https://github.com/GyanD/codexffmpeg/releases/tag/2023-03-05-git-912ac82a3c

RSID: <<2024-11-15T00:31Z MFSK-32 @ 9265000+1500>>
 

Welcome to program 378 of Shortwave Radiogram.

I'm Kim Andrew Elliott in Arlington, Virginia USA.

Here is the lineup for today's program, in MFSK modes as noted:

  1:37 MFSK32: Program preview (now)
  2:44 MFSK32: Antimatter can travel by truck
  5:28 MFSK64: Why is the oboe used to tune an orchestra?*
11:51 MFSK64: This week's images*
28:02 MFSK32: Closing announcements

* with image(s)


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From Science News:

Antimatter could travel by truck, a test with protons shows

By Emily Conover
November 8, 2024

A truck full of antimatter would make for a seriously epic road
trip. And scientists are now one step closer to hauling the
substance by motor vehicle.

Scientists at the European laboratory CERN have demonstrated the
ability to transport a cloud of subatomic particles aboard a
truck, using protons as a stand-in for their antimatter
counterparts, antiprotons. These particles have the same mass as
protons but opposite electric charge.

Several experiments at CERN study antiprotons to check for any
unexpected discrepancies with their matter partners. Such
studies, scientists hope, could lead to a better understanding of
why matter is common but antimatter is rare, a major physics
mystery.

But antiprotons are a precious resource — CERN, near Geneva, is
the only place where the particles can be trapped and studied.
Scientists would like the option to take them elsewhere, to
access outside equipment and ideal experimental conditions.

Antimatter is a delicate substance, annihilating upon contact
with normal matter. So it must be suspended by electromagnetic
fields in a vacuum chamber. Scientists with the BASE-STEP project
designed a trap that could do that while bumping along down the
road and that was small enough to fit on a truck.

Physicists used the trap to successfully schlep a cloud of 70
protons on a trip of about 4 kilometers around the laboratory
site and back again, CERN announced October 25. A future
experiment will test antiprotons, with the eventual goal of
distributing them to labs throughout Europe.

https://www.sciencenews.org/article/antimatter-protons-travel-truck


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From Phys.org:


Why is the oboe used to tune an orchestra? And other questions
about tuning, answered

by Kathleen McGuire, The Conversation
November 11, 2024

The iconic sound of an orchestra tuning is highly recognizable,
even for those who've never set foot in a concert hall. Many of
us first heard it while watching a Looney Tunes cartoon.

Have you ever wondered why the oboe begins the tuning? How is the
starting note decided? With access to electronic tuning devices,
along with advancements in materials and manufacturing enabling
instruments to better sustain their pitch, is the tuning ritual
still needed? What is the purpose, beyond building excitement or
signaling the conductor's entrance?

Whether or not professional orchestras' tuning rituals are
required, there is something inherently comforting about it for
audiences.

Enter the oboe

The earliest orchestras, in the Baroque era, comprised a
non-standard set of instruments. One combination could have been
a harpsichord, a few string players (violin, viola, viola da
gamba), one or more wind instruments, and perhaps even timpani.

As the number of string players grew in the orchestra, the flute
replaced the quiet recorder.

The oboe brought complex, contrasting overtones, plus a limited
yet stable tuning range controlled mostly by a pair of "fixed"
reeds.

These factors made the oboe the practical choice as the tuning
instrument in the Baroque era.

By the 1800s, the size and instrumentation were much like the
modern orchestra. An order was added to the tuning ritual, with
each "family" of instruments taking its turn to tune with the
oboe.

When a fixed-pitch instrument, such as an organ, was included
with the orchestra, the oboe would be tuned to it before the
ritual began.

These tuning traditions continue today.

Constantly retuning

The tuning ritual heard by the audience is just the tip of the
iceberg. Many instruments need micro-tuning adjustments
throughout a performance.

Tuning can also slip, which may be caused when string or brass
instruments need to use a mute. The mute lowers the volume and
adds a different tonal quality, but it can also slightly alter
the pitch of the instrument.

Tuning is also affected by changes in temperature or humidity as
the instrument warms while being played or cools due to external
changes.

Consider the weather during the opening ceremony of the 2024
Paris Olympics—it would have been challenging to keep the
instruments in tune in the rain and extreme humidity.

Depending on the instrument, sometimes when the pitch slips it
cannot be adjusted mid-performance.

In a recent concert I conducted at St Patrick's Cathedral,
Melbourne, the yidaki was slightly out of tune after being
perfectly in tune two hours earlier in rehearsal. The difference?
The yidaki's wood was affected by a sudden drop in temperature
when a thunderstorm came through mid-concert.

Pipe organs suffer the same fate at the mercy of the weather with
their large, metal components.

What makes an 'A'?

The traditional tuning note is A. This stems from the open A
string being common to all orchestral string instruments.

The oboist plays a long A when instructed by the concert
master—usually the lead violinist—who stands and indicates to the
oboist and then to each section of the orchestra when it's time
to tune.

The string players tune their A strings, from which they can tune
their other strings. In turn, other sections of the orchestra
also tune to A. When the tuning ends and the instruments are
silent, the orchestra is ready to perform.

This all seems straightforward, but there are variations on what
an A should sound like. An audio frequency of A=440 hertz (Hz) is
considered standard or "concert" pitch, although this is a fairly
modern concept.

Tuning forks were invented in Europe in the early 1700s, around
the same time as the emergence of orchestras. Based on tuning
forks and organs remaining from the 18th and 19th centuries, such
as Beethoven's tuning fork, historians have identified concert
pitches ranging from 395 to 465Hz.

Efforts to standardize concert pitch at A=440Hz arose in the 19th
century, further reinforced in the 20th century.

Today, the pitch used may be decided by historically informed
performance, adopting the likely tuning from when the music was
composed. Giuseppe Verdi, for instance, campaigned for Italy to
adopt concert pitch A=432Hz. Using the slightly lower tuning for
Verdi's Messa da Requiem is justifiable, allowing for the choir
to execute extended high passages more comfortably.

In the 1960s, conductor Herbert von Karajan decided the Berlin
Philharmonic sounded "brighter" when tuned to A=443–444Hz. This
trend continues today for several prominent orchestras: The New
York Philharmonic tunes to A=442Hz, and the Vienna Philharmonic
to A=443Hz.

Changing rituals

Is the tuning ritual essential? It depends.

Earlier this year I saw Wicked. The orchestra tuned very quickly.
Practicalities can trump ritual—especially on days with matinee
and evening shows, each running almost three hours.

Symphony orchestras comprise mostly acoustic instruments. In
contrast, modern musical theater orchestras often include
electronic instruments and a rhythm section, with synthesizers
that don't need tuning.

Compared with a large auditorium, a pit may have fewer
temperature fluctuations. When needed, pit players use electronic
tuning devices. Some play multiple instruments in each
performance, which are tuned in advance and during the
performance.

Despite contemporary advancements, the tradition of an orchestra
tuning in the presence of an audience is a special, transcendent
moment, unique to the live concert experience.

https://phys.org/news/2024-11-oboe-tune-orchestra-tuning.html
 

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This is Shortwave Radiogram in MFSK64

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This week's images ...





The Žižkov TV Tower in Prague, in the fog, November 10. Photo by
Ian Willoughbuy of Radio Prague. https://tinyurl.com/226l2acn ...

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The "Cathedral" on the Christmas light trail returns for its 12th
year, in Kew Gardens, London, November 12.
https://tinyurl.com/2yhsk7el ...

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A lynx in the rain, in southern Sweden.
https://tinyurl.com/2d2bzfc5 ...

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A six-blade homemade wind turbine near Grand Island, Nebraska,
circa 1897. https://tinyurl.com/27lcogo4 ...

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A light-show projection at Salisbury Cathedral in England,
November 5. https://tinyurl.com/2aabqzna ...

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Colorful trees stand in the Hongze Lake wetland scenic spot,
Suqian, Jiangsu province, China, November 3.
https://tinyurl.com/2aabqzna ...

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A western swamphen feeding in the meadows of the Kizilirmak
Delta, which is home to 300 different bird species, in Samsun,
Turkey, November 4. https://tinyurl.com/2aabqzna ...

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An autumn scene at Loch Ard in Scotland.
https://tinyurl.com/26t685ly ...

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Our painting of the week is "Fallen Leaves Dancing in the Wind"
(1997) by Higashiyama Kaii. https://tinyurl.com/2c8e7w6t ...

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