rad iora dioespecially repeaters[breakbreak] [break][br] [eak] [br/eak]indicate a simple " BK "(notseparate)added calibration marksmay be numerical( preset )rig the bridgetransmit tuningor a very rapidpuff of smoke( as shown )clock & counterplug pinwhichever inhibited( lo-noise tone decoder )sockets shift to shieldampsupply boom-boomhandheld keyer conjunctiontilt on fieldnote the slopeof steep angles& large loops :finding a spotmay be inductive( seek peaks )( unspoken ) radio radio radio radioradioradioradioradio The term formant refers to peaks in the harmonic spectrum of a complex sound which arise from some sort of resonance of the source. Because of their resonant origin, they tend to stay essentially the same when the frequency of the fundamental is changed. Formants in the sound of the human voice are particularly important because they are essential components in the intelligibility of speech. For example, the distinguishability of the vowel sounds can be attributed to the differences in their first three formant frequencies. Producing different vowel sounds amounts to retuning these formants within a general range of frequencies. The jaw opening, which constricts the vocal tract toward the glottal end and expands it toward the lip end, is the deciding factor for the first formant. This formant frequency rises as the jaw is opened wider. The second formant is most sensitive to the shape of the body of the tongue, and the third formant is most sensitive to the tip of the tongue. A reading of the literature on the acoustic cues to stop voicing indicates that there should be nothing surprising about finding that the Fx transition plays a role. A very early paper on speech synthesis reported that "the transitions of the first formant appear to contribute to voic-ing of the stop consonants" . Nor should it be thought at all extraordinary to find still other acoustic features, fundamental frequency(F0) for example, that also control to some extent the phonetic classification of stop patterns as "voiced" or"voiceless." What would in fact be much more difficult to justify would be an assertion that any particular feature isolatale in the acoustic signal plays absolutely no role in a listener's phonetic categorizations. Some such features, we may feel sure, play a vanishingly small role (particularly if they appear to be independent of the larynx), but. given the experimental strategies used in discovering the acoustic cues, it is hard to imagine a feature not utterly imperceptible that could be shown to have no effect whatsoever on labeling behavior. A question that can reasonably be asked is: what is the relative importance of one feature compared with others?- - - - -
not what the forethought, but what the formant.Lovely piece, Troy.
"not what the forethought, but what the formant.= )you're all aces at this sorta thing Gary!i really dug yr Stephen Wright knock-knock poems!.
Interesting wawes or 'käyriä'maybe these wawes are painting sanojen / kirjainten lämpötilanvaihteluita...
or these really are'voicewaves'....
radiosanomataajuus lukukirjaja virittää äänivalta,nimittäin nielu nidottukaarikaava kanssakielellinen merkkiviitoittaa sävelasteikkokalkioida yleisavainkaiku kaikukaiku kaikuja löytää kaikkiallamaailmassa,koetan oppiaoppia puhumaan,niin sanoaksenipyytää anteeksi huono suomi!
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