Key idea & worked example
Connect a released organ recording to its waveform, acquisition account and file identity. Learn to distinguish audible features from the historical and acoustic claims a recording can support.
Start with the overview, follow the visual examples, then inspect the technical details and sources.On this page
A recording, a representation and a research question
A listening example becomes reusable when someone else can identify the exact file, understand how it was obtained, and see the limits of the interpretation. Start with a short audition and its amplitude envelope, then inspect the source and encoding details.
A released Cuntz tone you can inspect
Listen to the Gedackt mobile audition for control-note 36. This full 9.43-second file is one selected recording from the collection, presented alongside its source-derived amplitude envelope.
- 1 · Hear the opening
Listen for the transition from the start of the file into the tone. Compare its timing with the waveform.
- 2 · Follow the held sound
Notice whether the amplitude stays steady or changes. The two recorded channels are played together.
- 3 · Check the evidence
Separate what you hear in this audition from claims about historical tuning, the whole instrument or physical scale.
The dissertation describes acquisition at 192 kHz / 24 bit using a Neumann KM184 pair and RME Babyface Pro. This selected released mobile realization is Vorbis OGG at 48 kHz, stereo; its declared source master is a 192 kHz floating-point WAVE file. These encoding descriptions do not change the acquisition account.
Source, acquisition and exact file identities
Cuntz Positiv · VAO 0.5.0-rc.2 ↗
Recording, data curation, VAO production and maintenance: Dominik Ukolov; measurements: Philipp Hosbach; TASTEN and DISKOS coordination: Dr. Heike Fricke; project leadership: Prof. Dr. Josef Focht; restoration: Markus Brosig and Veit Heller; institution: Leipzig University; hosting: Musikinstrumentenmuseum der Universität Leipzig.
Licence: CC BY-SA 4.0. The OGG is the unchanged released mobile audition. Compatibility WAV: decoded with FFmpeg to 48 kHz stereo signed 16-bit PCM, without intentional gain, trimming or tempo changes. The waveform is a peak envelope across both decoded channels, normalized only for drawing; it is not a calibrated sound-pressure plot.
- Published realization
- urn:musixplora:4010243:cuntz-positiv:realization:sample:mobile:ged:036
- Published OGG SHA-256
- c5b4bb9e6e70d615df621b64a6052ca5bada5fa71666ea074423e7593389b104
- Compatibility WAV SHA-256
- 54151b1a2affd571c38ae4c613421b2ae4c3d42695cc178160d95176ab922155
Turn listening into a checkable observation
- FileVerified recordingThe published OGG bytes have a specific identity.Encoding is distinct from acquisition
- AccountAcquisition contextThe thesis describes the recording setup.A waveform supports amplitude observations, not every acoustic claim
- InterpretationA scoped observationA statement needs its own evidence and limits.
Describe what you observe before explaining its cause. “The displayed envelope changes during this file” is a narrower statement than “the organ’s wind supply is unstable”. A causal claim would need an appropriate measurement protocol, contextContextThe circumstances within which a statement applies, such as a historical configuration. Context is distinct from the history of how the statement was recorded.Work through the Cuntz example → and evidenceEvidenceMaterial offered as grounds for a claim. Its relevance depends on the claim, context, transmission and interpretation.Work through the Cuntz example →. Keep that distinction visible when sharing a listening result.
Reuse an attributed recording responsibly
- Cite the fixed Cuntz version DOI and the selected realization identifier or file digest. Preserve the attribution and CC BY-SA 4.0 licence.
- Keep the unchanged source audition. Identify any conversion, crop, gain change or analysis derivative you create. The compatibility WAV here is explicitly described as a decoding and quantization derivative.
- Document your analysis or listening setup when it affects the result. Do not substitute an amplitude visualization for a calibrated acoustic measurement.