I don't recall if the article stated the resolution of time is down to human hearing or not, but I don't think it works like that. The article stated that over a longer period, there was more to it. So, over what period is this shift in phase applied to a cyclic form? Where does 'humans probably have an addition of sine waves as meter' come from? Meter is just saying where one is, tempo is something else.KoolFartWind wrote:How I see it, that every listener/sequencer (computed or human) has a periodic wave in mind, that constitutes the meter (or, as you say : meter + groove), the level of accentuation. Humans probably have an addition of sine waves as meter, computers tend to have an addition of triangle waves. As the article stated, the meter has a number of self similar divisions (fractal structure), that is limited by the time resolution of the human hearing mechanisms and mind.jancivil wrote:
“You can have these trends,”
What is the actual model?
The 16 ms negative delay could be correlated to the distance of the drum player to the audio source.
Now when I put the concept of "Groove" into that framework, a groove would be realized through a temporary phase shift of the meter wave.
I can't be 100% on what you mean by computers, but I have been talking about the difference between what a human drummer does vs a clock. Now there is some error in a clock but it's pretty negligible and takes a long time before we see even that. Vs., I could show you a tempo track for a groove with significant variance quarter note to quarter note (and further if I wanted to bother) and I don't think there is a maths that describes it. I think if these scientists took a recording of the Ghanian drummer into Cubase and really got exact with Time Warp Tool they have a lot more on their plate to try and contend with.
One thing that is missing completely in all of this is the tone of the drum, experience with timbre has something to do with your approach to it; some timbres appear to the ear, ie. speak, faster than others. And this is in my experience impossible to dismiss, it is significant and easily measurable. The drum has a tone here and a different tone there and according to tension/tuning! How hard you hit it = how fast is your attack, or velocity in the midi editor; this has to do with timing. And it's going to vary from object to object. IE: you may have to readjust much of timing if you try this midi file on a different enough set of drums.
My point here is 'what is the actual model'. The drummer in Ghana is conscious. The music has a cultural underpinning, it is part of a tradition. To what extent does that determine the variance? Does a German drummer's results abstractly adhere to the same model? This abstracting of things into maths seems to want to avoid musical tendency, in order to come up with simple statements.
