The mel scale conflicts with musical logarithmic scales but remains useful in technical applications
Related
- Musical scales universally favor intervals with small integer frequency ratios (similarity 0.84)
- Amounts of masking are expressed as dB differences, not absolute dB SPL levels. (similarity 0.81)
- A scale built from pure major-triad intervals yields the just diatonic scale. (similarity 0.81)
- Musical scales are exponential, so changing the octave needs logarithmic scaling (similarity 0.81)
- Pitch is perceived logarithmically so the keyboard maps log-frequency to linear distance (similarity 0.80)
- Only the octave stays perfectly in-tune in equal temperament (similarity 0.80)
- No keyboard tuning can make every key sound justly intonated (similarity 0.80)
- Logarithms are necessary to handle quantities spanning billions in range (similarity 0.80)
- The mel scale appears discredited but its underlying effects still hold (similarity 0.80)
- Vibrato produces tremolo when harmonics sweep across resonant peaks (similarity 0.80)
- A pianoforte with raised dampers can physically re-echo sung vowels via sympathetic resonance (similarity 0.79)
- The mel scale was derived by asking listeners to double perceived pitch (similarity 0.79)
- Even steady-state musical notes vary in amplitude envelope over time. (similarity 0.79)
- Low-frequency tones become relatively louder as level increases. (similarity 0.79)
- Measurable and audible sound qualities can be shown to correlate reliably (similarity 0.78)