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Orchestral enhancement is the technique of using orchestration techniques, architectural modifications, or electronic technologies to modify the sound, complexity, or color of a musical theatre, ballet or opera pit orchestra. Orchestral enhancements are used both to create new sounds and to add capabilities to existing orchestral ensembles.
The fundamental frequency and overtones of the resulting sound depend on the material properties of the string: tension, length, and mass, [3] as well as damping effects [12] and the stiffness of the string. [19] Violinists stop a string with a left-hand fingertip, shortening its playing length.
This can add a shimmer to the sound; with a well-made instrument it may also help a solo player to be heard more clearly when playing with a large orchestra. [9] This directional effect is intended to interact with the room acoustics to add interest to the sound, in much the same way as an acoustic guitarist may swing the box around on a final ...
The speed of sound is also slightly sensitive, being subject to a second-order anharmonic effect, to the sound amplitude, which means there are non-linear propagation effects, such as the production of harmonics and mixed tones not present in the original sound (see parametric array).
Chorus (or chorusing, choruser or chorused effect) is an audio effect that occurs when individual sounds with approximately the same time, and very similar pitches, converge. While similar sounds coming from multiple sources can occur naturally, as in the case of a choir or string orchestra , it can also be simulated using an electronic effects ...
It can be proven (with the help of a sum-to-product trigonometric identity) that the sum of two unit-amplitude sine waves can be expressed as a carrier wave of frequency f 1 + f 2 / 2 whose amplitude is modulated by an envelope wave of frequency f 1 - f 2 / 2 : [3]
The relative volume or amplitude of various overtone partials is one of the key identifying features of timbre, or the individual characteristic of a sound. [3] Using the model of Fourier analysis, the fundamental and the overtones together are called partials.
Using this technique, the audio data is stored as a sequence of fixed amplitude (i.e. 1-bit) values at a sample rate of 2.884 MHz, which is 64 times the 44.1 kHz sample rate used by CD. At any point in time, the amplitude of the original analog signal is represented by the density of 1's or 0's in the data stream.
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