ABSTRACT
To investigate the acoustics of reed instruments without the need for a human player, blowing machines are needed, which can generate air pressures up to 8 kPa and flow rates up to 40 liters per minute. Due to reed flexibility and the changing pressure gradient across the reed, the relationship between flow and pressure is highly non-linear. Since the output pressure of ventilators is highly dependent on flow, non-linear pressure regulation is a difficult task that requires a closed-loop approach. Since reed vibration starts suddenly when blowing pressure is gradually increased, an abrupt change in airflow through the instrument is present, resulting in a change in pressure in the artificial mouth. To avoid that, a method is presented to achieve a fast response to abrupt flow changes, which is tested in an existing blowing machine. The enhanced blowing machine exhibits a settling time below 200 ms, which allows for the generation of blowing pressures with linear responses.
ABSTRACT
In single reed musical instruments, vibrations of the reed, in conjunction with the geometry of the mouthpiece and the acoustic feedback of the instrument, play an essential role in sound generation. Up until now, three-dimensional (3D) reed vibration patterns have only been studied under external acoustic stimulation, or at a single note and lip force. This paper investigates vibration patterns of saxophone reeds under imitated realistic playing conditions. On different notes displacement measurements on the entire optically accessible part of the reed are performed using stroboscopic digital image correlation. These vibration data are decomposed onto the harmonic frequencies of the generated note pitch and into the operational modes. Motion data as a function of time are shown on single points. All points on the reed predominantly move in phase, corresponding to the first flexural mode of the reed. At higher note harmonics very low amplitude higher vibration modes are superimposed on the fundamental mode. Mouthpiece characteristics and lip force influence the vibration patterns. Vibration patterns differ strongly from earlier measurements on free vibrating reeds. Results show that single-point measurements on the tip of the reed can give a good indication of the 3D vibration amplitude, also at higher note pitches.
ABSTRACT
The reed is the primary component in single-reed woodwind instruments to generate the sound. The airflow of the player's mouth is the energy source and the airflow is modulated by the reed. The oscillations of the reed control the airflow. Traditionally, instrument reeds are made out of natural cane (Arundo Donax), but in efforts to overcome variability problems, synthetic reeds have been introduced. Previous investigations mainly focused on natural cane reeds and direct elasticity measurements did not discriminate between elasticity moduli along different directions. In order to obtain the mechanical properties along the direction of the reed fibres and in the orthogonal direction separately, a three-point bending testing setup was developed, which accommodates the small samples that can be cut from an instrument reed. Static moduli of elasticity were acquired in both directions. Much higher ratios between longitudinal and transversal moduli were seen in the natural cane reed as compared to the artificial reeds. Wet natural reeds showed a strong decrease in moduli of elasticity as compared to dry reeds. Elasticity was significantly higher in artificial reeds. The force-displacement curves of the wet natural reed show hysteresis, whereas the artificial materials did not. In the cane reed, higher energy losses were found in the transversal direction compared to the longitudinal direction.
