| OT WD SATA drive life expectancy [message #68348] |
Thu, 18 May 2006 14:20 |
Tom Bruhl
Messages: 1368
Registered: June 2007
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Senior Member |
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AC
>
> Oh. Really? But . . . you're just a PC . . . What's a graphics card?
>
>
>
>PC
>
> Mac, why don't you go play, sweetie . . . I have some work to do . . . it's big-people stuff.
>
>
>
>MAC
>
> OK.
>
>Will it sounds like you are somewhere between RP and PP, i.e., you have
better than RP but not quite PP. As to whether PP can actually be learned,
I have heard it both ways. A very great guitarist I know claims he did and
that NTSU offers a course in it. He explained it as if different pitches
have a "color" that you can learn to hear, just as you recognize different
literal colors. In any case, I don't see how practice could hurt.
"Kim" <hiddensounds@hotmail.com> wrote in message news:449222aa$1@linux...
>
>
> The thing is I guess that the program I'm using will be helping my
relative
> pitch also. Indeed Chris Latham argued that that is possibly all it is
doing.
> I mean it just feeds me random notes, and some of the time I clearly use
> relative pitch to work out which note it is. How much of the time? Who
knows?
> The first note is certainly harder than later notes.
>
> If I can get to pretty much 100% hit rate on the program, and find I still
> don't have perfect pitch, at least I'll know that my relative pitch is
second
> to none, and at least in that I will have acheived something.
>
> Cheers,
> Kim.
>
> "RiverLake Farms" <edna@texomaonline.com> wrote:
> >Although PP could come in handy, say for identifying a particular key, I
> see
> >no advantage to it over relative pitch. As far as it having negatives,
> such
> >as knowing when something is not in tune, the same is also true of
relative
> >pitch. This is what bothers me when I hear something out of tune
> >(relatively). I don't have to know the name of the key (which is really
> >arbitrary anyway). To what tolerance is PP? How many cents are we
talking
> >about. At what point centswise does something not exactly in tune bother
> >you? I don't think this will change with practice. If it doesn't bother
> >you now, I dont think it would with pitch practice.
> >
> >I do think what is really important is ear training, especially in jazz
> >where you have all types of subtle voicings and progressions to create a
> >harmony behind a melody or just walls of color. All the voicings have a
> >different "sound" and what you leave out as well as how you move between
> >changes makes a big difference. For me this was the most important part
> of
> >learning music since it gets more deeply into the artistic aspects. I do
> >believe one with a decent ear can learn to identify these textures or
> >"sounds." There was a good book on voicings, by Dan Haerle I believe,
used
> >at NTSU.
> >MHO,
> >Edna
> >
> >"Kim&quo
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