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In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
In this case the sound is loud, high pitched and squeaky. An example of this playing technique can be found in Gérard Grisey's Vortex Temporum (1995). Helmut Lachenmann often uses a soft version of this technique, creating a quiet, white-noise-like sound.
PopMatters writer Jennifer Kelly gave the reissue an 8 out of 10 in July 2006, saying that "Soft Effects represents a giant step forward and a much fuller realization of the band’s sound. Now, you can hear all the elements that define later Spoon, the jangling stop-start guitars, the upright, new-wavish four-four strut, the smoky croon and ...
One effect that uses an envelope follower is the auto-wah, which produces a "wah" effect depending on how loud or soft the notes are being played. [116] [117] A Line 6 modeling amplifier shown from above. Note the various amplifier and speaker emulations selectable via the rotary knob on the left.
Extremely loud. Louder dynamics occur very infrequently and would be specified with additional f s. Sforzando / Sforzato (subito forzando/forzato) Literally "suddenly forced", denotes an abrupt, fierce accent on a single sound or chord. When written out in full, it applies to the sequence of sounds or chords under or over which it is placed.
This requires both a loud and soft sample; the reason for this is Timbre change. [21] This type of crossfade is quite subtle depending on the proportion of the received note velocity value of the loud and soft sample. [21] Crossfading usually involves the sounding of a combination of one or two sounds at the same time. [20]
According to Danish noise and music theorist Torben Sangild, one single definition of noise in music is not possible. Sangild instead provides three basic definitions of noise: a musical acoustics definition, a second communicative definition based on distortion or disturbance of a communicative signal, and a third definition based in subjectivity (what is noise to one person can be meaningful ...
Downward compression reduces the volume of loud sounds above a certain threshold. The quiet sounds below the threshold remain unaffected. This is the most common type of compressor. A limiter can be thought of as an extreme form of downward compression as it compresses the sounds over the threshold especially hard.
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