Correlation Between Anatomical Grading and Acoustic–Elastic Properties of Resonant Spruce Wood Used for Musical Instruments

Total Page:16

File Type:pdf, Size:1020Kb

Correlation Between Anatomical Grading and Acoustic–Elastic Properties of Resonant Spruce Wood Used for Musical Instruments Article Correlation between Anatomical Grading and Acoustic–Elastic Properties of Resonant Spruce Wood Used for Musical Instruments Florin Dinulică 1 , Mariana Domnica Stanciu 2,3,* and Adriana Savin 4 1 Department of Forest Engineering, Forest Management Planning and Terrestrial Measurements, Transilvania University of Brasov, 500123 Brasov, Romania; [email protected] 2 Department of Mechanical Engineering, Transilvania University of Brasov, B-dul Eroilor 29, 500360 Brasov, Romania 3 Russian Academy of Natural Sciences Sivtsev Vrazhek, 29/16, Moscow 119002, Russia 4 Institute of Research and Development for Technical Physics, B-dul Mangeron 47, 700050 Iasi, Romania; [email protected] * Correspondence: [email protected] Abstract: This paper deals with the acoustic and elastic properties of resonant wood, classified into four classes, according to the classification of wood quality by the manufacturers of musical instruments. Traditionally, the quality grades of resonant wood are determined on the basis of the visual inspections of the macroscopic characteristics of the wood (annual ring width, regularity, proportion of early and late wood, absence of defects, etc.). Therefore, in this research, we studied whether there are correlations between the acoustic and elastic properties and the anatomical char- Citation: Dinulic˘a,F.; Stanciu, M.D.; acteristics of wood used for the construction of violins. The results regarding the identification of Savin, A. Correlation between the anatomical properties of resonant spruce, the wood color, and the acoustic/elastic properties, Anatomical Grading and Acoustic–Elastic Properties of determined by ultrasonic measurements, were statistically analyzed to highlight the connection Resonant Spruce Wood Used for between the determined properties. From the statistical analysis, it can be seen that the only variables Musical Instruments. Forests 2021, 12, with the power to separate the quality classes are (in descending order of importance) the speed of 1122. https://doi.org/10.3390/ sound propagation in the radial direction, Poisson’s ratio in the longitudinal–radial direction, and f12081122 the speed of propagation of sounds in the longitudinal direction. Academic Editors: Michele Brunetti, Keywords: anatomical patterns; resonant spruce; acoustic properties; elastic properties; Discriminant Michela Nocetti and Function Analysis; Principal Components Analysis Alexander Petutschnigg Received: 22 July 2021 Accepted: 20 August 2021 1. Introduction Published: 22 August 2021 Numerous studies concerning the acoustical behavior of violins refer to the similarities Publisher’s Note: MDPI stays neutral and differences in the tonal qualities, produced by good and bad, and old and new instru- with regard to jurisdictional claims in ments, depending on various factors [1–4]. Wood with anatomical and acoustic properties published maps and institutional affil- used in the construction of stringed musical instruments is also known as resonant wood, iations. tonewood, or music wood. The acoustical characteristics of wood species are criteria for the selection of the most appropriate raw material for making violins [4–6]. The behavior of wood in the acoustic field is conditioned by its elastic properties, which are characterized by the longitudinal modulus of elasticity, the shear modulus, and Poisson’s ratio, according to the three planes of the anisotropy of wood (longitudinal, radial, tangential). The size of Copyright: © 2021 by the authors. Licensee MDPI, Basel, Switzerland. these constants is critical in the selection of resonant wood. Numerous studies have shown This article is an open access article the existence of close correlations between the physical properties of the resonant wood distributed under the terms and structure and the elastic ones [7–9]. conditions of the Creative Commons In the past, luthiers did not have the knowledge and techniques necessary for deter- Attribution (CC BY) license (https:// mining the acoustic and elastic properties of wood as they do today, with the recognition of creativecommons.org/licenses/by/ resonant wood being based on the macroscopic analysis of the structure of softwood. Thus, 4.0/). the need for the material to have narrow and regular rings was established; the contribution Forests 2021, 12, 1122. https://doi.org/10.3390/f12081122 https://www.mdpi.com/journal/forests Forests 2021, 12, 1122 2 of 18 of a few late wood to this is modest [10–13]. The relevance of the annual ring structure as an acoustic marker remains debatable. Some have opined that the vibrational properties of Forests 2021, 12, x FOR PEER REVIEW 3 of 18 wood are determined on the scale of the cell wall rather than on the macroscopic scale of the growth rings [12–14]. In the stringed instruments industry, musical instruments are classified according to the anatomical quality of the wood used in their construction, with 2.this Materials aspect being and Methods revealed in the final price of the instrument [15–17]. The classification of quality raw materials for the manufacture of stringed instruments is discussed in detail 2.1. Materials elsewhere [16–18]. Resonant wood is divided into four quality grades: A, high anatomical quality;The B,samples average of quality; Norway C, spruce low anatomical (Picea Abies quality; L. Karst D, common)), 40 mm wood, in size without and oriented defects. towardsThe main the anatomical symmetry parameters planes, were of resonantdelivered wood by Gliga are the Musical totalring Instruments, width, the Reghin, proportion Ro- maniaof late wood(https://gliga.ro/ within the annual(accessed ring, on the 20 widthJanuary difference 2021)). betweenThe samples two consecutivewere cut from growth the samerings, batch and the of regularitytonewood ofraw the material ring widths. from Thewhich longitudinal the violin and boards transverse were cut. propagation The raw materialspeeds in had the been wood, sorted in the since three the directions, primary andcutting the of elastic the spruce characteristics, logs according complete to the qualityicon of class resonant of the wood violins, [18 –taking20]. Knowing into account this, the as well anatomical as the density characteristics of the wood, of the one spruce can woodestimate (Figure a number 1a). Before of acoustic entering parameters the violin of resonant manufacturing wood [17 flow,–21]. the Wegst, wooden 2006, parts noted were that driedthe Young naturally and shearfor at modulileast 3 years parallel (for and school perpendicular violins) and to up the to wood 10 years fibers for are maestro important vio- lins.parameters From the for stage musical of the plate radial vibration cutting in of the the structure logs, the of semi chordophone-finished products instruments were [ 20se-]. lectedTherefore, according the static to their and quality dynamic class, moduli paired of tonewoodfor future violin related boards, to anatomical and stored parameters for nat- uralinfluence drying the [11 acoustic–14]. To qualitymeasure of the wood. acoustic The properties vibration in of the flat three orthotropic main directions plates, such of the as wood,violin the plates, samples involves were the accurately flexural cut plate perpendicular modes, which to arethe two-dimensional,principal direction while(longitu- the dinalfrequency L, radial depends R, tangential on several T) elastic along parameterswhich the ultrasonic of anisotropic waves media, propagate as noted (Figure by [21 –1b).23]. ThisIn regard is a mandatory to the orthotropic requirement anisotropy when determining of wood, the acoustic following parameters ratios should using the be ultra- taken soundinto consideration: method. Being the extracted ratio of from Young’s the semi moduli-finished EL/E Rproducts:EL/ET; theprepared ratio of for shear the entry moduli on theGLR technological/GRT:GLT/GRT flow; and of Poisson’s the violins, ratios the [moisture20–24], where content L, R, of and the Twood are the was main checked directions and foundin wood to (L,be around longitudinal 6–8%. (along Being fibers); a high R,quality radial; wood and T,and tangential) carefully and selected LR, RT, from and the LT pri- are marythe planes processing formed phase, according the number to the main of samples directions, analyzed as can bewas seen relatively in Figure small1b. In compared addition toto the the number values for of thesamples elastic used and physicalfor other properties,determinations. research The has physical shown characteristics that the value of of thethe resonant specific modulus spruce samples in the radial are portrayed direction in (E TableR/r;G 1.LR /r)[25]. (a) (b) Figure 1. TypesTypes of samples analyzed:analyzed: ((aa)) correspondencecorrespondence between between the the quality quality class class of of the the wood wood depending depending on on the the anatomical anatom- icalcharacteristics characteristics and and the qualitythe quality classes classes of the of violins; the violins; (b) the (b main) the main sections sections of wood of wood (L: longitudinal; (L: longitudinal; R: radial; R: radial; T: tangential). T: tan- gential). Table 1. The physical features of the spruce wood samples. Grade/Average Value/STDV Physical Features A STDV B STDV C STDV D STDV Longitudinal 40.508 0.187 40.304 0.706 40.116 0.120 39.957 0.157 Radial 40.326 0.137 40.291 0.159 40.136 0.099 40.259 0.112 Forests 2021, 12, 1122 3 of 18 In previous research, the propagation of waves in isotropic and anisotropic materials and the determination of the elastic properties
Recommended publications
  • The Tonal Quality of Coarse-Grained Sitka Spruce (Picea Sitchensis) Grown on Haida Gwaii, Near Awun Lake British Columbia, Canada
    FPInnovations Western Region 2665 East Mall Vancouver, British Columbia V6T 1W5 The Tonal Quality of Coarse-Grained Sitka Spruce (Picea sitchensis) Grown on Haida Gwaii, near Awun Lake British Columbia, Canada Prepared for: PACIFIC RIM TONEWOODS INC. P.O. Box 2009 Concrete, WA 98237 by Les Jozsa Research Scientist Emeritus FPInnovations March 2012 Les Jozsa Dave McRae Roland Baumeister Project Leader First Nations Liaison Manager, Western Regional Industry Advisor Delivery Notice Neither FPInnovations, nor its members, nor any other persons acting on its behalf, make any warranty, express or implied, or assume any legal responsibility or liability for the completeness of any information, apparatus, product or process disclosed, or represent that the use of the disclosed information would not infringe upon privately owned rights. Any reference in this report to any specific commercial product, process or service by trade name, trademark, manufacturer or otherwise does not constitute or imply its endorsement by FPInnovations or any of its members. © 2012 FPInnovations. All Rights reserved. No part of this published Work may be reproduced, published, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, whether or not in translated form, without the prior written permission of FPInnovations, except that members of FPInnovations in good standing shall be permitted to reproduce all or part of this Work for their own use but not for resale, rental or otherwise for profit, and only if FPInnovations is identified in a prominent location as the source of the publication or portion thereof, and only so long as such members remain in good standing.
    [Show full text]
  • Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
    Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy.
    [Show full text]
  • ALTERNATIVE WOODS for GUITAR CONSTRUCTION
    ALTERNATIVE WOODS for GUITAR CONSTRUCTION and other string fretted instruments by DAVID A. G. FREEMAN Luthier Prepared for Lecture at Metiers d’art de lutherie Quebec City, Quebec February 24,2013 Alternative Woods My intent tonight is to discuss what is desired in a wood to make it suitable for Instrument construction. This is from my own experimenting and research as well as discussions with other Luthiers. In order to understand what might be desirable in alternative woods one must first understand what the properties of a traditional wood are that contribute to the acoustics of instruments. Then one might look for woods that have similar qualities to achieve similar responses. To this end there is more than one variable, so it is important to have a clear concept of the sound one wants to achieve before you start. The other aspect you want to understand is what you are trading away, be it in sound, or structure, or aesthetics versus what you are gaining by using another wood species. Perhaps economics may also be considered in this balance. We live in an age when all musicians are not connoisseurs of resonant tone wood and want a less expensive instrument to carry on tours or play on the street. The other end of this spectrum is a collector that wants incredibly figured woods that still deliver a good tone. So be aware of the purpose of your choice to use a wood not traditionally found on an instrument. This helps you accept any acoustic changes that might occur. Woods can be tested with some science though many of the properties become relative to other species.
    [Show full text]
  • Precious Woods Background Paper 1
    Chatham House Workshop: Tackling the Trade in Illegal Precious Woods 23-24 April 2012 Background Paper 1: Precious Woods: Exploitation of the Finest Timber Prepared by TRAFFIC Authors: Section 1: Anna Jenkins, Neil Bridgland, Rachel Hembery & Ulrich Malessa Section 2: James Hewitt, Ulrich Malessa & Chen Hin Keong This review was commissioned from TRAFFIC by The Royal Institute of International Affairs (Chatham House), London UK. TRAFFIC supervised the elaboration of the review with support of Ethical Change Ltd, Llanidloes UK. The review was developed as one of three studies to explore the social and ecological impacts of trade, related exporting and importing country regulations as well as to develop recommendations to reduce the negative impacts of trade in precious woods species. Contact details of lead authors and supervisor: Section 1 & Appendices Anna Jenkins Ethical Change Ltd Tryfan, Llanidloes, SY18 6HU, Wales, UK [email protected] Section 2 James Hewitt [email protected] Section 1 & 2 (technical supervisor) Ulrich Malessa TRAFFIC WWF US 1250 24 th ST NW, Washington, DC 20037, USA [email protected] 2 Contents Contents ............................................................................................................................................................................................. 3 Acknowledgments ....................................................................................................................................................................... 4 Section 1 ............................................................................................................................................................................................
    [Show full text]
  • A C O U S T I C & C L a S S I C
    P L A Y E R S | L U T H I E R S | C O L L E C T O R S GA C O U US T I C & IC L TA S S I AC A L RBENCIssue 1H 2012 Interviews with: Steve Baughman Laurent Brondel Aaron Green Discover: Ryan guitars Vintage Martins Monkeypod Reviews And much more... G U I T A R B E N C H E D I T O R S N O T E EDITOR: Terence Tan Thank you for looking over the first issue of CO-EDITOR: Nena Ganesan Guitarbench magazine! SALES/MARKETING: Jessica Pau Contributors: Anton Emery, Kevin Ryan, Jessica Pau Over the past 5 years, our website has grown WEBSITES: guitarbench.com into a significant information store with over Our Online Magazine: guitarbench.com 590 published posts and numerous features. This magazine is conceived to break the digital coding barrier to allow us to develop better stories and an unlimited canvas upon which we can deliver the articles we love to produce. The information and advertising set forth herein has We will still be producing articles on guitar been obtained from sources believed to be accurate. The profiles, construction and tonewoods - In this publisher, however, does not warrant complete accuracy of such information and assumes no responsibility for any issue, you’ll find interviews with prominent consequences arising from the use thereof or reliance steel string and classical luthiers- Laurent thereon. Publisher reserves the right to reject or cancel any Brondel and Aaron Green, a slew of great advertisement or space reservation at any time without notice.
    [Show full text]
  • Effects of Wood Attributes on Acoustic Guitar Sound Quality
    Effects of Wood Attributes on Acoustic Guitar Sound Quality Jan Emanuele Bartolome ABSTRACT The guitar is a classic instrument that’s been around for hundreds of years. The sound quality of a guitar can be attributed to the wood used to construct it. However, sound quality is more qualitative than quantitative. A more expensive guitar is not necessarily a better guitar. Jan Bartolome Introduction The guitar, which is “a stringed musical instrument with a long, fretted neck, a flat somewhat violin like body, and typically six strings, which are plucked with the fingers or with a plectrum” [1] is one of the most well known instruments in the world. Researchers believe that the guitar originated from the guitarra latina, an instrument invented in Spain in the early 16th century [2]. Those guitars were composed of four strings, tuned to the notes C-F-A-D [2]. Nowadays, guitars are made with six strings, and are tuned to the notes E-A-D- G-B-E. The primary material used in making guitar bodies is wood, and the two main parts of the guitar that use wood are the neck and the body. Different species of wood can be used for each part, or the same can be used. The species of the wood greatly changes the sound and tone of the instrument. Some of the common woods used include Alder, Ash, Basswood, Korina, Mahogany, Maple, Poplar, Rosewood and Walnut. Woods of the same species cut from different trees (or grown in different regions) will sound slightly different, and have different weights, different densities, and so on [3].
    [Show full text]
  • What Is “Thermo Aged”?
    What is “Thermo Aged”? The Artwood Vintage series now showcases another vintage element by applying an “aging” process to the tonewood ―“ Thermo Aged “tone wood, made by a special drying process at a high temperature which is commonly known as “baking” or “torrefaction”. Only choice selected and seasoned tone wood can be cured to Thermo Aged wood. The wood is heated in a vacuum with a specific recipe for each kind of the wood in order to release water and decompose resin contained within the wood. As a result, Thermo Aged tone wood becomes light, hard and stable like tone wood dried for decades, while providing amazing response and a louder sound. The tone character includes a full-bodied low-end and a great smooth sustain in the treble strings which are common features of vintage guitars. Thermo Aged Non-Thermo Aged Ibanez Acoustic Guitars AcousticIbanez Copyright © 2016 Ibanez guitars. All right reserved. Products and specifications are subject to change without notice. Artwood Vintage w/Thermo Aged Sitka Spruce Body and Bracing - Thermo-cured Sitka Spruce top and bracing - Inspired by Ibanez old Acoustic guitar - All solid top, back & sides - Gotoh® machineheads AVD16LTD-NT NT (Natural High Gloss) Specs - Body Shape Dreadnought body - Top Thermo Aged Sitka Spruce top - Bracing Thermo Aged Spruce X bracing - Back & Sides Solid Indian Rosewood back & sides - Neck Mahogany Soft -V shape neck w/Diamond volute (satin finish) - Fretboard Ebony - Bridge Ebony - Inlay Gold Mother of Pearl snow flake inlay - Tuning Machine Gotoh SG301 Gold tunres - Headstock Abalone & Gold Mother of Pearl headstock ornament - Rosette Abalone & wooden rosette - Body Biding Multi wooden binding & Abalone body purfling - Nut & Saddle Bone nut & 5mm saddle - Bridge pin Hard Maple bridge pin - Strings D’Addario EXP16(.012 -.053 gauge) -Case / Bag Hardshell case included Neck Dimensions Guitars AcousticIbanez Scale 651mm a : Width at Nut 43mm b : Width at 14th Fret 55mm c : Thickness at 1st 22mm d : Thickness at 7th 24mm Radius 400mmR List price: ¤1499,- Copyright © 2015 Ibanez guitars.
    [Show full text]
  • The Tree: the Most Notorious Tonewood in the World the Tree: the Most Notorious Tonewood Related Items in the World the Discovery, the History, and the Legend
    100% GUARANTEE FREE CATALOG QUICK ORDER CONTACT US SIGN IN ▼ Friendly Customer Service CART 0 800-848-2273 9AM-6PM ET, M-F Your order will ship: Tuesday Luthier Tools Hardware + Parts Pickups + Electronics Materials + Supplies How-To Search for... " 10% OFF SITEWIDE • For a limited time, all of our German friends will enjoy this discount in their cart. Learn more ! Home › How-To › Online Resources › Reference › The Tree: The Most Notorious Tonewood in the World The Tree: The Most Notorious Tonewood Related Items in the World The discovery, the history, and the legend. A-THETREE The Tree Quilted Honduran Mahogany, Exhibition Grade, Unsanded - 002 The Tree Quilted Honduran Mahogany, Exhibition Grade, Unsanded - 003 The Tree Quilted Honduran Mahogany, Exhibition Grade, Unsanded - 004 Its look is unlike any other mahogany in the entire world. Guitars made from The Tree routinely sell for $30,000-$40,000. It has been handpicked by famous musicians and rock stars for use in their personal instruments. Luthiers such as Robert Taylor, Michael Greenfield, Richard Hoover, Dana Bourgeois, and Ervin Somogyi have used it in their most prized builds. But what is The Tree? What makes this single tree so extraordinary? Where did it come from and exactly The Tree Quilted how much of this wood is left? Honduran Mahogany, Premium Reserve, Unsanded - 003 What is The Tree? To understand The Tree's history we have to go back to 1965. Deep in the Honduran rainforest jungle of Chiquibul, a small party of loggers happened upon a towering mahogany. At over 100 feet high and 10 feet in diameter at the base, this tree was massive in every sense of the word.
    [Show full text]
  • Download Journal
    LUCKY STRIKE WAS LOVINGLY HANDCRAFTED IN BEND, OREGON AND WAS COMPLETED IN MARCH 2014. CONTENTS A LETTER FROM TOM 6 INTRODUCTION 10 SPECIFICATIONS 13 THE WOOD STORY 14 THE BUILD 31 THE CRAFTSPEOPLE 41 DOCUMENTATION 55 SOUNDBOARD 58 BACK & SIDES 62 NECK WOOD 68 OPERATING PERMITS 75 WELCOME TO THE BEDELL SEED-TO-SONG JOURNEY. Your Bedell Antiquity guitar is a one-of-a-kind magnificent musical instrument with its own story. As with all 2014 Bedell guitars, it was responsibly and lovingly crafted entirely in the U.S. I am delighted to gift you with this journal, which shares the seed-to-song story of the trees that provided the Lucky Strike tone- woods, highlights the craftspeople who created this guitar, and includes copies of all documentation and certifications we were able to gather about the provenance of the featured tonewoods, including all of the paperwork that assures full compliance with all international regulations and treaties, including CITES and Lacey Act. While designing the 2014 Bedell Antiquity instruments, the reverence I felt for the beauty and tonal brilliance of the exotic tonewoods demanded my appreciation and respect. The centuries of life and organic growth of the extraordinary trees in these instruments caused a gnawing in my soul and a challenge to my conscience. I realized that my calling was to make extraordinary acoustic guitars, crafted from the world’s most precious tonewoods, in complete harmony with sustaining our forests and honoring the indigenous cultures and economies that provide you with the stories we were able to uncover about your Bedell Antiquity live among them.
    [Show full text]
  • Acacia Melanoxylon – Wood Properties
    Acacia melanoxylon – Wood properties End grain x 10 Growth rings distinct. Not ring porous so distinct rings due to darker colour & higher density (see left). Density 640 kg m-3, Janka hardness 5,180 N. Shrinkage: Radial 3.9% tangential 7.9%. Growth ring Acacia melanoxylon - utilization Availability of sound, large logs is limited so commands a high price. Used for quality bespoke furniture. Sliced veneer is an Tangential Radial economical use. Some spectacular veneers are available. Figured Working with Acacia melanoxylon Generally works well with both machine and hand tools, but can be ‘cranky’. Low density boards plus figured & interlocked grain can cause tear-out (hand & machine). Ripped ‘face’ boards can spring even if fully dry. Relatively soft so can damage easily. Dings can be steamed out! Take care to work with the grain. Good for steam bending (see below). Glues, stains & finishes well but Cross-linked PVA and water can stain timber green. High in silica so care is needed. Always use sharp tools - even a slightly blunt table saw blade or router bit will cause burning, as will worn electric sand belts. See: Evan Dunstone (Aust. Wood Review 8-12-2015) Excellent turning timber, makes lovely boxes and great furniture. Blackwood - tonewood Now recognised as an excellent tonewood. Instrument can be matched to a blackwood music stand. Alternative species (cf Blackwood) • PNG Rosewood: Has similar properties to Blackwood. Rich colour but coarser grain (large pores). • Queensland maple: Pale pink-brown but can have fiddleback. Coarser grain & lower density. • Tasmanian Myrtle: Light pink to browns – can have amazing fiddleback.
    [Show full text]
  • A Study on the Correlation Between Wood Moisture and the Damping Behaviour of the Tonewood Spruce J
    Vol. 133 (2018) ACTA PHYSICA POLONICA A No. 5 A Study on the Correlation between Wood Moisture and the Damping Behaviour of the Tonewood Spruce J. Gökena;∗, S. Fayeda, H. Schäfera and J. Enzenauerb aUniversity of Applied Sciences Emden-Leer, Faculty of Maritime Sciences, Bergmannstr. 36, 26789 Leer, Germany bEnzenauer Flügel-Manufaktur GmbH, Schulstr. 15, 51399 Burscheid, Germany (Received September 8, 2017; in final form January 14, 2018) In acoustic musical instruments special attention needs to be paid to those particularly sensitive parts made of tonewood whose function is to respond to vibrations. One of the most important tonewoods is spruce because of its good resonance properties. Spruce is especially used for soundboards, these being the primary source of sound. Piano manufacturers dry their soundboards to approximately 6% wood moisture, at which drying stage they are glued into the instrument. Fluctuations of the moisture content in the wood affect the tone. With changing moisture content, the instrument can go out of tune, even cracks can appear at very low moisture content in the wood. In addition, the tone colour will change. This may result from changes in the hammer felt or from changes in the vibration properties of the soundboard. Strain- and frequency-dependent damping measurements were carried out on spruce wood at different wood moisture contents in order to investigate the effect of the moisture content on the vibration behaviour. Wood which is slowly dried in air for several years is preferably used for high-class pianos. Therefore, damping measurements on new and on more than 130-year old spruce wood samples were performed.
    [Show full text]
  • US BLUES * Artist Quality Guitar Picks
    US BLUES * Artist Quality Guitar Picks ToneWoods - FlexWoods - Exotics - Sculpted - Vegetable Ivory PT-72 EX-72 GR-72 Wood Exotic Grip Collec- Collec- Collec- Trays of 72 Picks MODEL # MODEL DESCRIPTION Picks RETAIL COST Guitar Pick Display Trays (72 Picks Per Tray) PT-72 ToneWood Collection 72 $ 360 $162.00 SI-72 Sculpted GR-72 Grip Collection 72 $ 384 $173.00 & Ivory JZ-72 Jazz Collection 72 $ 384 $173.00 Collec- EX-72 Exotic Collection 72 $ 432 $195.00 SI-72 Sculpted/Ivory Collection 72 $ 576 $259.00 TR-72 Trillogy Collection 72 $ 384 $173.00 351 TONEWOOD PICK PACKS (3 Picks) P3-TWEB ToneWood Ebony 3 $15.00 $6.75 P3-TWSN ToneWood Sonokeling 3 $15.00 $6.75 P3-TWTD ToneWood Tamarind 3 $15.00 $6.75 P3-TWRS ToneWood Indian Rosewood 3 $15.00 $6.75 P3-TWPD ToneWood Padauk 3 $15.00 $6.75 P3-TWMP ToneWood Maple 3 $15.00 $6.75 P3-TWTK ToneWood Teak 3 $15.00 $6.75 P3-TWAC ToneWood Acacia 3 $15.00 $6.75 P3-TWHM ToneWood Hawaiian Mango 3 $15.00 $6.75 P3-TWBM ToneWood Bamboo 3 $15.00 $6.75 351 FLEXWOOD PICK PACKS (3 Picks) P3-FXKW FlexWood Brazilian Cherry 3 $18.00 $8.10 P3-FXBB FlexWood Bubinga 3 $18.00 $8.10 P3-FXRS FlexWood Rosewood 3 $18.00 $8.10 GRIP-SHAPED TONEWOOD PICK PACKS (3 Picks) P3-GREB GripWood Ebony 3 $15.00 $6.75 P3-GRSN GripWood Sonokeling 3 $15.00 $6.75 P3-GRTD GripWood Tamarind 3 $15.00 $6.75 P3-GRRS GripWood Rosewood 3 $15.00 $6.75 P3-GRPD GripWood Padauk 3 $15.00 $6.75 P3-GRMP GripWood Maple 3 $15.00 $6.75 P3-GRTK GripWood Teak 3 $15.00 $6.75 P3-GRAC GripWood Acacia 3 $15.00 $6.75 P3-FXKW FlexWood Brazilian Cherry 3 $18.00 $8.10 P3-GRHM GripWood Hawaiian Mango 3 $15.00 $6.75 P3-FXBB FlexWood Bubinga 3 $18.00 $8.10 P3-GRBM GripWood Bamboo 3 $15.00 $6.75 P3-FXRS FlexWood Rosewood 3 $18.00 $8.10 Harris Musical Products, Inc.
    [Show full text]