Bell Harmonic Partials - Revision history

Daveallen: /* references */

2019-02-20T15:54:39Z

references

← Older revision		Revision as of 15:54, 20 February 2019
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	When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E. This effect may lead some seniors, with a limited range of hearing, to say that cast bronze bells sound out of tune to them.		When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E. This effect may lead some seniors, with a limited range of hearing, to say that cast bronze bells sound out of tune to them.

	== ~~references~~ ==		== References ==

	Andre Lehr - The Art of the Carillon in the Low Countries		Andre Lehr - The Art of the Carillon in the Low Countries

Rickwhite: /* Ghost Tones - now strike tone

2018-09-04T13:54:14Z

/* Ghost Tones - now strike tone

← Older revision		Revision as of 13:54, 4 September 2018
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	Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe equipped with a microphone and DSP analysis software can be employed during manufacture to reduce cost.		Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe equipped with a microphone and DSP analysis software can be employed during manufacture to reduce cost.

	== ~~Ghost Tones~~ ==		== The Strike Tone ==
			This harmonic gives us the perceived pitch of the bell at the time it is struck.

	The strike tone is not directly measurable but is definitely perceptible as a subjective harmonic. Generally it can be found by setting an oscillator by ear to match the perceived note of the bell. Multiply the oscillator's frequency by two and you will generally find that the result matches the measured frequency of the Nominal partial. We have tested this theory even on really bad sounding bells. It somehow always works.		The strike tone is not directly measurable but is definitely perceptible as a subjective harmonic. Generally it can be found by setting an oscillator by ear to match the perceived note of the bell. Multiply the oscillator's frequency by two and you will generally find that the result matches the measured frequency of the Nominal partial. We have tested this theory even on really bad sounding bells. It somehow always works.

	When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.		When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E. This effect may lead some seniors, with a limited range of hearing, to say that cast bronze bells sound out of tune to them.

	== references ==		== references ==

Rickwhite: /* Ghost Tones */

2018-09-04T13:42:50Z

Ghost Tones

← Older revision		Revision as of 13:42, 4 September 2018
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	== Ghost Tones ==		== Ghost Tones ==

	The strike tone is not directly measurable but is definitely perceptible. Generally it can be found by setting an oscillator to match the perceived note of the bell. Multiply the oscillator's frequency by two and you will generally find that the result matches the measured frequency of the Nominal partial. We have tested this theory even on really bad sounding bells. It somehow always works.		The strike tone is not directly measurable but is definitely perceptible as a subjective harmonic. Generally it can be found by setting an oscillator by ear to match the perceived note of the bell. Multiply the oscillator's frequency by two and you will generally find that the result matches the measured frequency of the Nominal partial. We have tested this theory even on really bad sounding bells. It somehow always works.

	When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.		When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.

Rickwhite: /* references */

2018-09-04T13:39:56Z

references

← Older revision		Revision as of 13:39, 4 September 2018
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	Andre Lehr - The Art of the Carillon in the Low Countries		Andre Lehr - The Art of the Carillon in the Low Countries

			Andre Lehr - [http://www.hibberts.co.uk/lehr.htm Contemporary Dutch Bell-Founding Art] (English trans R. Selman and T. Marton)

	John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks		John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks

Daveallen: /* Harmonic partials in bells */

2018-01-26T17:44:38Z

Harmonic partials in bells

← Older revision		Revision as of 17:44, 26 January 2018
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	Some campanologists think that the Quint is so short lived (in decay time) that the octave quint is more important for tuning (especially in larger bells).		Some campanologists think that the Quint is so short lived (in decay time) that the octave quint is more important for tuning (especially in larger bells).

	Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe can be employed during manufacture.		Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe equipped with a microphone and DSP analysis software can be employed during manufacture to reduce cost.

	== Ghost Tones ==		== Ghost Tones ==

Daveallen: /* references */

2018-01-26T17:42:20Z

references

← Older revision		Revision as of 17:42, 26 January 2018
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	Andre Lehr - The Art of the Carillon in the Low Countries		Andre Lehr - The Art of the Carillon in the Low Countries

	John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks		John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks

Daveallen at 17:41, 26 January 2018

2018-01-26T17:41:39Z

← Older revision		Revision as of 17:41, 26 January 2018
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	Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe can be employed during manufacture.		Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe can be employed during manufacture.

	~~== references ==~~

	~~Andre Lehr - The Art of the Carillon in the Low Countries~~
	~~John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks~~

	== Ghost Tones ==		== Ghost Tones ==
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	When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.		When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.

			== references ==

			Andre Lehr - The Art of the Carillon in the Low Countries
			John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks

	<div style="font-size:84%">'''[http://www.ChimeMaster.com Home] > [[Chime_Master_Help\|Help]] > [[About_bells\|bells]]'''</div><br />		<div style="font-size:84%">'''[http://www.ChimeMaster.com Home] > [[Chime_Master_Help\|Help]] > [[About_bells\|bells]]'''</div><br />

	[[Category:Campanology]]		[[Category:Campanology]]

Daveallen: /* Harmonic partials in bells */

2018-01-26T17:41:10Z

Harmonic partials in bells

← Older revision		Revision as of 17:41, 26 January 2018
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	The Hum, Prime and Nominal should be the same note in their respective octaves. The strike tone of the bell (apparent musical pitch) is always one octave below the Nominal, but not necessarily in tune with the Prime (depending on the quality of the bell).		The Hum, Prime and Nominal should be the same note in their respective octaves. The strike tone of the bell (apparent musical pitch) is always one octave below the Nominal, but not necessarily in tune with the Prime (depending on the quality of the bell).

	For many years this basic bell theory was lost until being rediscovered ~~after World War II~~ by an English clergyman named Canon Simpson, who worked with Taylor as well as Gillett and Johnston bell foundries to improve the sound of their bells. It is therefore sometimes called the Simpson five-tone harmonic principle, even though we know that 16th century Flemish founders François and Pieter Hemony made use of the principle, but failed to teach it to their successors before their demise.		For many years this basic bell theory was lost until being rediscovered in the late 17th century by an English clergyman named Canon Simpson, who worked with Taylor as well as Gillett and Johnston bell foundries to improve the sound of their bells. It is therefore sometimes called the Simpson five-tone harmonic principle, even though we know that 16th century Flemish founders François and Pieter Hemony made use of the principle, but failed to teach it to their successors before their demise.

	A bell's strike tone is what determines the actual pitch of the bell, and is often influenced by higher partials. In some bells, it may be a difference frequency between the nominal and octave above the nominal that occurs in the listener's ear. Especially in larger bells, if the higher partials are not also tuned, there may be beats (exhibited by a wow-wow sound as the bell's sound decays).		A bell's strike tone is what determines the actual pitch of the bell, and is often influenced by higher partials. In some bells, it may be a difference frequency between the nominal and octave above the nominal that occurs in the listener's ear. Especially in larger bells, if the higher partials are not also tuned, there may be beats (exhibited by a wow-wow sound as the bell's sound decays).
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	Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe can be employed during manufacture.		Smaller bells will often only exhibit two to four partials that need tuning, simplifying the process to the point that an automated lathe can be employed during manufacture.

			== references ==

			Andre Lehr - The Art of the Carillon in the Low Countries
			John Glanville and William M. Wolmuth - Clockmaking in England and Wales in the Twentieth Century: The Industrialized Manufacture of Domestic Mechanical Clocks

	== Ghost Tones ==		== Ghost Tones ==

Rickwhite: bc

2017-01-14T14:08:31Z

← Older revision		Revision as of 14:08, 14 January 2017
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			<div style="font-size:84%">'''[http://www.ChimeMaster.com Home] > [[Chime_Master_Help\|Help]] > [[About_bells\|bells]]'''</div><br />

	A harmonic partial is any one of a series of pure tones (sine waves) which usually accompany the prime tone (fundamental) produced by the vibrating or resonant components of a musical instrument. The fundamental is the string tone produced by the vibration of the whole string, or the entire column of air in the pipe; the partial tones are produced by the vibration of fractional parts of that string or air-column. Harmonic tones such as these are also obtained, on any stringed instrument which is stopped (guitar, violin, zither), by lightly touching a nodal point of a string.		A harmonic partial is any one of a series of pure tones (sine waves) which usually accompany the prime tone (fundamental) produced by the vibrating or resonant components of a musical instrument. The fundamental is the string tone produced by the vibration of the whole string, or the entire column of air in the pipe; the partial tones are produced by the vibration of fractional parts of that string or air-column. Harmonic tones such as these are also obtained, on any stringed instrument which is stopped (guitar, violin, zither), by lightly touching a nodal point of a string.

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	When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.		When the ear-brain hears combinations of high tones, we think we hear a single lower tone. For instance a combination of a Nominal with an octave-Quint sounds like a single tone lower than them both. This may explain why Big Ben sounds to most listeners like an A even though it was cast to be an E.

			<div style="font-size:84%">'''[http://www.ChimeMaster.com Home] > [[Chime_Master_Help\|Help]] > [[About_bells\|bells]]'''</div><br />

	[[Category:Campanology]]		[[Category:Campanology]]

Rickwhite: /* Harmonic partials in Bells */

2016-08-23T22:10:07Z

Harmonic partials in Bells

← Older revision		Revision as of 22:10, 23 August 2016
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	A harmonic partial is any one of a series of pure tones (sine waves) which usually accompany the prime tone (fundamental) produced by the vibrating or resonant components of a musical instrument. The fundamental is the string tone produced by the vibration of the whole string, or the entire column of air in the pipe; the partial tones are produced by the vibration of fractional parts of that string or air-column. Harmonic tones such as these are also obtained, on any stringed instrument which is stopped (guitar, violin, zither), by lightly touching a nodal point of a string.		A harmonic partial is any one of a series of pure tones (sine waves) which usually accompany the prime tone (fundamental) produced by the vibrating or resonant components of a musical instrument. The fundamental is the string tone produced by the vibration of the whole string, or the entire column of air in the pipe; the partial tones are produced by the vibration of fractional parts of that string or air-column. Harmonic tones such as these are also obtained, on any stringed instrument which is stopped (guitar, violin, zither), by lightly touching a nodal point of a string.

	== Harmonic partials in ~~Bells~~ ==		== Harmonic partials in bells ==

	Various types of bell sounds are differentiated by their partials. You will see in campanology texts and sales literature various ways of illustrating this. Some use a musical staff with middle C being the fundamental, and the partials being shown above and below C.		Various types of bell sounds are differentiated by their partials. You will see in campanology texts and sales literature various ways of illustrating this. Some use a musical staff with middle C being the fundamental, and the partials being shown above and below C.
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	It has been established that there are five predominant harmonic partials that impart a basic recognizable bell tone. These are named:		It has been established that there are five predominant harmonic partials that impart a basic recognizable bell tone. These are named:

	# Hum		# Hum (one octave below the fundamental)
	# Prime		# Prime (fundamental)
	# Minor Third or "Tierce" (Major third bells have seen some limited production)		# Minor Third or "Tierce" (Major third bells have seen some limited production)
	# Perfect Fifth or "Quint"		# Perfect Fifth or "Quint"
	# Nominal or "Octave"		# Nominal or "Octave" (one octave above the fundamental)

	The Hum, Prime and Nominal should be the same note in their respective octaves. The strike tone of the bell (apparent musical pitch) is always one octave below the Nominal, but not necessarily in tune with the Prime (depending on the quality of the bell).		The Hum, Prime and Nominal should be the same note in their respective octaves. The strike tone of the bell (apparent musical pitch) is always one octave below the Nominal, but not necessarily in tune with the Prime (depending on the quality of the bell).