WHAT IS THE DIFFERENCE BETWEEN CHROMATIC BIOSONIC AND FFT BIOSONIC?

CHROMATIC BIOSONIC captures the fundamental frequencies of the vowel
sounds from the vocal chords. It is done via the audio document directly, with a
method unique to Biosonic software. It has no FFT and captures the louder
sounds of the fundamental or primary frequencies which is just a few to the
many, many frequencies exist in a sound with all its harmonics, captured by the
FFT. The chromatic module will pick up some harmonics that are very loud as if
they are fundmentals, but just a few, most of the frequencies are the ones
stemming out of the vocal chords. It goes to 3840 hertz.
It does the same as the piano tuner used at the beginning of voice
analysis, only captures more frequencies and faster that the Korg instrument we
started to use. It places the frequencies in their correspondent octave and
note, according to the musical scale used.
The high peaks in the colorgram or notes in colored bars, the second
screen, belong to how many times a frequency has been mentioned. So a high peak
is a frequency that is in larger amount of times in that recording being
analysed. Sometimes a frequency might be mentioned a lot but in lower amplitude
or volume and is less important because of this. Apart from peaks, flat tops or
truncations are many frequencies around one that would be a peak, so we also
take into account as many frequencies. So a truncation or flat top is also a
peak.
The high peaks in the FFT (Fourrier Frequency Transform system) is the
amplitude or higher volume a frequency is present in that sound.

FFT BIOSONIC captures all there is in a sound, the fundamental and all
its harmonics. It is the most scientifical formula to measure all sound. It
captures the sound of the vowels and all its harmonics going up to 11.000 hertz.
It was discovered by Fourrier, and that is the reason it has his name. It
consists of a mathematical formula that transforms sound into numbers or
frequencies, wich is movement in cycles per second. It also shows the amplitude
or volume of loudness, shown in the peaks.

The FFT Biosonic has all the features of the Chromatic and added many
new features with the FFT calculation. Showing what we call a Harmonic cascade
from a basic or fundamental frequency. Here I will show some enlarged zoomed
graphics of the FFT compared to the Chromatic ,so we can understand how we can
see harmonics. It is not a full FFT, it is an FFT only of a note and a specific
single frequency. As you can see the 1st harmonic has also been picked up by its
intense amplitude or volume in the chromatic, as shown in the cologram color
bars window with frequencies. Vowel sounds make harmonic cascades, meanwhile
consonant sounds deform the wave and create other sounds, changing the basic
sound of the vowel sound. Moving the mouse pointer over the FFT window, it will
give all the frequencies and by marking the peak it will tell what frequency is
pointing that peak.





If we look at two frequencies belonging to different notes with the
FFT, as here, we see D# and A#, the amplitude or volume comes out completely
different than with the chromatic, due that D# is a little larger than A#. We
can see that even if in the chromatic the hight of the peak is relatively the
same, in the FFT A# is much larger peak than D#. This does not happen with
really large peaks of the Chromatic Colorgram frequencies, but the others can
have different values in the FFT, instead of times it is mentioned it is
amplitude or loudness of volume. Here it shows that a harmonic of one can get
close to the harmonic of another and exchange amplitude, energy or volume, as
you see in this first graphic in the right where in the 2nd 5th and 6th
harmonics of both the harmonics of 156hz D# show in larger and more exact peaks
that the ones of A#, starting at 242hz. Also, D# with A# are the musical chord
of the fifth, and A# is the fifth harmonic for D#, as seen in the promanual
webpage of harmonics.

In the other graphic, we can also pick missing or low frequencies that
are not appearing in the Chromatic, only as a flat line in the Colorgram window,
but show as a small bump in the FFT and we can see the frequency when we place
the cursor on that bump. In this next graphic we can see how a weak frequency
can give high peaks in harmonics as the light blue lines are showing further to
the right side of the graphic. It can also coincide with a fundamental frequency
of the Main octave even if low it can be enhanced by beeing both, fundamental as
172hz and the first harmonic of 86hz.(86+86=172)







NOW we will see how the Main Octave of the voice of a person, meaning
the general tone of the vocal chords and the octave of fundamental octaves, is
shown in the FFT. We see the higher peaks forming a slope and another bump for
another higher frequency 312hz, and the a valley for a missing frequency 332hz.
As it will follow the FFT will be with all the harmonics of these frequencies
shown in the Colorgram of the Chromatic.



Here we have two other graphics on how the FFT shows the Main Octave of
fundamental frequencies, also we can see that only little bumps show a frequency
that was mentioned more times in the Chromatic. The FFT clarifies that even if
it was mentioned a lot it had no energy, meaning no volume of loudness or
amplitude.





These are more examples of FFT versus Chromatic Main Octave and it shows
for some frequencies very small bumps in the FFT while it has much high peak in
the Chromatic Colorgram, this tells us why we need both types of analysis.
Because all the frequencies in the Chromatic will give harmonics as they
progress to higher frequencies, and maybe they are even higher than the ones at
first seen in the FFT. In the second graphic we can see clearly a valley at
332hz in both the chromatic and the FFT.




Most of these graphics above have been from COHERENT voice prints, the
same as this one below. Meanwhile the second graphic now is from a very
INCOHERENT voice print. We can see in both the Chromatic and the FFT the up and
down, irregular frequencies for all of the notes.




In these two new graphics we can see first that a first harmonic being
very high is not shown in the Chromatic and in the second graphic the first
harmonic is even higher than the fundamental and it does show in the Chromatic
Colorgram frequencies window. Then we see in the first graphic what is harmonic
distorsion, or non exact harmonics.
HARMONIC DISTORSION is the slightly or great error in giving the exact
harmonic as the we read in the peaks of the harmonic coming out from a specific
fundamental frequency, it might not be in the exact frequency, but slightly to
the right or left, as seen here in the 3rd harmonic. In the second graphic we
analyse two frequencies and we can see this can happen due to the influence of
the harmonic of another frequency that hits close to it.
SHARING HARMONICS CAN ENHANCE OR DISTORT THE HARMONIC, SLIGHTLY OR
DRAMATICALLY CHANGING IT.




The above graphics have been taken from an earlier version of Biosonic
FFT used to research the comparison between FFT versus CHROMATIC. These next
graphics are from the current BIOSONIC FFT, even if some functions and buttoms
are still missing, it is sufficient to explain further what we need to
understand. As you can see in this graphic we can see the FFT with of without
the Chromatic color bars from the cologram, with just a click of a button we see
both. It is showing the full FFT from a recorded document (wav file). We point
to two different frequencies and we see lines for the harmonics growing up to
infinity. Above we see frequency 183hz that is not in the highest note in the
colorgram, but fits perfectly many high peaks of harmonics, below we see
frequency 172hz from F note, that is the excess note in the Chromatic, but in
the FFT it does not fit the high peaks of harmonics growing to higher
frequencies. Clicking a buttom we can also see the harmonics or take them away
from the screen view.


Next we can see how with the BIOSONIC FFT we can zoom into a small
section of the recorded wav and only process the FFT of that section. Here we
have picked the places where the person says some vowel sounds clearly, so we
have harmonic cascades, for O there is no harmonic distortion, all harmonics are
perfect, but for A there is some harmonic distortion in higher harmonics.

Also, in the 1st graphic, the vowel A has more distorsion too. Then in
the of 3rd recording, the vowel A with the consonant M, when saying AM you see
how it changes the shapes of the FFT breaking the harmonic cascade and many more
distorsions. But this is how it comes out for the normal FFT speaking words and
normal talking, not signing, nor reciting. When the emphasis is on a vowel sound
then the harmonic cascade can maintain its shape.


In the next lessons we will go to see in the FFT the Harmonic signature,
particular to recognizing the voice of an individual and the Harmonic
distorsion, that will tell us how some nutrients interact, helping or erasing
one another.THis is revolutionary and can take us very far in understanding the
vibrational universe, as well as how microcosmos is influenced by macrocosmos
and viceversa.



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