Experimental analysis of non-periodic sound regimes in flute-like musical instruments.

Self-sustained musical instruments are complex nonlinear dynamical systems that are known to produce a wealth of dynamical regimes. This includes different kinds of non-periodic sounds, which are either played on purpose or avoided depending on the cultural and musical context. We investigate non-periodic sounds produced by two types of flute-like instruments, namely, an alto recorder and traditional pan-like flutes from Central Chile. We adopt a nonlinear dynamics point of view to characterize the multiphonics produced by the alto recorder and the sonidos rajados produced by the Chilean flutes. Our results unveil the common quasiperiodic nature of the two types of sound regimes and suggest that they result from a similar physical sound production mechanism. This paves the way for a better control of non-periodic sound regimes by the instrument makers.

Music in a bag? Controlling the bag of Majorcan and Galician bagpipes.

After defining the mechanical framework of the bag control of bagpipe, this paper presents a study of the bag pressure control in a musical context through the comparison of six players and two bagpipes: one Galician (gaita) and one Majorcan (xeremies), the latter mainly differentiated organologically by a much larger bag size. General observations first lead to the identification and interpretation of the range of control parameters observed. A more detailed analysis of the control parameters during the production of steady notes highlights the coordination between insufflations and the arm displacement necessary to produce a stable and continuous sound. Finally, the bag pressure variation is observed in a musical context and correlated with the musical task, thus, associating different control strategies to the different bagpipes played by the musicians.

Acoustic dissipation in wooden pipes of different species used in wind instrument making: An experimental study.

In this study, the acoustic dissipation is investigated experimentally in wooden pipes of different species commonly used in woodwind instrument making: maple (Acer pseudoplatanus), pear wood (Pyrus communis L.), boxwood (Buxus sempervirens), and African Blackwood (Dalbergia melanoxylon). The pipes are parallel to the grain, except one which forms an angle of 60° with the fiber direction. An experimental method, involving input impedance measurements with several lengths of air column, is introduced to estimate the characteristic impedance and the attenuation factor in the pipes. Their comparison reveals significant differences of acoustic dissipation among the species considered. The attenuation factors are ranked in the following order from largest to smallest: maple, boxwood, pear wood, and African Blackwood. This order is the same before and after polishing the bore, which is an essential step in the making process of wind instrument. For maple, changing the pipe direction of 60° considerably increases the attenuation factor, compared to those of the other pipes, parallel to the grain. Further, polishing tends to reduce the acoustic dissipation in the wooden pipes, especially for the most porous species. As a result, the influence of polishing in the making procedure depends on the selected wood species.

Specific features of a stopped pipe blown by a turbulent jet: Aeroacoustics of the panpipes.

Flute-like instruments with a stopped pipe were widely used in ancient cultures and continue to be used in many musical expressions throughout the globe. They offer great flexibility in the input control parameters, allowing for large excursions in the flux and in the geometrical configuration for the lips of the instrumentalist. For instance, the transverse offset of the jet axis relative to the labium can be shifted beyond the operational limits found in open-open pipes, and the total jet flux can be increased up to values that produce highly turbulent jets while remaining on the first oscillating regime. Some of the fundamental aspects of the acoustics and hydrodynamics of this kind of instrument are studied, like the instability of the jet wave and the static aerodynamic balance in the resonator. A replica of an Andean siku has been created to observe, through the Schlieren flow visualization, the behavior of both excitation and resonator of the instrument.

Time-domain simulation of flute-like instruments: comparison of jet-drive and discrete-vortex models.

This paper presents two models of sound production in flute-like instruments that allow time-domain simulations. The models are based on different descriptions of the jet flow within the window of the instrument. The jet-drive model depicts the jet by its transverse perturbation that interacts with the labium to produce sound. The discrete-vortex model depicts the jet as two independent shear layers along which vortices are convected and interact with the acoustic field within the window. The limit of validity between both models is usually discussed according to the aspect ratio of the jet W/h, with W the window length and h the flue channel height. The present simulations, compared with experimental data gathered on a recorder, allow to extend the aspect ratio criterion to the notion of dynamic aspect ratio defined as λ/h where λ is the hydrodynamic wavelength that now accounts for geometrical properties, such as W/h, as well as for dynamic properties, such as the Strouhal number. The two models are found to be applicable over neighboring values of geometry and blowing pressure.

Predicting the decay time of solid body electric guitar tones.

Although it can be transformed by various electronic devices, the sound of the solid body electric guitar originates from, and is strongly linked with, the string vibration. The coupling of the string with the guitar alters its vibration and can lead to decay time inhomogeneities. This paper implements and justifies a framework for the study of decay times of electric guitar tones. Two damping mechanisms are theoretically and experimentally identified: the string intrinsic damping and the damping due to mechanical coupling with the neck of the guitar. The electromagnetic pickup is shown to not provide any additional damping to the string. The pickup is also shown to be far more sensitive to the out-of-plane polarization of the string. Finally, an accurate prediction of the decay time of electric guitar tones is made possible, whose only requirements are the knowledge of the isolated string dampings and the out-of-plane conductance at the neck of the guitar. This prediction can be of great help for instrument makers and manufacturers.

A model of harp plucking.

In this paper, a model of the harp plucking is developed. It is split into two successive time phases, the sticking and the slipping phases, and uses a mechanical description of the human finger's behavior. The parameters of the model are identified through measurements of the finger/string displacements during the interaction. The validity of the model is verified using a configurable and repeatable robotic finger, enhanced with a silicone layer. A parametric study is performed to investigate the influence of the model's parameters on the free oscillations of the string. As a result, a direct implementation of the model produces an accurate simulation of a string response to a given finger motion, as compared to experimental data. The set of parameters that govern the plucking action is divided into two groups: Parameters controlled by the harpist and parameters intrinsic to the plucking. The former group and to a lesser extent the latter highly influence the initial conditions of the string vibrations. The simulations of the string's free oscillations highlight the large impact the model parameters have on the sound produced and therefore allows the understanding of how different players on the same instrument can produce a specific/personal sound quality.

Regime change and oscillation thresholds in recorder-like instruments.

Based on results from the literature, a description of sound generation in a recorder is developed. Linear and non-linear analysis are performed to study the dependence of the frequency on the jet velocity. The linear analysis predicts that the frequency is a function of the jet velocity. The non-linear resolution provides information about limit cycle oscillation and hysteretic regime change thresholds. A comparison of the frequency between linear theory and experiments on a modified recorder shows good agreement except at very low jet velocities. Although the predicted threshold for the onset of the first regime shows an important deviation from experiments, the hysteresis of threshold to higher regimes is accurately estimated. Furthermore, a qualitative analysis of the influence of different parameters in the model on the sound generation and regime changes is presented.

Experimentally based description of harp plucking.

This paper describes an experimental study of string plucking for the classical harp. Its goal is to characterize the playing parameters that play the most important roles in expressivity, and in the way harp players recognize each other, even on isolated notes--what we call the "acoustical signature" of each player. We have designed a specific experimental setup using a high-speed camera that tracks some markers on the fingers and on the string. This provides accurate three-dimensional positioning of the finger and of the string throughout the plucking action, in different musical contexts. From measurements of ten harp players, combined with measurements of the soundboard vibrations, we extract a set of parameters that finely control the initial conditions of the string's free oscillations. Results indicate that these initial conditions are typically a complex mix of displacement and velocity, with additional rotation. Although remarkably reproducible by a single player--and the more so for professional players--we observe that some of these control parameters vary significantly from one player to another.