Acoustical classification of woods for string instruments

Two basic types of wood are used to make stringed musical instruments: woods for soundboards (top plates) and those for frame boards (back and side plates). A new way to classify the acoustical properties of woods and clearly separate these two groups is proposed in this paper. The transmission parameter (product of propagation speed and Q value of the longitudinal wave along the wood grain) and the antivibration parameter (wood density divided by the propagation speed along the wood grain) are introduced in the proposed classification scheme. Two regression lines, drawn for traditional woods, show the distinctly different functions required by soundboards and frame boards. These regression lines can serve as a reference to select the best substitute woods when traditional woods are not available. Moreover, some peculiarities of Japanese string instruments, which are made clear by comparing woods used for them with woods used for Western and Chinese instruments, are briefly discussed.     

Resonance wood [Picea abies (L.) Karst.]--evaluation and prediction of violin makers' quality-grading

The definition of quality in the field of resonance wood for musical instrument making has attracted considerable interest over decades but has remained incomplete. The current work compares the traditional knowledge and practical experience of violin makers with a material-science approach to objectively characterize the properties of resonance wood. Norway spruce [Picea abies (L.) Karst.] has earned a very high reputation for the construction of resonance tops of stringed instruments and resonance boards of keyboard instruments, and was therefore chosen as the focus of the investigation. The samples were obtained from numerous renowned resonance wood regions in the European Alps and cover the whole range of available qualities. A set of acoustical, anatomical, mechanical and optical material properties was measured on each sample. These measurements were compared with subjective quality grading by violin makers, who estimated the acoustical, optical and overall suitability for violin making. Multiple linear regression models were applied to evaluate the predictability of the subjective grading using the measured material characteristics as predictors. The results show that luthiers are able to estimate wood quality related to visible features, but predictions of mechanical and acoustical properties proved to be very poor.     

中西方典型乐器音高响度与音色明亮度的研究

为了客观地评价民族乐器与西洋乐器在听觉感知方面的差异,本文利用15种典型的中西方乐器声样本,建立了与音色、响度和音色明亮度有关的15种乐器的感知空间模型,通过这些模型可以预测不同乐器在音高、响度一定时,音色明亮度的感知情况。此外,根据已建立的感知空间模型分别对比弹拨乐器、拉弦乐器和不同类型的吹奏乐器中三种听觉感知属性的变化差异。结果表明,对于中西方典型乐器,音色明亮度随响度的增加而增大,但是响度对音色明亮度的影响程度受到音域和响度范围的影响。民族乐器的音色明亮度随音高的增加而增大,但是西洋乐器的音色明亮度并没有随音高的增加而发生明显的变化。     

椰胡声功率级的半消声室测试

椰胡是具有地方特色的拉弦乐器之一,多用于演奏广东音乐和广东戏曲、曲艺的伴奏。但对其发声强度一直未进行过科学的测试。本文介绍在华南理工大学半消声室内参照ISO(GB)标准对椰胡声功率级的测量工作。由两位资深乐师分别用两把椰胡在pp,mp,f和ff力度下演奏单音、音阶和乐曲,对每一把椰胡的每一测试内容,由十通道测试设备同步测试中心频率为100～10000 Hz的1/3倍频带声压级谱,通过计算获得每把椰胡在演奏每项内容时的声功率级和动态范围。通过对两把椰胡的测试结果进行平均,获得该乐器在演奏上述内容时的典型声功率级数值及频谱。文中并将半消声室内的测试结果与混响室内的测试结果相对比,探讨测试环境对测试结果的影响。民族乐器发声强度及其频谱特性的获得是开展民族音乐厅堂音质研究的基础。     

Modal analysis and intensity of acoustic radiation of the kettledrum

The acoustical features of kettledrums have been analyzed by means of modal analysis and acoustic radiation (p/v ratio) measurements. Modal analysis of two different kettledrums was undertaken, exciting the system both by a hammer and a shaker. Up to 15 vibrational modes were clearly identified. Acoustic radiation was studied using two ways. Based on previous experiments of other researchers, a new parameter, called intensity of acoustic radiation (IAR), has been defined and measured. Results show a strict relationship between IAR and the frequency response function (FRF, which is the v/F ratio), and IAR also strongly relates the modal pattern to acoustic radiation. Finally, IAR is proposed for vibro-acoustical characterization of kettledrums and other musical instruments such as strings, pianos, and harpsichords.     

Sound absorption by wood in relation to anatomical and mechanical properties

The results of basic research on sound absorption by transverse and longitudinal sections of four Egyptian woods are presented. The amount of sound absorption was determined by laboratory experiments with wood samples in a standing wave apparatus. The specific gravity, maximum crushing strength and hardness of tested samples were also determined in order to study the relationship between wood absorption of sound and its mechanical properties. Cross-sections of the wood samples were also microscopically tested. The results are discussed in terms of two basic mechanisms of sound absorption—the flow resistance and mechanical hysterisis. The results show that sound absorption measurements have potential both as a non-destructive test and for the evaluation of the mechanical properties of woods.     

Objective estimation of the tuning features of historical carillons

The carillons of the Mafra National Palace are undergoing a restoration project. Together, the pair of carillons represent the largest surviving 18th century carillons in Europe. To guarantee the historical significance of these outstanding musical instruments, a detailed diagnosis of their current physical tuning state was achieved and results were analyzed with respect to historical, acoustical and musical concerns. In a first stage, we developed a suitable polyreference modal identification technique to infer the tuning status of bells from their modal parameters and we then systematically performed in-field modal testing experiments on a selection of historical bells of the Mafra carillons. For each carillon bell, tuning charts displaying the internal frequency relationships between its most important partials were obtained, as well as the mode shapes, decay times and beating frequencies between modal-doublets for every single musical partial of the bell. In a second part, since carillon bells also must be tuned very accurately one relative to the others in order to play in tune, the important topic of estimating the reference pitch and musical temperament of carillons was addressed by devising optimization techniques, here tentatively based on the actual modal frequencies of the bells. After presenting the modal identification procedure and optimal strategies developed for this work, the feasibility and interests of this instrumental approach are finally illustrated for the two carillons of Mafra.     

Effects of using scalloped shape braces on the natural frequencies of a brace-soundboard system

Many prominent musical instrument makers shape their braces into a scalloped profile. Although reasons for this are not well known scientifically, many of these instrument makers attest that scalloped braces can produce superior sounding wooden musical instruments in certain situations. The aim of this paper is to determine a possible reason behind scalloped shaped braces. A simple analytical model consisting of a soundboard section and a scalloped brace is analyzed in order to see the effects that changes in the shape of the brace have on the frequency spectrum of the brace-soundboard system. The results are used to verify the feasibility of adjusting the brace thickness in order to compensate for soundboards having different stiffness in the direction perpendicular to the wood grain. It is shown that scalloping the brace allows an instrument maker to independently control the value of two natural frequencies of a combined brace-soundboard system. This is done by adjusting the brace’s base thickness in order to modify the 1st natural frequency and by adjusting the scalloped peak heights to modify the 3rd natural frequency, both of which are considered along the length of the brace. By scalloping their braces, and thus controlling the value of certain natural frequencies, musical instrument makers can improve the acoustic consistency of their instruments.     

Wood typification by Venturi easy ambient sonic spray ionization mass spectrometry: the case of the endangered Mahogany tree

Venturi easy ambient sonic spray ionization mass spectrometry in both its liquid (V(L) -EASI-MS) and solid sample modes (V(S) -EASI-MS) is shown to provide nearly immediate and secure typification of woods, as demonstrated for Mahogany, an endangered and most valuable type of tropical wood. This reddish wood displays unique phytochemical markers (phragmalin-type limonoids) which are rapidly detected from the wood surface by V(S) -EASI-MS or from a simple methanol extract of a tiny wood chip by V(L) -EASI-MS. Unique profiles were obtained for Mahogany (Swietenia macrophylla) whereas genuine samples of six other similar types of woods, which are commonly falsified by artificial coloring and commercialized as Mahogany, display also typical but dissimilar pythochemical profiles as compared to that of the authentic wood. Variable and atypical chemical profiles were observed for artificially colored woods. Secure chemical characterization via V(S) -EASI-MS or V(s) -EASI-MS fingerprints of Mahogany and other types of woods with similar appearance should help to control the illegal logging and trade of this and other endangered woods and their falsification, and to create certified standards.     

Fusion research and international scientific collaboration

Physics and technology have played a major role in shaping the development, performance, interpretation and composition of music for many centuries. From the twentieth century, electronics and communications have provided recording and broadcasting that gives access to worldwide music and performers of many musical genres. Early scientific influence came via improved or totally new instruments, plus larger and better concert halls. Instrument examples range from developments of violins or pianos to keyed and valved wood wind and brass that offer chromatic performance. New sounds appeared by inventions of totally new instruments, such as the saxophone or the Theremin, to all the modern electronic influence on keyboards and synthesisers. Electronic variants of guitars are effectively new instruments that have spawned totally original musical styles. All such advances have encouraged more virtuosic performance, larger halls, a wider range of audiences and a consequent demand and ability of composers to meet the new challenges. Despite this immense impact, the role of physics and technology over the last few centuries has mostly been ignored, although it was often greater than any links to arts or culture. Recorded and broadcast music has enhanced our expectations on performance and opened gateways to purely electronically generated sounds, of the now familiar electronic keyboards and synthesisers. This brief review traces some of the highlights in musical evolution that were enabled by physics and technology and their impact on the musical scene. The pattern from the past is clear, and so some of the probable advances in the very near future are also predicted. Many are significant as they will impinge on our appreciation of both current and past music, as well as compositional styles. Mention is made of the difference in sound between live and recorded music and the reasons why none of us ever have precisely the same musical experience twice, even from the same recording. Similarly, it is impossible to appreciate earlier music from the same perspective as occurred when it was first composed and performed, or indeed from later interpretations.     

Acoustic properties of wood in tridimensional representation of slowness surfaces

Mechanical behaviour of wood considered as an orthotropic solid can be determined with ultrasonic technique. The propagation phenomena in wood are complex and theoretically are regulated by Christoffel's equation. Three type of waves can propagate in wood. During the propagation phenomena three slowness sheets are observed, corresponding to a fast longitudinal wave (inner sheet) and two shear waves, one fast and one slow (outer sheet). These waves are submitted continuously to mode conversion phenomena. The polarization angle changes when the propagation direction is out of the principal directions of symmetry of the material. In this article an analysis of the propagation phenomena in tridimensional representation is performed for different wood species. This approach contributes to the understanding of dynamic aspects of particle displacement associated with the wave fronts propagation. Globally, the anisotropy of each species, expressed by their acoustical behaviour is well represented.     

The physics exhibition, 1971

There has been a considerable upsurge of interest in musical acoustics over the last 10 to 15 years and this article is an attempt to summarize the present position in this multidisciplinary field. It first looks at the essential physics involved, reduced to its simplest terms, goes on to consider the relationships between real musical instruments and the resonance tubes and sonometers of the old text-books on ‘sound’ and outlines the history of the subject up to the Second World War. The main section then discusses areas of current study and the relevant measurement techniques in relation to three of the main groups of musical instruments. The article concludes with a discussion of some aspects of the difficult, but all-important, subject of psycho-physics and a brief attempt to predict the future prospects for research in musical acoustics     

Anatomical descriptions of silicified woods from Madagascar and Indonesia by scanning electron microscopy

Fine structure and tissue substitution by minerals were investigated in silicified woods from Madagascar and Indonesia by scanning electron microscopy and X-ray microanalysis. The silicified woods maintained the exterior morphology of once grown trees and showed typical inner structures of conifers. Radial planes of the silicified wood from Madagascar revealed tracheids as a major component of the axial system in the secondary xylem. Tracheids were mainly characterized by numerous bordered pits where a thickening in the middle (torus) was surrounded with the membrane (margo). The torus appeared to contrast with the fibrillar network of the margo. As a component of the axial system in the secondary phloem, sieve elements were found to have many sieve pores that were filled with seemingly crystalline materials. To correlate the colors of the silicified wood from Indonesia with elemental composition, energy-dispersive X-ray spectrometry was employed in this study. Silicon was present as a basic component of the silicified wood. Calcium and iron were detected from red-colored regions, whereas magnesium was found in blue-colored regions. These results suggest that tissues of silicified woods had been substituted by minerals over the past period, while retaining the inherent morphology of the tree species. Scanning electron microscopy and X-ray microanalysis could be applied to unravel structural details and composition of plant fossils in palaeobotany.     

木材、竹材密度的CT技术检测

CT在木质材料无损检测中应用日趋广泛,其密度检测是这一应用的关键技术之一。本文用CT对木材、竹材气干材密度进行了研究。通过分析气干材密度(0.303～1.061 g·cm-3)与相应CT值的相互关系,获得24种木材气干材密度与相应CT值之间的线性模型,以及25种木质材料(24种木材及1种竹材)气干材密度与其CT值的混合数学线性模型,相关系数R均达0.99以上,实现了木质材料密度的高效连续精确无损检测,是木质材料CT技术量化检测的突破,为CT技术更好应用于木竹材科学研究与生产加工提供了技术支持和参考依据。     

Predicting the sound absorption of natural materials: Best-fit inverse laws for the acoustic impedance and the propagation constant

Natural materials are becoming a valid option for sound absorption treatments. In particular, among them, natural fibers have received increasing attention given their good thermal insulation properties, lack of harmful effects on health, and availability in large quantities. This paper discusses an inverse method to predict the acoustical properties of nine natural fibers. Six vegetative fibers: kenaf, wood, hemp, coconut, straw, and cane; one animal fiber, sheep wool; recycled cardboard; and granular cork are investigated. The absorption coefficient and the flow resistance for samples of different thickness have been measured. Moving from the Delany-Bazley model, this study compares the impedance tube results with the theoretically predicted ones. Then, using a least-square fit procedure based on the Nelder-Mead method, the coefficients that best predict both the acoustic impedance and the propagation constant laws are calculated. The inverse approach used in this paper allows to determine different physical parameters and to obtain formulas to include the investigated natural fibers in software modelling for room acoustics applications.     

Loudness perception of low tones undergoing partial masking by higher tones in orchestral music in concert halls

Objective acoustical parameters for halls are often measured in 1-octave bands with mid-frequencies from 125 to 4000 Hz. In reality, the frequency range of musical instruments is much wider than that, and the fundamentals of the lower notes of bass instruments are contained in 31.5 or 63?Hz bands. Overtones of fundamentals in these bands fall in 125?Hz band. This report presents subjective experiments designed to determine to what extent the overtones in 125?Hz band and higher bands influence the loudness sensation of the components in 63?Hz band. In the experiments, the 125?Hz and higher components of the musical tone are used to act as a masker against the lower component used as a maskee. The threshold of the difference between G(125?Hz) and G(lower band) that just enables one to hear the fundamental tones in the lower band is determined. Masked loudness of 63?Hz sinusoidal tone caused by partial masking noise with higher frequencies was determined based on a similar procedure to the masked loudness-matching function. The result indicates that the difference in loudness of low tone will not be noticeable even if G changed by ±2.5 to ±3?dB, at least when there are other accompanying instruments.     

LC-DAD/ESI-MS/MS study of phenolic compounds in ash (Fraxinus excelsior L. and F. americana L.) heartwood. Effect of toasting intensity at cooperage

The phenolic composition of heartwood extracts from Fraxinus excelsior L. and F. americana L., both before and after toasting in cooperage, was studied using LC-DAD/ESI-MS/MS. Low-molecular weight (LMW) phenolic compounds, secoiridoids, phenylethanoid glycosides, dilignols and oligolignols compounds were detected, and 48 were identified, or tentatively characterized, on the basis of their retention time, UV/Vis and MS spectra, and MS fragmentation patterns. Some LMW phenolic compounds like protocatechuic acid and aldehyde, hydroxytyrosol and tyrosol, were unlike to those for oak wood, while ellagic and gallic acid were not found. The toasting of wood resulted in a progressive increase in lignin degradation products with regard to toasting intensity. The levels of some of these compounds in medium-toasted ash woods were much higher than those normally detected in toasted oak, highlighting vanillin levels, thus a more pronounced vanilla character can be expected when using toasted ash wood in the aging wines. Moreover, in seasoned wood, we found a great variety of phenolic compounds which had not been found in oak wood, especially oleuropein, ligstroside and olivil, along with verbascoside and isoverbascoside in F. excelsior, and oleoside in F. americana. Toasting mainly provoked their degradation, thus in medium-toasted wood, only four of them were detected. This resulted in a minor differentiation between toasted ash and oak woods. The absence of tannins in ash wood, which are very important in oak wood, is another peculiar characteristic that should be taken into account when considering its use in cooperage.     

Evaluating the suitability of acoustical measurement techniques and psychophysical testing for studying the consistency of musical wind instrument manufacturing

Musicians often claim to be able to discern differences in the playing properties of musical wind instruments that have been manufactured in exactly the same way. These differences are most likely due to disparities in bore profile or in the positioning and sealing of any valves or side holes. In this paper, the suitability of acoustic pulse reflectometry and a capillary-based impedance measurement technique for detecting differences between instruments of the same model is explored through measurements on two low-cost, mass-produced trumpets. Differences in the measured bore profiles of the two instruments are reported, with the largest deviation caused by the presence of a leak in the third valve of one of the trumpets. Differences in input impedance measurements made on the two instruments are also noted, with the main cause shown to be the leaky valve. Controlled playing tests are carried out using the same two trumpets in order to evaluate the effectiveness of psychophysical testing in establishing whether there are perceptible differences in the playing properties of nominally identical wind instruments. A semi-professional musician is proved to be able to discriminate between the trumpets whereas an amateur player is shown to be unable to do the same.     

Wall compliance and violin cavity modes

Violin corpus wall compliance, which has a substantial effect on cavity mode frequencies, was added to Shaw's two-degree-of-freedom (2DOF) network model for A0 ("main air") and A1 (lowest length mode included in "main wood") cavity modes. The 2DOF model predicts a V(-0.25) volume dependence for A0 for rigid violin-shaped cavities, to which a semiempirical compliance correction term, V(-x(c)) (optimization parameter x(c)) consistent with cavity acoustical compliance and violin-based scaling was added. Optimizing x(c) over A0 and A1 frequencies measured for a Hutchins-Schelleng violin octet yielded x(c) approximately 0.08. This markedly improved A0 and A1 frequency predictions to within approximately +/- 10% of experiment over a range of about 4.5:1 in length, 10:1 in f-hole area, 3:1 in top plate thickness, and 128:1 in volume. Compliance is a plausible explanation for A1 falling close to the "main wood" resonance, not increasingly higher for the larger instruments, which were scaled successively shorter compared to the violin for ergonomic and practical reasons. Similarly incorporating compliance for A2 and A4 (lowest lower-/upper-bout modes, respectively) improves frequency predictions within +/-20% over the octet.