Summer Meeting: Wind Instrument Acoustics
Reid Concert Hall, University of Edinburgh
12-13 July 2009
ABSTRACTS OF PAPERS
The excitation mechanism and the acoustic power emission for flue
instruments is an ample discussed issue in musical acoustics. Over the
years of investigations two seemingly contradictory mechanisms have been
put forward: The momentum transfer of the jet due to dissipation in the
resonator and the resulting radiation damping on one hand, and the
vortex sound theory on the other hand. Here, the experimental
investigations of jet - labium interaction in flutes with the Particle
Image Velocimetry are presented. The acoustic power of the instrument
is quantitatively compared with estimates based on the vortex sound
theory. The result is understood as a delicate superposition of vortex
sheets of the jet with opposite sign between the lips and the labium.
This leads to a net vorticity which interacts with the local acoustic
field across the embouchure. The power according to the vortex sound
theory tends to be positive, hence being interpreted as a contributor to
the acoustic far field. The validity of the above models will be
addressed.
The bore of the hautboy, like other baroque wind instruments, shows a
number of localized expansions or chambers. Examination of the bore
plots of four oboes by Thomas Stanesby Sr. showed that these expansions
were made in specific regions. However, the exact location of each
expansion varied between different instruments suggesting that they were
individual tuning or voicing adjustments.
Copies of an instrument by Thomas Stanesby Sr. were made without these
expansions. A set of specially made reamers was then used to add the
chambers found in the original instrument, and the effect on tuning and
playing characteristics was recorded.
This secondary reaming resulted in rather subtle changes in intonation,
but tended to correct errors of tuning inherent in instruments with the
'basic' bore. The most striking effect was on their sound, which was
greatly strengthened.
Increasing the diameter of the choke or narrowest section of the bore by
reaming flattened left hand notes in the lower register, and sharpened
the equivalent notes in the second register.
The effect of localised alterations to the diameter of the bore was
investigated further by inserting short lengths of plastic tubing to
narrow sections of the bore. The pitch of each note of the 2-octave
scale of C major was recorded in hertz for each of 15 positions of the
tube. Results were analysed and tabulated to show the effect of each
tube position on the 2-octave scale, the effect of the 15 tube positions
on each individual note, and the effect of each tube position on each
octave. Results suggest that the maker may have reamed the bore at
positions most useful for selectively correcting octaves.
Wind instrument players tend to agree that the material of their
instrument influences the its behaviour dramatically, from the subtle
"feel of it" (in terms of i.e. playability) to the actual
sound produced by it. On the one hand, from a scientific standpoint, it
is still not clear whether or how the material could have such a
dramatic effect, especially on the produced sound of the instrument. On
the other hand, young musicians are paying considerable amounts of money
to buy "better" instruments made with more expensive
materials. The question is: Do instruments that differ "only"
in the material really feel and sound different, or do they feel and
sound different (if they do) because the musician expects them to do so,
and plays accordingly? A typical example of this is the case of the
flute. The study presented here focuses in comparing two flutes of the
same maker and model, one made of gold, and the other one made of
silver. There are three levels where differences between one and the
other could be found: 1. what the player feels, 2. what the player
hears, 3. what the listener in the far field hears. Furthermore, it is
possible that differences in these three levels are more pronounced if
the player sees what instrument he/she has in his/her hands. Two
experiments were performed: In the first experiment, a last year flute
student of the University of Music in Vienna was asked to play the same
fragment of a piece of music 30 times with the silver flute, and
subsequently 30 times with the gold flute. A microphone was placed
close to her left ear, and another one 3 metres away from her. She was
asked to describe the differences she felt and heard. The recorded
sounds were subsequently analysed using the program SNDAN, and the
spectral centroid was calculated for each of the 60 samples. The second
experiment consisted on a blind test, whereby the (blindfolded) player
was asked to play the same piece of music, this time with the flutes
presented in random order (30 times each flute), and asked which flute
she had just played. The sound was also recorded close to her ear and 3
metres away from her, and the sound samples subsequently analysed as
done in the first test. These two experiments were conducted in an
anechoic chamber. Later on, for each test all the sound samples for
each flute were separated, resulting in two groups (silver and gold) of
30 samples each, and the differences between each group were found by
means of statistical analysis for each of the two tests. The results
obtained will be presented, along with some thoughts on the possible
sources for them.
The starting point of this study is the carrying out of a virtual bass
clarinet for a musical project at the IRCAM. Not only is the modeling
of normal notes looked for, but the sounds coming obtained by fork
fingerings, multiphonics and the possibility to drive the model with the
real fingerings and instrument player's control parameters as well.
The bore (internal geometry) of the virtual duplicate is the copy of the
real instrument. The 3D mesh is constructed with Matlab scripts and the
sound is computed with Modalys, a physical modeling synthesis software
using modal theory. The blowing pressure and the flow inside the
mouthpiece are related through a nonlinear reed-valve characteristic.
The first step consisted in measuring the bore of the real instrument,
which called for a complete disassembly of all keys. For the various
holes, we refined the measures by making moldings of the chimneys in
silicone resin.
After that, we validated not only the mesh chosen for the resonator
(barrel and mouthpiece included), but the hypotheses made in the 3D
finite model as well. The validation has been carried out by comparing
resonances amplitudes and frequencies, for various fingerings of the
bass-clarinet, multiphonics included. These values are obtained from
acoustical input impedance measurements.
At the same time, we carried out a comparative study between two models,
the first, old fashioned, is a one-dimensional model including
visco-thermal losses by a method of discretization, using truncated
cones and the second, a 3D finite element model using the software
Modalys. The results of that study will be presented and the
influence of various errors and approximations (geometry, mesh and
measures) will be discussed for the two models.
Finally, sound examples will illustrate this presentation on the making
of a bass clarinet, showing possibilities for instrument craftsmanship
and musical projects.
The technical committee musical acoustics (TCMA) of the EAA has
established a working group (WG2) for Musical Synthesis and Modelling,
initiated by M. Kob and the supervising author. The first contribution
by A. Braden was object oriented C++ code as part of his thesis based
on the work of J. Kemp, both graduates of Edinburgh. The original code
was for Linux and consisted of bore discontinuities, straight and
circularly bent cylindrical tubes and cones and Bessel horn sections for
single and multimodal treatment in the frequency domain. As a first
step this code has been ported to Windows and restructured to speed it
up. As a second step new interfaces have been added allowing quiet
shell execution using command line switches and it has also been
compiled as a dynamic or static library to be used by external
applications providing a graphical user interface. Currently tone hole
models are being implemented and preparations are being made for caching
intermediate results of instrument parts which are not modified during
optimisation or interactive bore modifications. Rectangular ducts are
ready for implementation and feasibility of cones or Bessel horns
without discretization is currently being studied. In future time
domain simulation should be included.
As brass musical instruments age, the inner surfaces of the bore of
the instrument are likely to change. These changes can be as a result
of a number of different corrosion regimes, and/or as a result of lack
of cleaning and the accumulation of material on the tube wall. Although
the bore profile may appear to be superficially unchanged from that of
the instrument in "as new" condition, changes in surface
condition can have significant effects on the acoustic response, and
hence playing characteristics, of the instrument.
This paper explores the use of non invasive measuring and modelling
techniques which may be applied to historic brass instruments to provide
insight into the playing characteristics of the instrument. The
presence and location of leaks can be identified using pulse
reflectometry techniques. For instruments with no significant leaks,
the acoustic input impedance of the instrument is measured and the
results compared with those from computational simulations based on
physical measurements of the bore profile. By adjusting the attenuation
coefficient in the model to provide a good match with the measured data
we can make some observations about the internal condition of the
instrument, and suggest ways in which the playing characteristics of the
instrument in its current state may differ from those of the instrument
immediately following its manufacture.
It is now well known that the bore profile of a wind instrument can
be deduced from its reflection function r(t) [1]. This reflection
function is usually measured by using the acoustic pulse
reflectometry technique [2]. One of the problems of this technique is
the difficulty to reach a high signal to noise ratio. Another
solution is to perform an input impedance measurement, from which the
reflection function R(w) can be deduced. An inverse Fourier transform
leads to the reflection function r(t) and the same algorithm [1] can
be used to obtain the bore profile. The advantage is that input
impedance measurement is a mature technique with a high accuracy
especially by using the new input impedance sensor which has been
recently built and which allows low frequency measurements [3].
Results show that the bore profile can be efficiently deduced from
impedance measurements when strong discontinuities are avoided and
when measurements are performed beyond the cut-off frequency. The
question of the accuracy is discussed.
[1] N. Amir, G. Rosenhouse, U. Shimony: "A discrete model for tubular
acoustic systems with varying cross sections - the direct and inverse
problems. Part 1: theory" Acustica, 81, No.5, 450-462 (1995)
Woodwind instruments from the early eighteenth century give the
appearance of simple technology with just six to eight open
fingerholes and a few keys. However they often contain complex bore
geometries not found in their modern counterparts which are only
revealed by careful measurement.
The musical demands made on these instruments were considerably
greater than those of their predecessors. They were required to play
in a wide range of keys while making the enharmonic distinctions of
non-equal temperaments, to play with increased expressive capability
and to fill solo and ensemble roles in the latest concertos,
orchestral and chamber music.
Subtleties of bore design were part of the means by which the playing
characteristics were developed in answer to these pressures, while
keeping the number of toneholes to a minimum.
Makers reached a peak of expertise in the manipulation of tuning and
response through bore modification in the eighteenth century, but
this decreased in significance as the process of adding greater
numbers of toneholes with associated keywork got underway. It is now
a field of rediscovery for reconstructors of baroque woodwind
instruments.
This paper looks closely at the bore design of bassoons by Johann
Poerschman (Leipzig c 1680-1757) and attempts to understand the
reasoning behind specific features of the bore. Use is made of
mathematical modelling of bore resonances alongside playing tests on
an instrument reconstructed using multiple small reamers in order to
show how some of the problems of early bassoons are met.
When a brass instrument is played making a crescendo, the energy level of
the higher harmonics increases, and the sound becomes brighter. If the brass
is played loudly, then the increase is dramatic, and the sound is becoming
dramatically bright, then called "brassy" or cuivré.
The brightness and brassiness in brass instruments is controlled by several
phenomena:
The intonation of woodwind instruments is a crucial topic from the
manufacturers point of view. Most instruments are manufactured in
serial production. Even if the parts are made using high precision
woodworking machinery, every single instrument needs individual
reworking of the intonation. Making highest quality instruments, the
maker has to perform delicate corrections at the tone holes of the
ready-built instrument, in order to meet the customer needs. For
musicians, the intonation is one of the most important quality aspects
of woodwinds. The ease of playing, and therefore the possibilites of
artistic articulation on an instrument highly depend on the tuning
corrections that are necessary during performance.
In this study we present curves of the dynamic range at a constant
pitch for all playable notes of the bassoon. The curves were obtained
from sound samples of several german manufactured bassoons, played by a
professional bassoonist. Several reeds and bocals were used in the
investigation. The rising of overtones, as the dynamic level is
increased from pianissimo piano to forte fortissimo, is mapped using
principal components analysis.
This experimental study was supported by instrument makers and
focuses on their needs of objective measures in the process of fine
tuning. Comparing these curves and perceptional judgements of the
bassoonist, we discuss quality aspects of the bassoons from the
musicians point of view.
We seek to apply an understanding of the physics of the operation of
reeds at a level which will be helpful to the maker and musician. To do
this we need data which are sufficiently precise and accurate to reflect
subtle differences that are often of great musical significance. This
paper will review progress in developing techniques of measurement which
are both accurate and sufficiently convenient that they may
realistically be used by reedmakers. The current work concentrates on
optical and mechanical methods for measuring the stiffness profile of
double reeds.
Previous experiments demonstrated a significant audible influence of
wall vibrations on the radiated sound of french horns. Timbre
differences observed in the near as well as in the far field could
with high statistical significance be attributed to the vibration
amplitudes measured near some antinodes of certain deflection shapes
of the bell. Sound levels originating from comparable multi pole
radiators have been estimated and more accurate boundary element
simulations have been performed both strengthening the hypothesis of
an audible effect of vibrating brass mainly of the bell. Finally near
sound field recordings have been made with Rolf Bader's 128
microphone array[1] at the Institute of Musicology of the University
of Hamburg. After post processing 5GB of wave files 250GB of video
files have been generated illustrating the time resolved sound
pressure distribution in a plane directly in front of the bell and in
a plane perpendicular to that plane. Many of those animations do show
complicated modal patterns with several nodal diameters, which are
not compatible with the assumption of an axial symmetric air column
as the only source of sound. In some human lip driven cases, recorded
at higher sound levels, the formation of shock waves becomes
apparent.
Acoustic methods of measuring tubular systems (such as brass musical
instruments) can be characterised either as impedance head methods which
analyse signals entirely in terms of fixed amplitude infinite duration
sinusoids and reflectometry methods that also exploit causality.
Traditionally, acoustic pulse reflectometry has largely been based on the
assumption that the source tube must be long enough to completely isolate
all the reflections from the object under test. The current paper
discusses how this condition can be relaxed: only the primary reflections
from the object under test need to be isolated.
For more than a century (1780-1911) bassoon methods called for the
player to use an oblique embouchure. That is, the reed was to be
rotated slightly on the crook so that formed "an angle with the
lips". This widespread practice, largely forgotten during the
20th century, had significant consequences for early reed design,
fingerings for early bassoons, and octave venting. A simple A-B
comparison of results obtained via the oblique embouchure vs. a
conventional embouchure offers valuable insights into some of the
effects of altered lip-damping conditions. After a summary of the
written evidence, I will demonstrate some of the acoustical effects of
the oblique embouchure.
This paper addresses the use of sound simulations for instrument
characterisation. We focus on the ability of simulations by physical
modelling to create sounds characteristic of a given instrument: is this
technique accurate enough to produce dissimilar sounds for two different
instruments? Are there similarities with sounds played by a musician? We
used the harmonic balance technique to generate trumpet sounds in
permanent regime. The input parameters of the simulations are the input
impedance of the trumpet (resonator), the control parameters are the
characteristics of the virtual musician (excitator), and the outputs of
the simulations are the playing frequency and the magnitude of the 6
first harmonics of the notes. Three different trumpets, obtained by
geometrical variations of the leadpipes, were first simulated using
several virtual musicians, and second played by a 'real' musician. The
two populations of sounds produced were characterized by their spectrum
in permanent regime. Firstly, in order to see in which extent the
simulated sounds are different, Principal Component Analysis (PCA) and
Factorial Discriminant Analysis (FDA) were used to analyse the
population of sounds. For very dissimilar trumpets according to their
input impedance, the simulated sounds are clearly differentiated. For
more similar trumpets, the variability due to the virtual musician is in
the same order than those of the instruments. More information will be
necessary for separating the sounds, as the evolution of the sounds
characteristics during an increasing of the pressure supply (crescendo
sounds).
Secondly, the similarities between the simulated sounds and those
played by a musician, were studied. For a same trumpet, the simulated
sound and the sound played by a musician were obviously very different.
But similarities in the differences between the sounds were noticed for
the set of 3 trumpets.
As a conclusion, either with a simulated or with a 'musician' sound,
an acoustical signature characteristics of the instrument can be found
in the signal.
For large-scale musical wind instrument manufacturers, the ability to
produce instruments in a repeatable fashion is essential. However,
despite the tight manufacturing tolerances used, professional musicians
are often able to discern small, but perceptible, differences between
the playing characteristics of instruments manufactured in an identical
way. These differences are most likely a result of tiny disparities in
bore profile or in the positioning/sealing of any side holes.
This talk outlines a programme of work designed to investigate the
consistency with which manufacturers are able to make wind instruments
and to explore the causes of any musical differences between the
instruments. State-of-the-art techniques will be used to measure the
internal geometries and resonance characteristics of batches of
nominally identical instruments. Meanwhile, the musical qualities of
the instruments will be established through a series of psychoacoustical
tests. The potential effectiveness of the proposed approach will be
demonstrated through a set of measurements made on two low-cost,
mass-manufactured trumpets.
In a simple model of reed or lip reed operation, the impedance of the
bore of a instrument (looking in from the mouthpiece) and that of the
player's vocal tract (looking in from the lips) are acoustically in
series [1]. The acoustical impedance spectra of instruments have a
series of impedance peaks, typically several tens of megohms, and these
usually determine the playing regime. That this is not the whole story
is demonstrated by the didjeridu, in which much of the musical interest
comes from the variations in spectral envelope produced by the effects
of resonances in the vocal tract [2], as well as interference effects
produced by simultaneous vibration of lips and vocal folds. We report
the results of measurements of the impedance spectrum of the vocal tract
of performers, while they are playing. Here we concentrate on
clarinets and saxophones. On the saxophone, the magnitude of impedance
peaks decrease strongly with frequency in the high registers, a result
of the conical bore. This limits the performance range - unless the
performer can tune a tract resonance so that its series combination with
a weak, high resonance of the instrument can control the reed. This
technique is not needed for the altissimo range of the clarinet.
Nevertheless, clarinettists can learn to produce resonances in the tract
with sufficiently high impedance that they can largely determine the
playing pitch [3]. The famous glissando of Gershwin's Rhapsody in
Blue is a well-known example.
[1] Benade, A.H. (1985). "Air column, reed , and player's
windway interaction in musical instruments", in Vocal Fold
Physiology, Biomechanics, Acoustics, and Phonatory Control, Chap 35,
pp.425-452.
Recent acoustical research of the clarinet has been paid significant
attention to the changes in the impedance of a player's vocal tract,
particularly in the altissimo register tones. In the present research
an artificial blowing system is applied instead of actual players. Six
simplified models of a player's vocal tract and mouth are made and
coupled with the clarinet mouthpiece. Three of them (models 1, 2, and
3) have the second-mode resonance around 1.5 kHz and the Q values of 22,
17, and 11, respectively. On the other hand, another three of them
(models 4, 5, and 6) have the second-mode resonance around 1.0 kHz
(almost corresponding to the fundamental of the first altissimo tone
D6) and the Q values of 22, 19, and 8, respectively.
Artificially blown tones are measured and analyzed when these player
models are applied. The results indicate no systematic changes in tones
and their harmonic structures corresponding to the acoustic properties
of the models. A very slight change in the reed opening observed in the
measurement seems to yield a more appreciable effect to the tones in the
altissimo register. This result is contrary to the results given by
Fritz and Wolfe [J. Acoust. Soc. Am. 118, 3306-3315 (2005)]
and Scavone, Lefebvre, and da Silva [J. Acoust. Soc. Am. 123,
2391-2400 (2008)].
The sound production mechanism in jet-driven instruments such as the
flute and pipe organ involves the interaction between the fluid field
and the acoustic field. A most promising fluid-dynamical model seems to
be based on the so-called "Powell-Howe vortex-sound theory".
The validity of an application of this vortex-sound theory to flue organ
pipes is experimentally examined by using the PIV (Particle Image
Velocimetry) in the present paper. The "vortex power
density", which is defined as the inner product of the aeroacoustic
source term (the Coriolis force per unit volume) and the acoustic
particle velocity, is evaluated from the velocity distributions of the
jet flow and the acoustic particles measured over the mouth area by the
PIV. Moreover, the distribution of this vortex power density is summed
up over the mouth area at an interval of T/12 (T: the
tonal period). This result corresponds to the surface integral of the
vortex power density, and it may be called the "two-dimensional
vortex-sound power" since the direction of the mouth width is not
considered. This 2-D vortex-sound power yields two peaks within a
period at the phases when the jet crosses the edge and moves to the pipe
exterior, and reversely (after half a period) moves to the pipe
interior. This result matches very well to the result given by
Bamberger [Proc. Forum Acusticum, 665-670 (2005)]. However, it seems
to be still dangerous to jump to conclusion for the support of the
vortex-sound theory. This is because (1) the jet-edge interaction is
relatively weak, although the acoustic particle velocity takes much
larger magnitude around the edge than around the flue and (2) the phase
relation between the jet deflection at the edge, the acoustic pressure
at the mouth, and the acoustic particle velocity at the mouth is the
same as that of the acoustical model based on the volume-flow drive.
The so-called "cross fingering", which crosses open tone
hole(s) and closed tone hole(s), is usually used to lower the tone by a
semitone in woodwind instruments. However, the cross fingering in
Japanese shakuhachi is applied to raise the tone by a semitone, too.
This reverse phenomenon is called "intonation anomaly" in the
present paper. Such a phenomenon is also seen in simple flutelike or
recorderlike instruments like Chinese flute and Irish tin whistle.
However, most players are almost unconscious that the cross fingering is
used to bending up as well as to bending down, and they do not think
this intonation anomaly as the anomaly in the scene of actual playing.
A few data on the intonation anomaly are obtained from the shakuhachi
that has four holes in the front and one hole in the back. The
fingering Wu3 (only the 3rd hole open) yields the bending-up when
the shakuhachi is blown in the second register: The tone frequency of
Wu3 is about 904 Hz; that of Chi (the 1st, 2nd, and 3rd
holes open) is about 880 Hz (A4). However, the Wu3
never yields the bending-up when the shakuhachi is played in the first
register. Numerical calculation is carried out by applying the
branching-system theory to these two fingerings (Chi and
Wu3), and the result is compared with the measured data. Also,
the respective standing-wave patterns in the bore are measured, and then
the possible cause of the intonation anomaly is discussed.
For further information, please contact
Murray Campbell,
School of Physics
University of Edinburgh,
James Clerk Maxwell Building,
King's Buildings,
Mayfield Road,
EDINBURGH EH9 3JZ,
E-mail: D.M.Campbell@ed.ac.uk
or Arnold Myers, Edinburgh
University Collection of Historic Musical Instruments, Reid Concert
Hall, Bristo Square, Edinburgh EH8 9AG, E-mail: A.Myers@ed.ac.uk
Note: This meeting follows the conference Making the British Sound
organised by the Galpin Society and the Historic Brass Society,
London - Edinburgh, 7 - 11 July 2009.
Details of this meeting are on the website:
www.euchmi.ed.ac.uk/gxhp.html
This page updated: 2.7.09; re-published 13.2.13Microphone array techniques and wind instruments
Rolf Bader
Institute of Musicology, University of HamburgSound production of flutes
Andreas Bamberger
Physical Institute of the Albert-Ludwigs-University, Freiburg, GermanyOboes by Thomas Stanesby Sr.: possible acoustic function of bore perturbations in the baroque oboe
P.J. Berry and L. Jones
London Metropolitan UniversityGold vs silver: does material influence the sound of flutes ?
Sandra Carral
Institut für Wiener Klangstil, Vienna, AustriaThe making of a virtual bass clarinet: geometrical measures, model comparison and experimental validation
René Caussé, Nicholas Ellis and Joël Bensoam
IRCAM, 1 place Igor Stravinsky, F-75004 ParisART - a flexible framework for an extensible library of acoustic simulation models. Progress report of an EAA open source project
Delphine Chadefaux (1) and Wilfried Kausel(2),
(1) Université Pierre et Marie Curie, Paris, France (currently intern at Institut für Wiener Klangstil, Vienna)
(2) Institut für Wiener Klangstil, University of Music and Performing Arts, Vienna, AustriaThe effects of the internal condition of the bore on the acoustic
properties of brass instruments: What can we tell about the playing
condition of historic brass instruments without playing them ?
John Chick, D. Murray Campbell and Arnold Myers
University of EdinburghBore reconstruction from input impedance measurements
Jean-Pierre Dalmont
Laboratoire d'Acoustique de l'Université du Maine, UMR CNRS 6613, Av. O. Messiaen, 72085 Le Mans cedex 9, France
[2] D. B. Sharp and D. M. Campbell,"Leak detection in pipes using
acoustic pulse reflectometry",
Acustica, 83, 560-566 (1997).
[3] J.P. Dalmont, J.C. Le Roux, B. Gazengel, "A new impedance tube
for large frequency band measurement of absorbing
materials",.Acoustic's 08 Paris, 1-6.
Rediscovering bore perturbations; an examination of the bassoon designs of Johann Poerschman
Mathew Dart
London Metropolitan UniversityBrightness and brassiness in brass instruments, a review of recent progress
Joël Gilbert
CNRS, Laboratoire d'Acoustique de L'Université du Maine (UMR CNRS 6613), Le Mans, France
The objective of this study is to investigate the relative influence of the
above phenomena taking into account recent progress.
Intonation - a quality aspect of the bassoon
Timo Grothe (1), Johannes Baumgart (2) and Roger Grundmann (1)
(1) Institute for Aerospace Engineering, Technische Unviversität Dresden, Germany
(2) Insitute of Scientific Computing, Technische Unviversität Dresden, GermanyMeasurement of the mechanical properties of reeds
Michael Hutley
Time resolved sound field visualization of french horn: effect of wall vibrations and formation of shock waves
Wilfried Kausel
Institut für Wiener Klangstil, University of Music and Performing Arts, Vienna, Austria
[1] Thank you Rolf for giving me that unique opportunity!
Causality in Acoustic Pulse Reflectometry
Jonathan Kemp, Maarten van Walstijn and Richard Smith
Some effects of lip damping: the oblique embouchure for bassoon
James Kopp
Hoboken, New Jersey, U.S.A.Comparison of the sound of different trumpets played by a musician and simulated by physical modelling: differences and similarities
Jean-François Petiot (1), Marie Françoise Lucas (1), Joël Gilbert (2)
(1) Institut de Recherche en Communications et Cybernétique de Nantes (UMR CNRS 6597) - 1 rue de la Noë, BP 92101, 44321 Nantes Cedex 3 France, {petiot,lucas}@irccyn.ec-nantes.fr
(2) Laboratoire d'Acoustique de l'Université du Maine (UMR CNRS 6613) Av. O. Messiaen, 72085 Le Mans Cedex 9, France, Joel.Gilbert@univ-lemans.frInvestigating the consistency and quality of musical wind instrument manufacturing
Adrien Mamou-Mani and David Sharp
The Open University, Milton KeynesThe acoustics of musical wind instruments - and of musicians
Jer Ming Chen, John Smith and Joe Wolfe
School of Physics, University of New South Wales, Sydney, Australia
[2] Tarnopolsky, A, Fletcher, N. Hollenberg, L., Lange, B.,
Smith, J. and Wolfe, J. (2005). "The vocal tract and the sound of
a didgeridoo", Nature, 436, 39.
[3] Chen, J.M., Smith, J. and Wolfe, J. (2008). "Experienced
saxophonists learn to tune their vocal tracts", Science,
319, 726.
Experiments of player's effects on the altissimo register tones in the clarinet
Mitsuru Ikushima* and Shigeru Yoshikawa
Graduate School of Design, Kyushu University, 4-9-1 Shiobaru, Minami-ku, Fukuoka, 815-8540 Japan
*Currently with Disco Corporation, 2-13-11 Omori-Kita, Ota-ku, Tokyo 143-8580 JapanPIV-based examination of the vortex-sound theory in flue organ pipes
Hiromi Tashiro* and Shigeru Yoshikawa
Graduate School of Design, Kyushu University, 4-9-1 Shiobaru, Minami-ku, Fukuoka, 815-8540 Japan
*Currently with Roland Corporation, 2036-1 Hosoemachi-Nakagawa, Kita-ku, Hamamatsu, 431-1301 JapanIntonation anomaly of the shakuhachi tone-hole system
Shigeru Yoshikawa
Graduate School of Design, Kyushu University, 4-9-1 Shiobaru, Minami-ku, Fukuoka, 815-8540 Japan