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Collected Papers in Musical Acoustics 1995/2003 6 Collected Papers in Musical Acoustics 1995/2003 Matthias Bertsch Reprint of articles Matthias from Bertsch - 2003 published between 1995 Matthias Bertsch von - 2003Nachdruck aus den 1995 Textbeiträgen Jahren von ISBN Schriftenreihe des Instituts für Wiener Klangstil - Musikalische Akustik 3-900914-04-4 Universität für Musik und darstellende Kunst Wien. 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A *OUFSOBUJPOBM 4ZNQPTJVN PO .VTJDBM "DPVTUJDT 7PMVNF * 1FSVHJB .VTJDBM BOE "SDIJUFDUVSBM"DPVTUJDT-BC4UBO[JBM %PNFOJDP )H '44($/37FOF[JB 4 #FSUTDI .BUUIJBT QBHF "OFXTFBSDIGPSBDPVTUJDAEJTUJOHVJTIJOHNBSLTPGUIF7JFOOB1IJMIBSNPOJD0SDIFTUSBJO 1SPDFFEJOHTPG*$"A UI*OUFSOBUJPOBM$POHSFTTPO"DPVTUJDT /S$% @QEG "MJQQJ "ESJBOP )H 3PNF*$" #FSUTDI .BUUIJBT QBHF Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden BRIDGING INSTRUMENT CONTROL ASPECTS OF BRASS INSTRUMENTS WITH PHYSICS-BASED PARAMETERS Matthias Bertsch Institute for Musical Acoustics (IWK), University of Music Vienna, Austria [email protected] ABSTRACT features as you do when you shop for a car or loudspeaker. Quality control of brass instruments is still chiefly done through Is there a connection between what we feel when playing an subjective criteria of test players. Reproducibility is difficult to instrument and what we can measure? Physical models and control. measuring tools have been developed to provide a better understanding of brass instruments and objective physical 1.1 Measurement tools and previous studies documentation of their acoustics. Musicians and instrument makers still criticize the enormous Since the 1980s, acousticians have been asked to deliver gaps between the physics-based parameters and the empirically objective quality control tools. Meanwhile there are hardware reported feelings of brass players on quality aspects of their and software systems that can measure the input impedance of instruments. Deviations between played and measured brass instruments, which are easy to use [1]. The impedance parameters like intonation and their variability have already been measurement data represents an acoustic fingerprint of the total focused on in earlier studies. Attempts at finding a theoretical behavior of an instrument. One curve corresponds to one explanation of these deviations using physical modeling physical geometry of an instrument. But what do these curves continue. tell the musician? For musicians, one of the most important quality factors of a One feature of the impedance curve had almost immediately brass instrument is its response. A new series of playing tests has been translated into musical terms. The positions of the peaks been designed to correlate empirical data with objective physical correspond with the intonation of the notes. The measurement parameters (impedance measurements). International instrument allows the detection of deviations to a reference intonation. The makers provided special test instruments (modular trumpets). Brass Instrument Analysis System (BIAS) developed at the This paper will examine the difficulties in defining response and Institute for Musical Acoustics (IWK) at the Music University in setting up suitable playing tests. Vienna can accurately show the intonation of all playable notes of a brass instrument. Earlier studies by the author have been 1. INTRODUCTION done to determine the intonation properties of trumpets [2]. Empirical data of played trumpets have been compared with Brass instrument makers produce and customize their brass different theoretical tuning systems and with the intonation, instruments for players who have many different requirements which was calculated by means of input impedance and expectations of their ideal instrument. The manufacturing measurements. The results showed great differences amongst knowledge has developed through the centuries. Today, there are players even playing the same reference instrument. The many good instruments on the market and the selection is large. arithmetic mean over all trials correlated best with the calculated One can choose between “rather similar” instruments built in objective intonation. This information is already a big help for large series by factories and custom-made smaller series or even both makers and players in evaluating instruments. Additionally, handmade or adjusted “singular instruments”. So how can one new optimization tools can already help to correct problems of find his optimal instrument without testing all of them? For existing instruments by bore profile modifications and they can beginners it is usually the advice of the teacher or the dealer, be used in developing new instruments by calculating the which narrows the choice. Those who start to test instruments intonation with computer models before the instrument is built. usually quickly realize how difficult this procedure is. There are many criteria. On the one hand there is the sound quality and on 1.2 More questions remain the other hand there are the many aspects of instrument control So what about other instrument control aspects? Do they also parameters. The main criterion for the musician in choosing his correspond to physics-based parameters? Acousticians expect instrument is the specific sound and timbre. Preferences about that they do. Thomas Moore wrote in his article for trumpet sound quality are individual and hard to describe with verbal players: “the sound and feel of every horn is definitely attributes. It also depends on the specific interaction with the determined by its impedance spectrum” [3]. But how can you input of the player. Instrument makers’ descriptions of measure the feel of the horn? The language of musicians instrument parameters are for the most part very similar: perfect describing instrument properties is not easily translated into intonation, easy speaking, full sound, good response and more or physical terms. Even when they use the same words, the less resistance. Of course, there are differences between those meaning can be different. So far, it is not clear that what all instruments, but there is little experience in labeling the players label “good response”, “easy speaking” or “low parameters. You cannot simply look at a table and compare resistance” are the same. Also, most players have little SMAC-1 9 Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden theoretical understanding about tone production. Our approach and the tester fills out the questionnaire. Sometime this includes is to find a common language for players to report tone control translating expressed feelings. A typical difficulty is to quantify parameters and to translate them into acoustical terms. The the value of a given aspect. In this questionnaire the player has objective is to find an answer for a simple question: which five possible values (“-2”,”-1”,”0”,”+1”,”+2”), but he can use factors make a trumpet speak well? What does the player, the his own personal reference. The answer “0” corresponds
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