Bass Trombone
Bass Trombone
Sound Effects 101: Introduction to Sound Waves
On an elemental level, it is easy to explain how we perceive sound. That is, for sound to be detected, there must first be a disturbance in the atmospheric pressure. This disturbance – that can be caused by the ringing of a phone, the movement of a person’s vocal cords, or a hammer striking a nail - forms sound waves. These sound waves travel through the air from the source of the disturbance where they eventually reach and vibrate the eardrum. Hair cells, or cilia, within the inner ear convert these vibrations (sound waves) into electrical signals that are interpreted by the brain as sound.
This is a simplistic explanation of how sound is detected. However, not all sounds are created equal. In fact, our sense of sound is so refined that we can automatically recognize a familiar voice without seeing their face or distinguish the cry of a newborn from that of an older child. We are able to distinguish different sounds by their frequency (pitch) and volume. To understand these two sound elements, it is important to have basic knowledge of the anatomy of sound waves.
Anatomy of a Sound Wave
Technically, one sound wave is comprised of a compression and a rarefaction. If you were to take a hammer and strike a nail, this action would cause a disturbance to the surrounding air pressure, causing the molecules to move up and down in a wave like motion. When the air molecules move up from the normal air pressure point, they become tightly compacted together. This movement is known as a compression. Conversely, when the air molecules sink down and below the normal air pressure point, this movement is known as a rarefaction.
Frequency
One complete wave cycle is composed of one compression and one rarefaction. Frequency is defined as the number of wave cycles that occur per second and it is measured in Hertz (HZ). As a rule of thumb, the human ear registers frequencies between 20Hz to 20KHz. One KHz consists of 1,000 wave cycles per second. So, 20KHz would equal 20,000Hz.
Frequency is often referred to as pitch. High pitch sounds correspond to high frequency sound waves (the sound of screeching tires) and low pitch sounds correspond to low frequency sound waves (the sound of a bass trombone).
High frequency sound waves are thinner (due to having more wave cycles per second) and weaker then low frequency sound waves, but they travel faster and farther then their low frequency counterparts.
Amplitude
Amplitude is directly related to a sound’s power and intensity. We interpret a sound’s amplitude as volume. Dropping a ten-pound boulder from the roof of a 5-story building to the pavement below would disturb the surrounding air pressure more then a 12 oz. shoe being dropped from the same distance. The boulder would create a much higher sound wave. Therefore, the volume of the boulder crashing to the pavement would be interpreted as considerably louder then that of the shoe.
Knowing the basics of your desired craft is essential if you are to perform it well. If you are a budding sound designer or are considering becoming one, having a basic understanding of sound waves is a must. With the need for quality sound effects expanding beyond radio, television, and film to include other media such as video games, multimedia, cell phones, and even You Tube, the possibilities for sound designers are virtually endless.
If sound design is not your passion, but you are in need of hard, background, Foley, or electronic sound effects, high definition sound effects libraries containing numerous sound effects can be purchased on-line. With the advent of the Internet and e-commerce, locating and purchasing top quality sound effects is as easy as 1, 2, 3.
About the Author
About SES – The sound effects Shop, is a worldwide distributor of the world's largest sound effects library publishers for post production and professional broadcast sound effects. The Sound Effects Shop includes sound effects libraries from Sound Ideas, The Hollywood Edge and Blastwave FX.
Fricken Mind-blowing bass trombone or tuba solo for an undergrad recital that involves electronics?
This is the type I am looking for: http://www.youtube.com/watch?v=bLQpJhSxYQw -but the range is not good for bass trombone on this one. (I know about the Frescobaldi, but that one is a little too cheesy for my taste). I am also looking for any brass chamber group pieces that involve electronics as well if you know any. Thanks
In Australia, my country, in the late 1960's -1970's, electronic music was very popular amongst a group of people in Melbourne. We used analogue synthesisers made before the mass produced Commercial Rock keyboard-oriented, hard-wired synthesizers that soon flooded the market (and virtually removed Art Music's involvement in it all.)
Beucla was one we loved. A cheaper one was by the Rank corporation (GB) called, I think, the VCS3. Moog was good, too. RCA made one, as well, that was liked, if I remember. There were one or two others, but I forget them. Their virtue, as far as we were concerned, was that the 12 note octave was not set in stone, and it was completely impossible to even turn one on and not be immediately creative. One of my students 'invented' what she called 'decimal music' and had ten degrees of pitch to the octave. Sounded awful! I tried 100, and it sounded little better.
(A technician was always on hand, of course, to help our non-technical little minds)
I really doubt that any of these would still be functioning in my country, but, as most were made in the US, I wonder if any are still extant there?
The newer synthesisers seem to concentrate on reproducing existing instruments, and the potential is largely set at the factory when they are manufactured, leaving very little scope for the composer to create new timbres, etc. 'Hard-wired' synthesisers are virtually useless for what you have in mind, perhaps?
Before I continue, however, I must say that a live Performance on one of these was only to be considered if 'chance' was allowed a big part in the proceedings. Further, anyone involved in a performance with a synthesiser would need to be a confident improviser. (We call 'improvisation' something else, however, to distinguish what we did from those who call the regurgitation of 12-bar blues 'improvising'. Blush...we called it 'spontaneous composition'...) Bravery, self-confidence, and a degree of musicality are all that is needed, I guess.
Having a bad memory, I can only think of 2 electronics composers from the US. Milton Babbitt and Zabotnik (spelling?). David Mercer, an Australian electronics composer, was, I think, at Something-or-other Arbor (Anne Arbor??), Michigan at this time. He might still be there?
A performance I remember was done in a large, resonant Cathedral, and we used the organ, several brass instruments and at least one synthesiser. Although the music was mapped out (a kind of esoteric graphic notation, I suppose?), the result was mostly one performer reacting to what another had done or was doing. I remember that the Trombone and the Tuba sounded magnificent with the electronics and the organ. Far, far more magnificent that I have ever heard them before or since.
How really exciting to find somebody wanting to be involved in something of this nature after all of this comparatively sober, rather reactionary time. If you do it, it is likely to be a lot more than a 'performance', however. It will be a composition ! How it will wash away the conservative, populist crap of the Lloyd Webers and his simpering ilk that have defiled music since then!
I don't know if Luke Berio is still alive. Karl Stockhausen, I think, is gone now. Both of them, I think, actually scored music for brass and electronics. Stockhausen, often, preferred 'musique concrete' to synthesised sound - it is cheaper, too! And the tone quality is often better! Same result, broadly.
Musique concrete is electronic music that, as its source, uses everyday objects (a saw, a jack-hammer, a toilet flushing, a floor polisher, a child weeping, etc., etc.) and then treats them electronically. For someone unused to electronics, this is often the best way to become involved. It would mean, though, that the electronics portion of the performance would need to be pre-recorded. A minor shame?
Thank you again for exciting me. I was expecting an entreaty for free music of "The Dribble Flows in You" by Yiruma, for Underwater Bagpipes, and, instead, I received Niagra Falls.
Best of luck, and I hope you enjoy yourself!
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Billy Cobham Total Eclipse Jazz Music CD Review
The exceptionally talented Jazz artist Billy Cobham has released him CD entitled Total Eclipse. I am very confident and happy to announce that I believe Billy Cobham fans, and Jazz fans alike will be pleased with this one. With the release of Total Eclipse Billy Cobham’s artistic excellence is on full display as Cobham has once again delivered a brilliant collection of tracks that could very well be him best work to date.
It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that’s exactly what I must say about this one. There simply isn’t a bad one in the bunch. No fillers here at all.
One of the refreshingly nice things about this CD is the way all of the participating artists seem to be really enjoying themselves. Combine that with the overall presentation and you’ve got one of Billy Cobham’s most impressive releases ever.
I’m of the opinion that Total Eclipse is certainly Billy Cobham’s best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it’s a collection that even the casual Jazz fan can appreciate and enjoy.
While the entire album is really very good the truly standout tunes are track 3 - Total Eclipse, track 6 - The Moon Ain’t Made Of Green Cheese, and track 8 - Last Frontier.
My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Solarization: Solarization / Second Phase / Crescent Sun / Voyage / Solarization-Recapitulation. This is a great track!
Total Eclipse Release Notes:
Billy Cobham originally released Total Eclipse on April 25, 2000 on the Wounded Bird Records label.
CD Track List Follows:
1. Solarization: Solarization / Second Phase / Crescent Sun / Voyage / Solarization-Recapitulation 2. Lunarputians 3. Total Eclipse 4. Bandits 5. Moon Germs 6. Moon Ain't Made Of Green Cheese, The 7. Sea Of Tranquillity 8. Last Frontier
Personnel: Billy Cobham (piano, drums, tympani); Michael Brecker (soprano & tenor saxophones, flute); Randy Brecker (trumpet, flugelhorn); Glenn Ferris (tenor & bass trombones); Sue Evans (marimba); Milcho Leviev (keyboards); John Abercrombie, Cornell Dupree (guitar); Alex Blake (electric bass); David Earle Johnson (congas).
Recorded at Atlantic & Electric Lady Studios, New York, New York.
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Bass Trombone