In article
,
Jenn wrote:

http://www.britannica.com/eb/article...stortion&ct=eb

Another term sometimes applied to these standing waves is overtones. The
second harmonic is the first overtone, the third harmonic is the second
overtone, and so forth. ³Overtone² is a term generally applied to any
higher-frequency standing wave, whereas the term harmonic is reserved
for those cases in which the frequencies of the overtones are integral
multiplesŠ

End quote.

Yep, we use the terms overtones and harmonics interchangeably; the
numbers are just different.

Octave doubling is easy to hear in underpowered bass amps.

The listener's perception can reduce the separate pitch components into
a single sensation of timbre. This is a commonplace for conductors,
organists and players of chording instruments.

Stephen

In article ,
MINe 109 wrote:

In article
,
Jenn wrote:

http://www.britannica.com/eb/article...stortion&ct=eb

Another term sometimes applied to these standing waves is overtones. The
second harmonic is the first overtone, the third harmonic is the second
overtone, and so forth. ³Overtone² is a term generally applied to any
higher-frequency standing wave, whereas the term harmonic is reserved
for those cases in which the frequencies of the overtones are integral
multiplesŠ

End quote.

Yep, we use the terms overtones and harmonics interchangeably; the
numbers are just different.

Octave doubling is easy to hear in underpowered bass amps.

Yep.

The listener's perception can reduce the separate pitch components into
a single sensation of timbre. This is a commonplace for conductors,
organists and players of chording instruments.

Of course.

"MINe 109" wrote in message

In article
,
Jenn wrote:

http://www.britannica.com/eb/article...stortion&ct=eb

Another term sometimes applied to these standing waves
is overtones. The second harmonic is the first
overtone, the third harmonic is the second overtone,
and so forth. ³Overtone² is a term generally applied to
any higher-frequency standing wave, whereas the term
harmonic is reserved for those cases in which the
frequencies of the overtones are integral multiplesŠ

End quote.

Yep, we use the terms overtones and harmonics
interchangeably; the numbers are just different.

Octave doubling is easy to hear in underpowered bass amps.

As it tripling.

However, saying that doubling or tripling is easy to hear in "bass amps" is
a bit misleading, because the doubling and tripling is mostly likely in the
speaker portion of the so-called amp.


The listener's perception can reduce the separate pitch
components into a single sensation of timbre. This is a
commonplace for conductors, organists and players of
chording instruments.

Fact of the matter - as a rule bass acoustic instruments produce far more
harmonics than fundamental.

In article ,
"Arny Krueger" wrote:

"MINe 109" wrote in message

In article
,
Jenn wrote:

http://www.britannica.com/eb/article...stortion&ct=eb

Another term sometimes applied to these standing waves
is overtones. The second harmonic is the first
overtone, the third harmonic is the second overtone,
and so forth. ³Overtone² is a term generally applied to
any higher-frequency standing wave, whereas the term
harmonic is reserved for those cases in which the
frequencies of the overtones are integral multiplesŠ

End quote.

Yep, we use the terms overtones and harmonics
interchangeably; the numbers are just different.

Octave doubling is easy to hear in underpowered bass amps.

As it tripling.

Fourth harmonic distortion?

However, saying that doubling or tripling is easy to hear in "bass amps" is
a bit misleading, because the doubling and tripling is mostly likely in the
speaker portion of the so-called amp.

For one thing, the amp has to be "on" and receiving input. It's easiest
to hear doubling or tripling in the acoustic output, or "sound," of the
speaker.

Adding to the confusion, musicians often refer to preamp/amp/speaker
combos as "amps," often specifying what instrument is likely to plugged
into into its input by an instrument cord, ie, "bass amp" or "guitar
amp."

I was wrong not to be sufficiently specific in my first mention of a
"bass amp" and to imply that one can hear distortion in an amp without
hooking it up to a speaker.

The listener's perception can reduce the separate pitch
components into a single sensation of timbre. This is a
commonplace for conductors, organists and players of
chording instruments.

Fact of the matter - as a rule bass acoustic instruments produce far more
harmonics than fundamental.

Yes, indeed. Electric, too, when heard through an "amp."

Stephen