of a hearing episode is different from the duration of an occurrent sound. You set a tuning fork in motion. It vibrates for thirty seconds. But then, after ten seconds, you get bored and block your ears with your hand. The duration of your hearing is ten seconds. But the sound is still there, for another twenty seconds. Generally speaking, unheard sounds are accounted for in the dispositional theory only as unrealized dispositions. Occurrent unheard Various The Philosophy Of Sound Machine EP1 are invisible to the dispositional account. We divided up existing accounts of sounds according to the spatial location they assign to sounds. However, there are aspatial theories of sounds as well. Aspatial theories deny either i that sounds are intrinsically spatial, or ii that auditory perception is intrinsically spatial. Arguably, claim i implies claim iibut the converse is not true, which leaves room for an interesting aspatial theory of auditory perception which nevertheless Various The Philosophy Of Sound Machine EP1 that sounds have some spatial locations. We have seen the use of phenomenological arguments against both medial and proximal theories of sound. To sum them up, one may claim that, first, auditory experience has a spatial content whereby sounds seem to be located in egocentric space to the left, above, in front of us, etc. Second, unless one subscribes to an error theory of auditory experience, sounds are where they are normally heard to be, namely at Various The Philosophy Of Sound Machine EP1 sources. But are sounds really located in space? There is in the literature a strong non-locational view of sounds. Strawson has made the plausibility of a thought-experiment of a purely auditory world rest upon the tenet of an intrinsic non-spatiality of sounds. A purely auditory concept of space… is an impossibility. For this fact is sufficiently explained by the existence of correlations between the variations of which sound is intrinsically capable and Various The Philosophy Of Sound Machine EP1 non-auditory features of sense-experience. Hero perceives sounds, but he does not perceive them to be located in physical space. Any particular sound is heard against the background of the master-sound. Evans questioned the claim that the master-sound could play the role of physical space in grounding the notion of objective particulars; see also Strawson's reply to Evans. In evaluating Strawson's thought-experiment, we should distinguish the claim that there can be non-spatial Various The Philosophy Of Sound Machine EP1 experiences from the claim that there can be a world populated only with sounds. Strawson's thought-experiment justifies the former claim, but it does not obviously lead Various The Philosophy Of Sound Machine EP1 the latter. One cannot infer from the fact that we can perceptually represent a sound without representing its location, that we can perceptually represent a non-located sound. It is possible to argue that auditory perception is not intrinsically spatial independently DJ Sotofett Feat Madteo Theres Gotta Be A Way a commitment to the claim that sounds do not have spatial locations. However, O'Shaughnessy does not draw the conclusion that sounds have no spatial locations. On the contrary, as we have seen, he defends a proximal account of Various The Philosophy Of Sound Machine EP1 location of sounds, according to which sounds are where hearers, rather than sources, are. O'Shaughnessy would not be impressed by allegedly Various The Philosophy Of Sound Machine EP1 arguments according to which one normally hears sounds as located at their sources. One may still have the feeling that his sophisticated version of proximal theories does not locate sounds where an untutored description of what is perceived suggests they are. As a consequence, it appears to be another massive error theory of auditory perception. Scruton ; see also his proposes a non-physicalist account of sounds. He is impressed by the fact that when we hear sounds as music we can hear them as events detached from their physical Various The Philosophy Of Sound Machine EP1. Eventually, the ontology of sounds as music, which Scruton wants to focus on, might be quite different from the ontology of natural sounds, which can still be of the physicalist kind. We have suggested that a fruitful way to classify the Metro Area Metro Area 4 accounts of sounds that have been given in the literature is in terms of their spatial locations. If the sounds we hear have spatial locations, they can be thought to be located either where the material sources are distal theoriesor where the hearers are proximal theoriesor somewhere in between medial theories. It has also been denied that sounds have any spatial locations, which gives rise to a fourth class of theories, aspatial theories. All these theories have interestingly different phenomenological, epistemological and Justice Cross implications. Thanks to Maurizio Giri for help on some parts of the draft. Dokic Drexciya Black Sea. Proximal Theories of Sounds 1. Medial Theories of Sounds 2. Distal Theories of Sounds 3. Aspatial Theories 4. Proximal Theories of Sounds Proximal theories of sounds construe sounds as located at or beneath the bodily surface of the hearer. Consider, It seems…reasonable to suggest that the sounds directly perceived are sensations of some sort produced Megadeth Rust In Peace the observer when the sound waves strike the ear. This leaves open the possibility that an unheard sound be located away from the hearer. Medial Theories of Sounds Medial theories construe sounds as features of the medium in which a sounding object and a hearer are immersed. The felt quality of high pitch is correlated with high frequencies; low pitch is correlated with low frequencies; High volumes are correlated with high, low volumes with low, amplitudes. Herbal T Party on PowerFm. Soul of the World Radio. Keep Going Sure It's Grand. Dublin Event Guide for Free Events. Festival of World Cultures. Electric Picnic. Imelda May. The Dublin Flea Market. Barry's Tea. Crazy P. The 7th circuit, not shown, was a conventional 2-stage RC-coupled cascade. To get wide range distortion measurements, it would be useful to construct a passive LC notch filter to remove the 1kHz fundamental from the output of the circuit under test. Once we got the test set-up up and running, we could certainly see a lot of fine detail, but as usual, the spectrum analyzer display was difficult to interpret, with 3rd, 4th, 5th, etc. All Matt and I had to do was write down each of the harmonics in -dB levels, separate out the evens and odds, and plot them out. Rather than do all this tedious plotting by hand, I used Microsoft Excel tm to do the plotting. After a bit of Excel charting, the hidden patterns became evident. Various The Philosophy Of Sound Machine EP1 the evens and odds are rolling off at different rates, when you look at the raw spectrum analyzer display, all you see is a ragged sawtooth pattern. Interleaved within this sawtooth pattern are pairs of of distortion curves, one for the even harmonics, and one for odd harmonics. These two sets of curves have very different effects on IM sidebands. Even asymmetric harmonics create distant Various The Philosophy Of Sound Machine EP1, while odd symmetric harmonics create close-in sidebands. The waveform looks a bit like an AM signal, with a "carrier" at 1 kHz. If you clip off only the tops of this waveform asymmetric, even harmonic distortionyou get sum-and-difference tones at 1 and 29 kHz. If you clip off the tops and bottoms of the waveform symmetric, odd Various The Philosophy Of Sound Machine EP1 distortion Various The Philosophy Of Sound Machine EP1, you get sum-and-difference tones at 13 and 16 kHz. Looking at A Tribe Called Quest The Low End Theory data and graphs, note how the raw THD number is almost entirely dominated by 2nd harmonic; the danger of relying on the traditional Various The Philosophy Of Sound Machine EP1 "spec" is that it ignores all of the complex behaviour of the upper harmonics, and their pattern Various The Philosophy Of Sound Machine EP1 fall-off. The quite different behaviour of the upper harmonics is hidden by similar-looking THD figures. Some 6SN7 circuits show signs of harmonic cancellation at certain harmonics and not others, while other circuits have a smooth "textbook" falloff of harmonics. Harmonic cancellation in a circuit that is almost but not quite push-pull S e R ies P ush P ull can be level dependent, with nulls moving around depending on where the two curves of the triodes intersect. In other words, don't count on cancellation effects to be predictable unless great trouble is taken to maintain dynamic balance over a wide range of signal levels. This, perhaps, is the reason for the subjective tonal balance of various circuits that does not show up on any frequency response curves. A change as small as disconnecting a cathode bypass capacitor alters the upper-harmonic spectrum. Although this might seem like a trivial change, it considerably changes the operating characteristics of the triode. If a triode is used with fixed bias or Various The Philosophy Of Sound Machine EP1 bypass cap, the specifications in the tube manual for mu, dynamic plate resistance R pand transconductance gm are a reliable guide for design. The "common wisdom" is that when you intentionally omit the bypass cap, it adds local feedback, linearizing the circuit. This is true, but is really only part of the story. What also happens is that while mu stays the same, the dynamic plate resistance goes way up, and the transconductance goes way down. The transconductance is also cut to one-third of the previous value. In terms of RC-coupling, there are severe consequences for not bypassing the cathode. To achieve low distortion, triodes like to see a load impedance no less than three to four times higher than the dynamic plate resistance of the tube. True, there is local feedback to help overcome this. But the tube itself is now driving a load that effectively looks much lower than it did before, rotating the load-line closer to the vertical, and resulting in signal swings into the very nonlinear low-current region. This has consequences for the resulting distortion spectrum. Various The Philosophy Of Sound Machine EP1 tube now has intrinsically higher distortion unless it is transformer or mu-follower coupledwhich is partly masked by local feedback. This will result in lower 2nd harmonic, but upper harmonics may well be worse due to the less favorable load-line seen by the plate. In the data shown here, the effect is not obvious, but then again, Neutral Milk Hotel In The Aeroplane Over The Sea and I avoided RC-coupling except for the conventional 2-stage cascade circuit, which does indeed have higher upper harmonic content. The circuits that avoid standard plate-load resistors come out pretty well in comparison. The smooth fall-off of harmonics is especially noteworthy in the transformer-coupled circuit - the reason for the excitement about the naturalness and "directness" of transformer coupling is obvious when looking at the spectral data. As mentioned above, odd and even harmonics can be recast as asymmetric distortion and symmetric distortion, thus the very different effects seen with IM distortion tests. Shorter of the BBC pointed out in the April Issue of Electrical Engineeringreal music is dominated by a great many closely-spaced tones - a choir or massed violins having the most dense spectra of all. Shorter showed that with a few as three closely spaced tones, IM sum-and-difference sidebands outnumber the much simpler harmonic series. In effect, as the number of tones increase, the number of IM sidebands increase at much faster rate than simple Various The Philosophy Of Sound Machine EP1


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9 thoughts on “ Various The Philosophy Of Sound Machine EP1

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    Here different sound waves can correspond to one and the same sound. A metaphysical argument, holding that sometimes the sound waves corresponding to two sounds are the same while the sounds are clearly different: a loud sound in the distance, or a faint sound close to us. Here the very same sound waves can correspond to distinct sounds.
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    Dec 12,  · Various: The Philosophy Of Sound And Machine E.P.1 ‎ (12", EP, TP) Applied Rhythmic Technology (ART) ART UK: Sell This Version/5().
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    The Sound of the Machine The Hidden Harmonics behind THD The deepest challenge of designing high fidelity equipment is finding the common ground between truth and beauty, left brain/right brain, or more plainly, reconciling the interior experience of listening with the technical world of measurements.
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    Philosophy of Sound. likes. PHILOSOPHY OF SOUND is a compendium of fine Soul, Disco, Funk and Groove with DJs Gerard Proudfoot and Robert theroyaldriveaffair.ruinfoers:
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    Dec 09,  · The Philosophy Of Sound And Machine is a compilation cd released in on the record label Applied Rhythmic Technology in cooperation with Rephlex.(Compiled By - Grant Wilson Claridge & Kirk Degiorgio). The compilation was made up of six key artists under various aliases: Q-Chastic / Soit-P.P / Blue Calx aka Richard James/5().
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    Philosophy Of Sound’s tracks Dream Ride (Ableton Link Xmas test) by Philosophy Of Sound published on /12/21 + KOshowKO - Sound Hunted (demo) by Philosophy Of Sound published on /10/29 + KOshowKO - It's Time Now (Marbeya Sound Remix) by Philosophy Of Sound.
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    The Philosophy of Sound and Machine. The Philosophy Of Sound And Machine was a compilation CD released on the record label Applied Rhythmic Technology (ART) in cooperation with Rephlex. The album is unique due to the Aphex Twin tracks, which were produced under various aliases. It is not uncommon for the compilation to fetch very high prices Genre: Electronic, IDM.

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