Investigating perceptual differences between two trumpets of the same model type

Two mass-produced trumpets of the same model type have been shown to exhibit significant acoustical differences [6] due to the presence of a tiny leak in the bore of one of the two instruments. In this paper, psychophysical experiments are presented which demonstrate that these acoustical differences do not necessarily result in perceptible differences in the playing characteristics of the two trumpets. In particular, during a listening test, very few musicians discriminate successfully between sounds produced by each trumpet. Similarly, only a small number of trumpet players successfully distinguish between the instruments when subjected to a playing test, although those that do are shown to be able to provide distinct and consistent quality assessments for each one.     

Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes

For large-scale woodwind instrument makers, producing instruments with exactly the same playing characteristics is a constant aim. This paper explores manufacturing consistency by comparing five Howarth S10 student model oboes. Psychophysical testing involving nine musicians is carried out to investigate perceived differences in the playing properties of the two Howarth oboes believed to be most dissimilar. Further testing, involving one musician and combinations of the five oboes, provides information regarding the relative playabilities of the instruments at specific pitches. Meanwhile, input impedance measurements are made on the five oboes for fingerings throughout the playing range and their bore profiles are measured. The main findings are (1) the two instruments used in the preliminary psychophysical testing are perceived as identical by most of the musicians, although differences are identified by two players when playing the note F6 and by one player when playing in the lowest register, (2) a variation in the playability of F6 across the five oboes is due to differences in the elevation of the C key, and (3) variations in the playing properties in the lowest register are related to input impedance differences,which, in turn, appear to be at least partly due to bore profile differences.     

Vocal tract resonances and the sound of the Australian didjeridu (yidaki). III. Determinants of playing quality

Traditional didjeridus have a broad range of bore geometries with many details not immediately apparent to a player, and are therefore suitable for examining the relationship between perceived quality and physical properties. Seven experienced players assessed the overall playing quality of 38 didjeridus that spanned a wide range of quality, pitch, and geometry, as well as 11 plastic cylindrical pipes. The ranking of these instruments was correlated with detailed measurements of their acoustic input impedance spectra. Most significantly, the ranked quality of a didjeridu was found to be negatively correlated with the magnitude of its acoustic input impedance, particularly in the frequency range from 1 to 2 kHz. This is in accord with the fact that maxima in the impedance of the player's vocal tract can inhibit acoustic flow, and consequently sound production, once the magnitude of these impedance maxima becomes comparable with or greater than those of the instrument. This produces the varying spectral peaks or formants in the sound envelope that characterize this instrument. Thus an instrument with low impedance and relatively weak impedance maxima in this frequency range would allow players greater control of the formants in the output sound and thus lead to a higher perceived playing quality.     

On the accuracy of bore reconstruction from input impedance measurements: application to bassoon crook measurements

The determination of a pipe bore from the measured reflection function is a technique that has reached a certain maturity. However, the measurement of the reflection function in the time domain (pulse reflectometry) requires equipment that is rather difficult to operate. On the other hand, the techniques for measuring the input impedance have reached an unquestionable maturity with respect to measurement setup and to calibration. It is thus likely that impedance measurements might be able to give the same information. By doing simulations, it is first shown that the reflection function deduced from the input impedance gives access to the bore with a precision comparable with that obtained with pulse reflectometry. It is then shown that the accuracy obtained with measurements is of the same order as that obtained from simulations. The technique is then used for the dimensional inspection of bassoon crooks.     

Study of the brightness of trumpet tones

This study focuses on a particular attribute of trumpet tones, the brightness, and on the physical characteristics of the instrument thought to govern its magnitude. On the one hand, an objective study was carried out with input impedance measurements, and, on the other hand, a subjective study with hearing tests and a panel of subjects. To create a set of different trumpets a variable depth mouthpiece was developed whose depth can be easily and continuously adjusted from "deep" to "shallow." Using this mouthpiece and the same trumpet, several instruments were generated which may be played in three ways: (i) by a musician, (ii) by an artificial mouth, and (iii) using physical modeling simulations. The influence of the depth of the mouthpiece on the perception of the trumpet's tones was investigated, and the ability of a musician, the artificial mouth, or physical modeling simulations to demonstrate perceptively noticeable differences was assessed. Physical characteristics extracted from the impedance curves are finally proposed to explain the brightness of trumpet tones. As a result, the physical modeling simulations now seem to be mature enough to exhibit coherent and subtle perceptual differences between tones. This opens the door to virtual acoustics for instrument makers.     

The metre

A musical wind instrument transforms a constant pressure input from the player's mouth into a fluctuating pressure output in the form of a radiating sound wave. In reed woodwind and brass instruments, this transformation is achieved through a nonlinear coupling between two vibrating systems: the flow control valve formed by the mechanical reed or the lips of the player, and the air column contained by the pipe. Although the basic physics of reed wind instruments was developed by Helmholtz in the nineteenth century, the application of ideas from the modern theory of nonlinear dynamics has led to recent advances in our understanding of some musically important features of wind instrument behaviour. As a first step, the nonlinear aspects of the musical oscillator can be considered to be concentrated in the flow control valve; the air column can be treated as a linear vibrating system, with a set of natural modes of vibration corresponding to the standing waves in the pipe. Recent models based on these assumptions have had reasonable success in predicting the threshold blowing pressure and sounding frequency of a clarinet, as well as explaining at least qualitatively the way in which the timbre of the sound varies with blowing pressure. The situation is more complicated for brass instruments, in which the player's lips provide the flow valve. Experiments using artificial lips have been important in permitting systematic studies of the coupling between lips and air column; the detailed nature of this coupling is still not fully understood. In addition, the assumption of linearity in the air column vibratory system sometimes breaks down for brass instruments. Nonlinear effects in the propagation of high amplitude sound waves can lead to the development of shock waves in trumpets and trombones, with important musical consequences.     

Do trumpet players tune resonances of the vocal tract?

The acoustic impedance spectrum was measured in the mouths of seven trumpeters while they played normal notes and while they practiced "bending" the pitch below or above the normal value. The peaks in vocal tract impedance usually had magnitudes rather smaller than those of the bore of the trumpet. Over the range measured, none of the trumpeters showed systematic tuning of the resonances of the vocal tract. However, all players commented that the presence of the impedance head in the mouth prevented them from playing the very highest notes of which they were normally capable. It is therefore possible that these players might use either resonance tuning or perhaps very high impedance magnitudes for some notes beyond the measured range. The observed lack of tuning contrasts with measurements for the saxophone which, like the trumpet, has weak resonances in the third and fourth octaves. Saxophonists are only able to play the highest range by tuning resonances of the vocal tract, so that the series impedance has a very strong peak at a frequency near that of the desired note. This difference is explained by the greater control that the trumpet player has over the natural frequency of the vibrating valve.     

Analysis and optimisation of the tuning of the twelfths for a clarinet resonator

Even if the tuning between the first and second register of a clarinet has been optimized by instrument makers, the lowest twelfths remain slightly too large (inharmonicity). In this article, we study the problem from two different points of view. First, we systematically review various physical reasons why this inharmonicity may take place, and the effect of different bore perturbations inserted in cylindrical instruments such as bore flare, open and closed holes, taper, temperature gradients, visco-thermal effects, etc. Applications to a real clarinet resonator and comparisons with impedance measurements are then presented. A commonly accepted idea is that the register hole is the dominant cause for this inharmonicity: it is natural to expect that opening this hole will shift the position of the resonances of the instrument to higher frequencies, except of course for the note for which the hole is exactly at the pressure node. We show that the real situation is actually more complicated because other effects, such as open holes or bore taper and bell, introduce resonance shifts that are comparable but with opposite sign, so that a relatively good overall compensation takes place. This is checked by experimental and theoretical studies of the acoustical impedance curves of a clarinet. The origin of the observed inharmonicity in playing frequencies is therefore different, maybe related to the reed or the vocal tract. In a second part, we use an elementary model of the clarinet in order to isolate the effect of the register hole: a perfect cylindrical tube without closed holes. Optimization techniques are then used to calculate an optimum location for the register hole (without taking into account the use of the register hole as a B flat tone hole); the result turns out to be close to the location chosen by clarinet makers. Finally, attempts are made numerically to improve the situation by introducing small perturbations in the higher part of the cylindrical resonator, but no satisfactory improvement is obtained.     

Some insight into the acoustics of the didjeridu

The Australian didjeridu is a unique and interesting instrument. Despite the fact that the bore shape is almost random in nature and varies considerably across different instruments, the didjeridu timbre is readily recognizable. This is also true despite the fact that the player can manipulate the timbre more than in most wind instruments, by changing the shape of his vocal tract. In this study we examine the didjeridu spectrum in detail, in order to determine the characteristics that are similar across different instruments, those that are constant for a given instrument, and those that are readily influenced by the player. To this end we recorded and analyzed the sounds of eight instruments of different quality, all of them played across a range of timbres. Examining the resultant spectra, along with the resonance frequencies of these instruments, leads to a number of interesting conclusions. One of these is that the random nature of the instrument bore is actually conducive to creating its typical timbre. We also give a preliminary explanation of the differences between good and poor instruments.     

Saxophonists tune vocal tract resonances in advanced performance techniques

The acoustical impedance spectrum was measured in the mouths of saxophonists while they played. During bugling and while playing in the very high or altissimo range, experienced players tune a strong, but relatively broad, peak in the tract impedance to select which peak in the bore impedance will determine the note. Less experienced players are unable to produce resonances with impedance peaks comparable in magnitude to those of the bore and consequently are unable to play these notes. Experienced players can also tune their tracts to select which combinations of notes are played simultaneously in multiphonics or chords, and to produce pitch bending, a technique in which notes are produced at frequencies far from those of the peak of impedance of the instrument bore. However, in normal playing in the standard range, there is no consistent tuning of the tract resonances. The playing frequency, in all cases, lies close to the peak in the impedance of the reed in parallel with the series combination of the impedances measured in the mouth and the instrument bore on either side of the reed (ZMouth+ZBore)∥ZReed.     

Effects of nonlinear sound propagation on the characteristic timbres of brass instruments

The capacity of a brass instrument to generate sounds with strong high-frequency components is dependent on the extent to which its bore profile supports nonlinear sound propagation. At high dynamic levels some instruments are readily sounded in a "cuivre?" (brassy) manner: this phenomenon is due to the nonlinear propagation of sound in ducts of the proportions typical of labrosones (lip-reed aerophones). The effect is also evident at lower dynamic levels and contributes to the overall tonal character of the various kinds of brass instrument. This paper defines a brassiness potential parameter derived from the bore geometries of brass instruments. The correlation of the brassiness potential parameter with spectral enrichment as measured by the spectral centroid of the radiated sound is examined in playing tests using musicians, experiments using sine-wave excitation of instruments, and simulations using a computational tool. The complementary effects of absolute bore size on spectral enrichment are investigated using sine-wave excitation of cylindrical tubes and of instruments, establishing the existence of a trade-off between bore size and brassiness potential. The utility of the brassiness potential parameter in characterizing labrosones is established, and the graphical presentation of results in a 2D space defined by bore size and brassiness potential demonstrated.     

Vocal tract resonances and the sound of the Australian didjeridu (yidaki) I. experiment

The didjeridu, or yidaki, is a simple tube about 1.5 m long, played with the lips, as in a tuba, but mostly producing just a tonal, rhythmic drone sound. The acoustic impedance spectra of performers' vocal tracts were measured while they played and compared with the radiated sound spectra. When the tongue is close to the hard palate, the vocal tract impedance has several maxima in the range 1-3 kHz. These maxima, if sufficiently large, produce minima in the spectral envelope of the sound because the corresponding frequency components of acoustic current in the flow entering the instrument are small. In the ranges between the impedance maxima, the lower impedance of the tract allows relatively large acoustic current components that correspond to strong formants in the radiated sound. Broad, weak formants can also be observed when groups of even or odd harmonics coincide with bore resonances. Schlieren photographs of the jet entering the instrument and high speed video images of the player's lips show that the lips are closed for about half of each cycle, thus generating high levels of upper harmonics of the lip frequency. Examples of the spectra of "circular breathing" and combined playing and vocalization are shown.     

Influence of wall vibrations on the sound of brass wind instruments

The results of an experimental and theoretical investigation of the influence of wall vibrations on the sound of brass wind instruments are presented. Measurements of the transmission function and input impedance of a trumpet, with the bell both heavily damped and freely vibrating, are shown to be consistent with a theory that assumes that the internal pressure causes an oscillation of the diameter of the pipe enclosing the air column. These effects are shown to be most significant in sections where there are flaring walls, which explains why damping these vibrations in cylindrical pipes normally produces no measurable effects.     

Influence of wall vibrations on the behavior of a simplified wind instrument

The issue of the influence of wall vibrations on the behavior of wind instruments is still under debate. The mechanisms of vibroacoustic couplings involved in these vibrations are difficult to investigate, as fluid-structure interactions are weak. Among these vibroacoustic interactions, the present study is focused on the coupling between the internal acoustic field and the mechanical behavior of the duct. For this purpose, a simplified single reed instrument consisting of a brass tube connected to a clarinet mouthpiece has been studied. A theoretical model of coupling between the plane inner acoustic wave and mechanical modes is developed and suggests that in order to obtain measurable effects of wall vibrations, the geometrical parameters of the studied tube have to be unusual compared to that of real instruments. For a slightly oval-shaped and very thin brass tube, it is shown theoretically and experimentally that a coupling between the inner plane acoustic wave and ovalling mechanical modes occurs and results in disturbances of the input impedance, which can slightly affect the tone color of the sound produced. It is concluded that the reported effects are unlikely to occur in real instruments except for some organ pipes.     

Acoustics of ear canal measurement of eardrum SPL in simulators

The effect of standing waves on the ear canal measurement of eardrum sound pressure level (SPL) was determined by both calculation and measurement. Transmission line calculations of the standing wave were made using the dimensions of the ANSI S3.25-1979 ear simulator and three different eardrum impedances. Standing wave curves have been obtained for the standard eardrum impedance at 1-kHz intervals in the range of 1-8 kHz. The changes in standing wave position due to each of the three eardrum impedances and their effects on ear canal measurements of SPL were computed for each of the eardrum impedances. Ear canal SPL measurements conducted on simulators modified to correspond to the eardrum impedances used in the calculations were compared to the computed values. Differences between eardrum SPLs and those measured at different locations in the ear canal approached a standing wave ratio (SWR) of 10-12 dB as the position of the measuring probe approached the standing wave minimum at each frequency. These maximum differences compared favorably with data developed by other investigators from real ears. Differences due to the eardrum impedance were found to be significant only in the frequency region of 2-5 kHz. Calibration of probes in a standard or modified ANSI simulator at the same distance from the eardrum as in the real ear reduces the eardrum SPL measurement errors to those resulting from differences in eardrum impedance.     

Toward an estimation of the clarinet reed pulse from instrument performance

In this work, a technique is presented for estimating the reed pulse from the pressure signal recorded at the bell of a clarinet during performance. The reed pulse is a term given to the typically periodic sequence of bore input pressure pulses, a signal related to the volume flow through a vibrating reed by the characteristic impedance of the aperture to the bore. The problem is similar to extracting glottal pulse sequence from recorded speech; however, because the glottis and instrument reeds have very different masses and opening areas, the source-filter model used in speech processing is not applicable. Here, the reed instrument is modeled as a pressure-controlled valve coupled to a bi-directional waveguide, with the output pressure approximated as a linear time invariant transformation of the product of reed volume flow and the characteristic impedance of the bore. By noting that pressure waves will make two round trips from the mouthpiece to the bell and back for each reed pulse, yielding a distinct positive and negative lobe in the running autocorrelation period of the recorded signal, the round-trip attenuation experienced by pressure waves in the instrument is estimated and used to invert the implied waveguide, producing reed pulse estimates.     

A systematic study of the radioluminescence properties of single feldspar grains

Spectral radioluminescence properties of a large number of single grains were measured. The main emission in K-feldspar grains occurs in the infrared range with the same dose characteristic as shown by multi-grain samples. For plagioclases, large differences in spectral radioluminescence between single-grains and multi-grain aliquots were detected. Differences in the saturation of the dose characteristics of the individual emissions have been observed. Consequences for dating application are discussed.     

Using a multi-layered transducer model to estimate the properties of paraffin wax deposited on steel

When using ultrasound for detecting low impedance materials on the surface of high impedance materials, a major challenge is the contrast difference between the strong reverberations from the high impedance material and the weak echoes received from the low impedance material. The purpose of this work is to present the theoretical and experimental validation of an ultrasonic methodology for estimating the acoustical properties of paraffin wax on the surface of steel. The method is based on modeling and inversion of the complete electro-acoustic channel from the transmitted voltage over the active piezoelectric element, to the received voltage resulting from the acoustic reverberations in the multilayered structure. In the current work, two conceptually different models of the same multi-layer transducer structure attached to steel is developed and compared with measurements. A method is then suggested for suppressing the strong reverberations in steel, hence isolating the wax signals. This contrast enhancement method is fitted to the model of the structure, facilitating parameter inversion from the wax layer. The results show that the models agree well with measurements and that up to three parameters (travel time, impedance and attenuation) can be inverted from the wax simultaneously. Hence, given one of the three parameters, density, sound speed or thickness, the other two can be estimated in addition to the attenuation.     

AN ANALYTICAL INVESTIGATION OF THE DIRECT MEASUREMENT METHOD OF ESTIMATING THE ACOUSTIC IMPEDANCE OF A TIME-VARYING SOURCE

This paper presents an analytical investigation of the direct method of measurement of the source impedance of a linear time-variant source. The direct method yields a frequency-dependent effective source impedance which is routinely used in a time-invariant analysis to determine the insertion loss of two different acoustic loads applied to the same source. In such an analysis the strength of the source is assumed to be invariant with load. It is shown here that there is generally no precise correspondence between the effective source impedance as given by the direct method and the characteristics of the actual source. Furthermore, it is shown that the effective source impedance values given by the direct method are functions of the acoustic load and the location of the injected signal as used in the measurement. However, the effective source resistance is always found to be positive, in accordance with experimental measurements. In this regard the direct method is an improvement on the indirect method, where physically implausible negative resistance values are often found. Finally, it is shown that the effective impedance values as given by the direct method when used with a time-invariant analysis give rise to very accurate predictions of insertion loss, even when the strength of the actual time-variant source is allowed to vary with the acoustic load.