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. 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 raise the resonance frequencies of the instrument, except for the note for which the hole is 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. The origin of the observed inharmonicity in playing frequencies is therefore different. 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; 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.Comment: 28 June 2004 (submitted to Applied Acoustics

Physical modelling techniques for the dynamical characterization and sound synthesis of historical bells

SFRH/BD/91435/2012 PTDC/ART-PER/32568/2017 UIDB/00472/2020 UIDP/00472/2020Capable of maintaining characteristics practically intact over the centuries, bells are musical instruments able to provide important and unique data for the study of musicology and archaeology essential to understand past manufacturing and tuning techniques. In this research we present a multidisciplinary approach based on both direct and reverse engineering processes for the dynamical characterization and sound synthesis of historical bells which proven particularly useful to extract and preserve important information for Cultural Heritage. It allows the assessment of the bell’s 3D morphology, sound properties and casting and tuning techniques over time. The accuracy and usefulness of the developed techniques are illustrated for three historical bells, including the oldest recognized bell in Portugal, dated 1287, and two eighteenth century bells from the Mafra National Palace carillons (Portugal). The proposed approach combines non-invasive up-to-date imaging technology with modelling and computational techniques from vibration analysis, and can be summarized in the following steps: (1) For the diagnosis of existing bells, a precise assessment of the bell geometry is achieved through 3D scanning technologies, used for the field measurement and reconstruction of a 3D geometry model of each bell; (2) To access the modal properties of the bells, for any given (at the design stage) or measured geometry, a finite element model is built to compute the significant frequencies of the bell partials, and the corresponding modal masses and modeshapes. In the case of existing bells, comparison of the computed modes with those obtained from vibrational data, through experimental modal identification, enables the validation (or otherwise correction) of the finite element model; (3) Using the computed or experimentally identified modes, time-domain dynamical responses can be synthesized for any conceivable bell, providing realistic sounds for any given clapper and impact location. Although this study primarily aimed to better understand the morphology and sounds of historical bells to inform their conservation/preservation, this technique can be also applied to modern instruments, either existing or at design stages. To a larger extent, it presents strong potential for applications in the bell industry, namely for restoration and re-tuning, as well as in virtual museology.publishersversionpublishe

a numerical and experimental investigation on the subtle dynamics of Tibetan bowls

UID/EAT/00472/2013Tibetan bowls have been traditionally used for ceremonial or meditation purposes, but also in contemporary music-making. They are handcrafted and produce different tones depending on their shape, size, mass and their alloy composition. Most important is the sound producing technique by impacting and/or rubbing, as well as the excitation location, the hardness and friction characteristics of the excitation stick. In a previous paper, we developed a physically-based method for nonlinear time-domain simulation of Tibetan bowls. Our computational approach, based on a compact modal formulation, produces realistic dynamical responses. In the present paper we focus on an interesting feature of Tibetan bowls: in order to produce self-excited responses, the stick must rub the bowl against the external side of the rim, e.g. adially\pressing outwards the bowl center. Indeed, experimenting with many bowls showed that they do not sing when rubbed internally. We start documenting this claim with experimental results from representative bowls, and then exploit our computational model in order to reproduce the observed behavior qualitatively. Our results are in good agreement with experiments, thereby demonstrating that internally excited bowls are dissipative and hence unable to sing.publishersversionpublishe

Simulation of Single Reed Instruments Oscillations Based on Modal Decomposition of Bore and Reed Dynamics

This paper investigates the sound production in a system made of a bore coupled with a reed valve. Extending previous work (Debut, 2004), the input impedance of the bore is projected on the modes of the air column. The acoustic pressure is therefore calculated as the sum of modal components. The airrrflow blown into the bore is modulated by reed motion, assuming the reed to be a single degree of freedom oscillator. Calculation of self-sustained oscillations controlled by time-varying mouth pressure and player's embouchure parameter is performed using ODE solvers. Results emphasize the par ticipation of the whole set of components in the mode locking process. Another impor tant feature is the mutual innnfluence of reed and bore resonance during growing blowing pressure transients, oscillation threshold being altered by the reed natural frequency and the reed damping. Steady-state oscillations are also investigated and compared with results given by harmonic balance method and by digital sound synthesis

Modelling And Experiments

UIDB/00472/2020 UIDP/00472/2020In some mallet percussion instruments, such as vibraphones and marimbas, tubular acoustic resonators areplaced beneath the tuned bars to enhance sound radiation. Although widely used in commercial instruments, thevibroacoustic interaction between the tuned bars and theirresonators has not been studied extensively, and previousmodelling attempts regularly neglect important aspects ofthe coupling dynamics. This work develops on a previousstudy, where a minimal model for the coupling between asingle bar mode and a single resonator mode was presented. Here, the same modelling principles are applied toa system composed of a 1-D beam and a 1-D cylindricalacoustic resonator, leading to a lumped-parameter modelincluding the coupling dynamics between several barmodes and several resonator acoustic modes. The dynamics of the lumped-parameter model are explored throughtime-domain simulations and eigenvalue analysis, revelinga number of interesting (and rarely mentioned) features, forexample: the role of the ratio of damping coefficients between a bar mode and a resonator mode, the placementof the resonator along the bar’s length as well as its proximity to the bar, etc. Additionally, experimental results arepresented to validate the model and demonstrate its capacity to emulate real instruments, both qualitative andquantitatively.publishersversionpublishe

Some simulations of the effect of varying excitation parameters on the transients of reed instruments

This paper considers the simulation of self-sustained oscillations in reed and brass instruments, based on a compact continuous-time formulation of the sound production mechanism. The control parameters such as the mouth pressure and the player's embouchure, but also the acoustic resonator and the reed may vary with respect to time, allowing the analysis of transient and non-stationary phenomena like changes of regime. A particular attention is first given to staccato notes, with comparison of the evolution of the instantaneous frequency in simulations to theoretical and experimental results. This shows the importance of using realistic control parameters on the onset of the oscillations. When the acoustic resonator is modelled using a modal expansion with non-stationary resonance frequencies and damping, it is also possible to simulate and study slurs and musical effects like the wah-wah, gaining some insight on the mechanisms involved

MoReeSC: a framework for the simulation and analysis of sound production in reed and brass instruments

International audienceThis paper presents a free and open-source numerical framework for the simulation and the analysis of the sound production in reed and brass instruments. This tool is developed using the freely distributed Python language and libraries, making it available for acoustics student, engineers and researchers involved in musical acoustics. It relies on the modal expansion of the acoustic resonator (the bore of the instrument), the dynamics of the valve (the cane reed or the lips) and of the jet, to provide a compact continuous-time formulation of the sound production mechanism, modelling the bore as a series association of Helmholtz resonators. The computation of the self-sustained oscillations is controlled by time-varying parameters, including the mouth pressure and the player's embouchure, but the reed and acoustic resonator are also able to evolve during the simulation in order to allow the investigation of transient or non-stationary phenomena. Some examples are given (code is provided within the framework) to show the main features of this tool, such as the ability to handle bifurcations, like oscillation onset or change of regime, and to simulate musical effects

application to musical Instruments

UID/EAT/00472/2013 EAT/00472/2013Most musical instruments consist of dynamical subsystems connected at a number of constraining points through which energy flows. For physical sound synthesis, one important difficulty deals with enforcing these coupling constraints. While standard techniques include the use of Lagrange multipliers or penalty methods, in this paper, a different approach is explored, the Udwadia-Kalaba (U-K) formulation, which is rooted on analytical dynamics but avoids the use of Lagrange multipliers. This general and elegant formulation has been nearly exclusively used for conceptual systems of discrete masses or articulated rigid bodies, namely, in robotics. However its natural extension to deal with continuous flexible systems is surprisingly absent from the literature. Here, such a modeling strategy is developed and the potential of combining the U-K equation for constrained systems with the modal description is shown, in particular, to simulate musical instru- ments. Objectives are twofold: (1) Develop the U-K equation for constrained flexible systems with subsystems modelled through unconstrained modes; and (2) apply this framework to compute string/body coupled dynamics. This example complements previous work [Debut, Antunes, Marques, and Carvalho, Appl. Acoust. 108, 3–18 (2016)] on guitar modeling using penalty meth- ods. Simulations show that the proposed technique provides similar results with a significant improvement in computational efficiency. VC 2017 Acoustical Society of America.publishersversionpublishe

Resonance modes in a 1D medium with two purely resistive boundaries: calculation methods, orthogonality and completeness

Studying the problem of wave propagation in media with resistive boundaries can be made by searching for "resonance modes" or free oscillations regimes. In the present article, a simple case is investigated, which allows one to enlighten the respective interest of different, classical methods, some of them being rather delicate. This case is the 1D propagation in a homogeneous medium having two purely resistive terminations, the calculation of the Green function being done without any approximation using three methods. The first one is the straightforward use of the closed-form solution in the frequency domain and the residue calculus. Then the method of separation of variables (space and time) leads to a solution depending on the initial conditions. The question of the orthogonality and completeness of the complex-valued resonance modes is investigated, leading to the expression of a particular scalar product. The last method is the expansion in biorthogonal modes in the frequency domain, the modes having eigenfrequencies depending on the frequency. Results of the three methods generalize or/and correct some results already existing in the literature, and exhibit the particular difficulty of the treatment of the constant mode