Acoustic Properties Quotes

In accordance with the foregoing investigations on mathematical principles, let bronze vessels be made, proportionate to the size of the theatre, and let them be so fashioned that, when touched, they may produce with one another the notes of the fourth, the fifth, and so on up the double octave.

You know, the loudest stadium I've ever played in was 45,000 people at War Memorial Stadium in Little Rock, Arkansas. The entire thing is concrete. It's like dropping a ball bearing in your neighbor's basement.

The sound of a word is at least as important as the meaning.

The difference between a violin and a viola is that a viola burns longer.

You have this resonant box that sounds cool when you smack it, so why not go for it?

Music is the arithmetic of sounds as optics is the geometry of light.

Lik the tree falling in the forest," says Ira. "Huh?" "You know, the old question - if a tree falls in a forest and no one's there to hear it, does it really make a sound?" Howie considers this. "Is it a pine forest, or oak?" "What's the difference?" "Oak is a much denser wood; it's more likely to be heard by someone on the freeway next to the forest where no one is.

For example, the opposition between acute and grave phonemes has the capacity to suggest an image of bright and dark, of pointed and rounded, of thin and thick, of light and heavy, etc.

It all comes down to the density of the wood. Every guitar's different.

Anybody who can't hear the difference between a ball hitting wood and a ball hitting concrete must be blind.

I wanted something very dense, something that would sustain long and more pieces of wood that would be soft, sweet, for more of a mellow sound.

Although a crisp texture is the single most prized quality in an apple - even more desirable than taste, according to one study - crispness is more a matter of acoustics than of mouth feel.

My philosophy is the thicker the wood the thicker the sound, the bigger the string the bigger the sound. My smallest string is a 14 gauge.

I like the natural sound of a room. All the rooms have their own sound, so it's a matter of putting it where you like and seeing what it sounds like.

The best scheme of Phonetics is a stiff uncertain thing.

I suppose I was affected by raw sounds and timbres more than a lot of other composers. Had I been involved with orchestral composing, I think the aspect that would have most endeared me to that field would have been the orchestration.

At first acoustics attributed to the different sounds only a limited number of characteristic features.

Sounds are vibrations and the more you can put into that vibration, the more you can get out, action and reaction, that's the thing to tell the people.

A sound does not view itself as thought, as ought, as needing another sound for its elucidation, as etc.; it has not time for any consideration--it is occupied with the performance of its characteristics: before it has died away it must have made perfectly exact its frequency, its loudness, its length, its overtone structure, the precise morphology of these and of itself.

Bronze makes the most complex waveforms of any substance known to man. It creates these vibrations that will just crack your skull.

The Violin of my dreams. If you wanna play a pianissimo that is almost inaudible and yet it carries through a hall that seats 3,000 people, there's your Strad.