If a Tree Falls in a Coffeehouse And...

by Andy Ferraro

Andy Ferraro here. You might know me from in front of the microphone but often you've seen me behind the scenes, working many a sound-reinforcement system, zipping up to the stage to set mics in front of people's mouths and instruments - and then doing things that I hope are noticed only in assisting the transformation of a performer's efforts to entertain and to further take you away to "somewhere [you've] never travelled". That's the philosophical /spiritual side of "doing sound".

The science of sound is physics and physiological and electronic, and yes, logical and perceptual. It can get complicated. This series is as a primer to educate the listener, the performer and the "sound-designer", as a basis to understand and improve your experience and the experiences of others, "depending where you sit." My intent is to essentially fuel your own knowledge of the processes and allow you to truly enjoy the music you hear in any space - large or small; to appreciate the music you hear on your stereo or in the movies you watch at a theater or at home; and even to put your best efforts forward before a microphone or through a guitar cord. Some background will be necessary. I'll try to keep it simple to build on. Don't sweat the quiz, ok?

There are very few people who have not heard the old riddle, "If a tree falls in the forest, and there is no one there to hear it, does it make a sound?" Despite the usual wise-cracks, the simple answer is, "No." By definition, in order for sound to be experienced, three things must be present: 1 - an applied force, 2 - a MEDIUM, and 3 - an observer.

To simplify, there must be an initial push or attack upon an object, which will cause the rest of the molecules at rest in the object to be displaced - striking other molecules - or vibrating. That action causes a chain reaction that must "vibrate" through whatever medium it is in (air, water, even another material). Without a medium, the resulting displacements (vibration) can not travel to reach a point of reception (in which the receptor(s) vibrate(s)). No medium is present in a vacuum so, don't even go there!

Whatever medium there is, there is always the consideration of its elasticity - the flexibility of that medium to return to its original shape after being manipulated by a vibration. That's what makes the chain reaction possible. But, there is also an inherent resistance or friction as well. Unopposed, a vibration could technically go on forever if no force acts on it. Also, each time a sound vibration goes through another medium, it slows down further; a person standing in front of your TV doesn't just block the picture!

Depending on the object struck and its ability to vibrate, it will create a certain number of waves or vibrations from it per second. This quantity is known as the frequency. It is measured in terms of waves, or cycles per second. Different frequencies are produced by striking, picking, plucking or bowing (minuscule strikes actually) different length or thickness of woods, skins, strings, or your vocal chords - even in talking! There are bass frequencies, treble frequencies, and mid-range frequencies. These are what we experience in hearing. We too, are vibrating but as the receiver - at our ear drums, at our skeletal systems, and even our muscles.

Don't confuse this with pitch. Pitch is our perception of the frequency. Frequency is expressed as "cycles per second" (hertz or kila-hertz). Pitch is described with terms like, "C", "G" or "A- sharp above middle C".

To confuse you further, "timbre" (pronounced, "tam-bir") is the combination of a fundamental frequency with the instrument's particular over-laying frequencies. For more confusion, the timbre created is due to "sympathetic vibrations and corresponding phase cancellations in addition to constructive interference...". For now, suffice to say that this is how one guitar or one person's voice sounds different from another.

Now, these frequencies or sound waves not only vibrate at various frequencies but they also have size! They actually have physical size that moves through a room or an auditorium or out in your yard or a baseball stadium! They can hit other things in the area, including any kind of wall or ceiling or floor, with varying results. But, if a sound wave is x feet long and is produced in a place that is exactly x ft. long (this can be one or more waves end- to-end too), this is called a standing wave (also known as "feedback"). You have experienced this. But, more on that next time.

Allow me to point out that higher frequencies mean that an object or "instrument" is vibrating faster than if it were a lower frequency. So, it must use up more energy to create that frequency AND have less energy left to sustain it against the friction of a medium such as air, right? A lower frequency uses less energy in moving the molecules in a medium so, it is able to sustain itself longer and - here's the kicker - it can travel outwards much, much further than a higher frequency can. It can even travel around more resisting mediums and blocks than a high frequency. It has the energy to do that. Higher frequencies can't. Stay with me...

Have you ever noticed how different your television speaker sounds if you stand directly in front of it? How about when you are in front of its speaker but farther away in the room? How about if you are in front of the speaker but your head is way above the speaker? What about if you are to the side - or in back of it? Does it sound muddier when you are not in front of it? Do you miss some words? How does the same CD you played last week sound so different this week with this terrible cold you have? Does your car radio sound different when your car is loaded with people? Have you ever sat in the front of a room and said that a sound system was too "piercing" or there was "too much echo....or reverb" or "too loud" or just, "not right" How was it in the back of the room? How about in the middle of a room? How about if you are off to the sides of the P.A. speakers? These are all the results of "Psycho-Acoustics."

Next time: more on Psycho-Acoustics. Stay tuned...

The Editor's Ego

Happy New Year! I hope your holidays were happy as well. The Folk Guild is in its 20th year and going strong. We continue to have new (and old) people join the ranks of active members. Welcome to Cheryl Rice, who is writing the Kingston Chapter articles now, and welcome back to Andy Ferraro (see article below).

Andy has also contributed a very interesting (and fairly technical, for us, anyway) article on sound reinforcement. Look for more in this series in future issues. Bruce Morrison is also back with another of his informative articles on stringed instrument care.

As you can see in the other article below, this is my last year as Newsletter editor. I'll have more to say in my last issue (the one for May/June 1999). At that time I hope to introduce the new editor (only you can make this wish come true!).

Please don't forget to renew your membership. And, if you are not yet a member (or a lapsed member), our 20th year is a great time to sign up and welcome the year 2000 as a Folk Guild member.

He's Baaaaaaack

After a lengthy absence, Andy Ferraro returns as the Folk Guild's Technical Director (replacing Tom White). During his time away from the Folk Guild, he attended the Center For Media Arts for Recording Technology, in New York City, with honors. He has a long list of performers and venues for which he has done concert- engineering, commercial mixing and sound-design, primarily in the area of acoustic music.

Wanted: Newsletter Editor

After five years of publishing this fine journal, Rich Keyes is moving on to other endeavors. We need an able body (or bodies) to take over the tasks of compiling the articles, events, and advertisements for each issue, producing a quality publication, and printing, packaging and mailing each issue. The pay is modest (actually nonexistent), but the pleasures are many. The position is open starting with the September/October 1999 issue. If you are interested, please contact the Board of Directors.

HVFG Presence

The past few months have, again, seen a very active Folk Guild membership. Mike Clarke and his 5th grade class performed at the South Hills Mall, as did Irish Rain, for the Toys for Tots.....Greg Neaga donated his musical talents for the Mohonk Consultations Environmental and Human Rights Conference.....Kevin and Carol Becker went Christmas caroling with the Cub Scouts at the Victory Lake Nursing Home.....The Dutchess Horizons Holiday party at the Italian Center in Poughkeepsie was the beneficiaries of a performance by Bill Wemmerus, Barbara Mahon, and Rebekah Martucci.

Why is This New Guitar So Hard to Play?

by Bruce Morrison

Recently someone commented to me, "It seems that many new instruments are hard to play. On some of them I can't make the F barre chord at the 1st fret. Why is that?" Yes, it's true. Some new instruments aren't so easy to play. Here's the reason.

Most instruments are built in an environment in which the temperature and humidity are strictly controlled. When the instrument leaves the shop, it enters a new environment. As I said in the previous newsletter, wood is dynamic. Because changes in temperature and humidity cause the wood to expand or contract, the set up of the instrument changes as the dimensions of the wood change. It doesn't make sense for any manufacturer to set an instruments' action nice and close only to have it shipped to a new environment in which a few weeks later the action will be below the fretboard. To paraphrase one major manufacturer, "Our guitars are set up at the factory to please the majority of players." Translation? "We've set it up so that it won't rattle and buzz, but if you want the action lower, we've allowed plenty of room for you to have it adjusted."

One of the first changes most people make is to restring with their favorite brand and gauge. Because that's apt to change the amount of string tension on the instrument, the truss rod and the saddle height will probably require some adjustment . Once that's been completed the depth of the nut slots should be checked and adjusted if necessary.

So, when you purchase an instrument, whether new or new to you, it's up to you to get it set up to suit you and your playing style. It's like adjusting the driver's seat, rear view mirrors, and hanging the fuzzy dice in your new car.

Fiddler's Green Chapter News

by Lyn Burnstine

The aliens landed in Hyde Park on October 9 and transported a small but appreciative audience right out of this world. Alien Folklife, a.k.a. Joan Kosby and Paul Mercer had us laughing with "Hot Dog Heaven," and "Stuck on Hold," and crying with "Johnny Burke" and "Sullivan Ballou's Last Letter Home." Their songs are original, but rooted in tradition, specifically from Paul's native Newfoundland.

Last year Aubrey Atwater took our collective breath away with her sweet, true vocals and instrumental wizardry. We didn't think it could get any better - then she brought her husband, Elwood Donnelly. Together they were truly magical, with their perfect blend of vocal harmonies and skillful instrumentals, woven together with Aubrey's own sensitive poetry.

The array of instruments onstage with Doofus, Neal & Coleen Walters and John and Heidi Cerrigione, included six beautiful autoharps (for four people). The mystery was solved when instrumentalist extaordinaire, Heidi, explained that they were diatonic rather than chromatic - something this old autoharp player had never even heard of - thus yielding a brilliant tone, but limited to a couple of keys apiece. Dulcimers, banjo, string bass, guitar and close harmonies on wonderful old-timey music charmed us.

Guy Davis, definitive Delta bluesman, drew a mixed crowd of folks who loved blues, who had heard him at the GRHR Revival, or who were just being loyal to our concert series. We all went home serious Guy Davis fans! His incredible guitar work - I've never heard finer bottle-neck - combined with a quiet unassuming wit, and skillful storytelling to provide a wonderful warm afternoon's entertainment.