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.     

The subjective assessment of trombone quality

A number of subjective experiments designed not only to assess the tonal and playing qualities of trombones but also to aid the interpretation of objective data is described. Quantifying multi-dimensional quantities such as timbre or quality is usually attempted either by multi-dimensional scaling (MDS) or by semantic differential scaling (SDS) and the advantages and disadvantages of each for the present purpose are briefly reviewed. For both methods additional information is needed either (for SDS) to aid the selection of scales, or (for MDS) to interpret the final results of the computer analysis; in this study such information is available from the investigations of Edwards [1]. A preliminary experiment testing the ability of subjects to rate trombone timbre using SDS showed that the intersubject variance was very large but that the order of factors governing timbre is (i) instrument, (ii) player and (iii) mouthpiece. A second experiment shows that pitch and loudness have a much greater influence on listener's ratings than do player, mouthpiece of instrument. Players' attitudes tested in further experiments show that the task of discriminating instruments when extraneous cues are removed is very hard indeed for most players, but a very few can be of quite remarkable discriminatory ability using either SDS or MDS. Results from one such player indicate clearly that timbre is the predominant acoustic factor deciding discrimination.     

Vocal tract resonances and the sound of the Australian didjeridu (yidaki) II. Theory

The didjeridu (didgeridoo) or yidaki of the Australian Aboriginal people consists of the narrow trunk of a small Eucalypt tree that has been hollowed out by the action of termites, cut to a length of about 1.5 m, smoothed, and decorated. It is lip-blown like a trumpet and produces a simple drone in the frequency range 55 to 80 Hz. Interest arises from the fact that a skilled player can make a very wide variety of sounds with formants rather like those of human vowels, and can also produce additional complex sounds by adding vocalization. An outline is given of the way in which the whole system can be analyzed using the harmonic-balance technique, but a simpler approach with lip motion assumed shows easily that upper harmonics of the drone with frequencies lying close to impedance maxima of the vocal tract are suppressed, so that formant bands appear near impedance minima of the vocal tract. This agrees with experimental findings. Simultaneous vibration of the player's lips and vocal folds is shown to generate multiple sum and difference tones, and can be used to produce subharmonics of the drone. A brief discussion is given of player preference of particular bore profiles.     

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.     

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.     

Stopped-pipe wind instruments: acoustics of the panpipes

Stopped-pipe jet-excited musical instruments are known in many cultures, those best-known today being the panpipes or syrinx of Eastern Europe and of the Peruvian Andes. Although the playing style differs, in each case the instrument consists of a set of graduated bamboo pipes excited by blowing across the open tops. Details of the excitation aerodynamics warrant examination, particularly as the higher notes contain amplitudes of the even harmonics approaching those of the odd harmonics expected from a stopped pipe. Analysis shows that the jet offset is controlled by the fluid dynamics of the jet, and is such that appreciable even-harmonic excitation is generated. The theory is largely confirmed by measurements on a player.     

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.     

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.     

Dissimilarity and the Classification of Male Singing Voices

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal, and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the ability to identify any voice or voice category across different pitch-loudness-vowel combinations must be due to an ability to "link" these timbres by abstracting the "timbre transformation," the manner in which timbre subtly changes across pitch and loudness for a specific voice or voice category. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity in male singing voices. This study also investigated whether or not listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, while dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories baritone and tenor. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

Dissimilarity and the Classification of Female Singing Voices: A Preliminary Study

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the identity of any voice or voice category across different pitch-loudness-vowel combinations must be due to an abstraction of the pattern of timbre transformation. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity. This study also investigated whether listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, whereas dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories mezzo-soprano and soprano. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

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.     

The dependency of timbre on fundamental frequency

The dependency of the timbre of musical sounds on their fundamental frequency (F0) was examined in three experiments. In experiment I subjects compared the timbres of stimuli produced by a set of 12 musical instruments with equal F0, duration, and loudness. There were three sessions, each at a different F0. In experiment II the same stimuli were rearranged in pairs, each with the same difference in F0, and subjects had to ignore the constant difference in pitch. In experiment III, instruments were paired both with and without an F0 difference within the same session, and subjects had to ignore the variable differences in pitch. Experiment I yielded dissimilarity matrices that were similar at different F0's, suggesting that instruments kept their relative positions within timbre space. Experiment II found that subjects were able to ignore the salient pitch difference while rating timbre dissimilarity. Dissimilarity matrices were symmetrical, suggesting further that the absolute displacement of the set of instruments within timbre space was small. Experiment III extended this result to the case where the pitch difference varied from trial to trial. Multidimensional scaling (MDS) of dissimilarity scores produced solutions (timbre spaces) that varied little across conditions and experiments. MDS solutions were used to test the validity of signal-based predictors of timbre, and in particular their stability as a function of F0. Taken together, the results suggest that timbre differences are perceived independently from differences of pitch, at least for F0 differences smaller than an octave. Timbre differences can be measured between stimuli with different F0's.     

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.     

Acoustical analysis and model-based sound synthesis of the kantele

The five-string Finnish kantele is a traditional folk music instrument that has unique structural features, resulting in a sound of bright and reverberant timbre. This article presents an analysis of the sound generation principles in the kantele, based on measurements and analytical formulation. The most characteristic features of the unique timbre are caused by the bridgeless string termination around a tuning pin at one end and the knotted termination around a supporting bar at the other end. These result in prominent second-order nonlinearity and strong beating of harmonics, respectively. A computational model of the instrument is also formulated and the algorithm is made efficient for real-time synthesis to simulate these features of the instrument timbre.     

Influence of pitch, timbre and timing cues on melodic contour identification with a competing masker (L)

Pitch, timbre, and/or timing cues may be used to stream and segregate competing musical melodies and instruments. In this study, melodic contour identification was measured in cochlear implant (CI) and normal-hearing (NH) listeners, with and without a competing masker; timing, pitch, and timbre cues were varied between the masker and target contour. NH performance was near-perfect across different conditions. CI performance was significantly poorer than that of NH listeners. While some CI subjects were able to use or combine timing, pitch and/or timbre cues, most were not, reflecting poor segregation due to poor spectral resolution.     

Characterization of woodwind instrument toneholes with the finite element method

A method is proposed to determine the transfer matrix parameters of a discontinuity in a waveguide with the finite element method (FEM). This is used to characterize open and closed woodwind instrument toneholes and develop expressions for the shunt and series equivalent lengths. Two types of toneholes are characterized: Unflanged toneholes made of thin material, such as found on saxophones and concert flutes, and toneholes drilled through a thick material, such as found on most instruments made of wood. The results are compared with previous tonehole models from the literature. In general, the proposed expressions provide a better fit across a wide range of frequencies and tonehole sizes than previous results. For tall toneholes, the results are in general agreement with previous models. For shorter tonehole heights, some discrepancies from previous results are found that are most important for larger diameter toneholes. Finally, the impact of a main bore taper (conicity) on the characterization of toneholes was investigated and found to be negligible for taper angles common in musical instruments.     

Oscillation threshold of a clarinet model: a numerical continuation approach

This paper focuses on the oscillation threshold of single reed instruments. Several characteristics such as blowing pressure at threshold, regime selection, and playing frequency are known to change radically when taking into account the reed dynamics and the flow induced by the reed motion. Previous works have shown interesting tendencies, using analytical expressions with simplified models. In the present study, a more elaborated physical model is considered. The influence of several parameters, depending on the reed properties, the design of the instrument or the control operated by the player, are studied. Previous results on the influence of the reed resonance frequency are confirmed. New results concerning the simultaneous influence of two model parameters on oscillation threshold, regime selection and playing frequency are presented and discussed. The authors use a numerical continuation approach. Numerical continuation consists in following a given solution of a set of equations when a parameter varies. Considering the instrument as a dynamical system, the oscillation threshold problem is formulated as a path following of Hopf bifurcations, generalizing the usual approach of the characteristic equation, as used in previous works. The proposed numerical approach proves to be useful for the study of musical instruments. It is complementary to analytical analysis and direct time-domain or frequency-domain simulations since it allows to derive information that is hardly reachable through simulation, without the approximations needed for analytical approach.     

An alternative to the traveling-wave approach for use in two-port descriptions of acoustic bores

For more than a decade, the digital waveguide model for musical instruments has been improved through the simulation of cylindrical and conical bores. But several difficulties remain, such as instabilities due to growing exponentials which appear when two conical bores are connected with decreasing taper. In this paper, an alternative overcoming these difficulties is proposed and can be extended to shapes other than cylinders, cones, and hyperbolic horns. A two-port model with more general state variables than usual traveling waves works efficiently for any shape without discontinuities in cross section. The equations for connecting separate elements at discontinuities make this two-port model appropriate for use in time domain simulation of the physical behavior of the wind instrument and its interactions with the player. The potential of this new approach is illustrated by several detailed examples.     

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.     

Influence of the Number of Loudspeakers on the Timbre in Horizontal and Mixed-Order Ambisoncis Reproduction

Ambisonics is a series of flexible spatial sound reproduction systems based on spatial harmonics decomposition of sound field. Traditional horizontal and spatial Ambisonics reconstruct horizontal and spatial sound field with certain order of spatial harmonics, respectively. Both the Shannon-Nyquist spatial sampling frequency limit for accurately reconstructing sound field and the complexity of system increase with the increasing order of Ambisonics. Based on the fact that the horizontal localization resolution of human hearing is higher than vertical resolution, mixed-order Ambisonics (MOA) reconstructs horizontal sound field with higher order spatial harmonics, while reconstructs vertical sound field with lower order spatial harmonics, and thereby reaches a compromise between the perceptual performance and the complexity of system. For a given order horizontal Ambisoncis or MOA reproduction, the number of horizontal loudspeakers is flexible, providing that it exceeds some low limit. By using Moore’s revised loudness model, the present work analyzes the influence of the number of horizontal loudspeakers on timbre both in horizontal Ambisonics and MOA reproduction. The binaural loudness level spectra (BLLS) of Ambisoncis reproduction are calculated and then compared with those of target sound field. The results indicate that below the Shannon-Nyquist limit of spatial sampling, increasing the number of horizontal loudspeakers influence little on BLLS then timbre. Above the limit, however, the BLLS for Ambisoncis reproduction deviate from those of target sound field. The extent of deviation depends on both the direction of target sound field and the number of loudspeakers. Increasing the number of horizontal loudspeakers may increase the change of BLLS then timbre in some cases, but reduce the change in some other cases. For MOA, the influence of the number of horizontal loudspeakers on BLLS and timbre reduces when virtual source departs from horizontal plane to the high or low elevation. The subjective evaluation experiment also validates the analysis.