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Well, since I made my Absolute Tone pitch I think people got a slightly wrong impression about I am looking for in THIS jornes and I think the readers of my site “get” the idea of “Absolute Tone” too one-dimensional. Let me to peal one layer down from the subject of Absolute Tone in Audio and illustrate what I meant by mentioning Absolute Tone in context the subjects of the given thread: how  USE of “Oops resonances”.

If to dissect Absolute Tone on the methodologically handle-able ingrates then it will be many components in that salad.  In context of this thread I would mention juts two of the ingredients: vowelness and bubbleness (welcome to my language). The definitions that I use very far from conventional - get use to. They are unconventional because I did not learn/read about them but invented them and they reflect to how it understand and how hear the things….

Vowelness describes harmonic infliction to a note and has a lot to do with a parabola with which a tone rolls to its pitch. Why “vowelness”? Because vowelness is about injection of different vowels into other vowels.  The vowels themselves are “pure tones” and they are characterized by open configuration of vocal tract, so that there is no build-up of air pressure above the glottis. A person with healthy breathing has a perfect inner-references and a clear cognitive recognition of vowels. Any coloration of vowels is a coloration! I had many people were pissed on me because I did not like their bass-horns or subwoofers juts after a few seconds of listening. They accused be for not spending enough time and rush with my negative judgment. What those people do not get is that I know (in most cases) what I’m listening while I listen. I care less how “fast” those subwoofers were and the very first thing I need in LF section is to be able to render vowels without colorations (Ironically the “vowelness” has practically no relation to room response and it is almost exclusively the topology of LF topology). What I mean that “e” should not have “o” in it any “u” should not have “opened a” in it. Russians even more lucky as then have an amassing vowel “ы”, which it superbly useful to assess the LF sections…. Anyhow, I think you got the picture… and what you GOT IS NOT WHAT I AM PROPOSING to deal with the “Oops Techniques”. Sure what I describe in this paragraph is a large part of “Absolute Tone” but it is NOT what I am after in CONTEXT OF THIS THREAD. What I am after is the Absolute Tone’s bubbleability.

The bubbleness of sound is an ability of Absolute Tone demonstrates a high rate of bubbleability. Let I give you an association. Pretend you put a pot with a gallon on water on over and the water begin to boil. As you see the small bubbles of air begin to build up under the bottom of the pot and they run up to surface. Then, while the water is boiling, you increase the temperature of heaters and you see now that the bubbles begun more intensely and more aggressively rash to the surface. The very same is with Sound. The Tone is a Tone but beside the Tone there are those bubbles that are popping up at surface of Sound and burst like microscopic explosives. These bubbly explosives do not affect Tone but they affect the Radioactivity of Sound ™ of the force with which Sound injects itself into listener’s skin and mind.  This bubbleness is what I am targeting with the notions of “Oops techniques” or as Rony Weissman brilliantly descried: “cellos were extremely hairy”. (BTW, the bubbleness is where the S2 is uncontestable emperor)

So, the direction I a looking is slightly opposite then juts use the wood of musical instilments. I formulated VERY EXACTLY and I know VERY PRECISELY what kind “noise” I need to overlay over Sound in odder to get that feeling of bubbleness. I juts have no idea what would be able to produced that “noise” in context of horns. So, what I would be interested would be most likely very far for what musical instilments do and is more aligned with the affords of the folks who record noises for cinema films ….

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