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WO2013059852A1 - Procédé d'amélioration de la réponse acoustique d'instruments de musique - Google Patents

Procédé d'amélioration de la réponse acoustique d'instruments de musique Download PDF

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Publication number
WO2013059852A1
WO2013059852A1 PCT/AU2011/001355 AU2011001355W WO2013059852A1 WO 2013059852 A1 WO2013059852 A1 WO 2013059852A1 AU 2011001355 W AU2011001355 W AU 2011001355W WO 2013059852 A1 WO2013059852 A1 WO 2013059852A1
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WO
WIPO (PCT)
Prior art keywords
instrument
audio
acoustic
musical
act
Prior art date
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Ceased
Application number
PCT/AU2011/001355
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English (en)
Inventor
Gregory Lawrence KERNAGHAN
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Individual
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Individual
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Filing date
Publication date
Application filed by Individual filed Critical Individual
Priority to PCT/AU2011/001355 priority Critical patent/WO2013059852A1/fr
Publication of WO2013059852A1 publication Critical patent/WO2013059852A1/fr
Anticipated expiration legal-status Critical
Ceased legal-status Critical Current

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Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/18—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a string, e.g. electric guitar
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; AEOLIAN HARPS; SINGING-FLAME MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D3/00—Details of, or accessories for, stringed musical instruments, e.g. slide-bars
    • G10D3/22—Material for manufacturing stringed musical instruments; Treatment of the material
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H3/00—Instruments in which the tones are generated by electromechanical means
    • G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/146—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a membrane, e.g. a drum; Pick-up means for vibrating surfaces, e.g. housing of an instrument

Definitions

  • the present disclosure relates the methods for making and treating musical instruments so as to favorably affect their performance and sound.
  • Ashworth U.S. Pat. No. 5,031 ,501 and Rabe and Tobias U.S. Pat. No. 5,537,908) Both of these approaches require a direct physical connection between the instrument and the source of auditory or vibrational energy. Ashworth requires the direct attachment of a transducer to the instrument. Rabe and Tobias require that the subject instrument is physically secured to an electrodynamic vibrating surface.
  • the present invention relates to a process that can be applied to musical instruments (or components thereof) during or after the manufacturing process to expeditiously obtain improvements and changes in acoustic response and characteristics of resonance typically associated with "matured", “seasoned” or “played-in” instruments.
  • the present invention provides a method of treating a musical instrument or component thereof including supporting the music instrument or component thereof using non- dampening supports; arranging a speaker proximal to and directed towards the instrument or component thereof; providing an audio frequency generator in communication with an amplifier and the speaker; determining at least one frequency of natural resonance of the instrument or component thereof or at least one latent frequency of the instrument or component thereof; and generating the at least one determined frequency with the audio frequency generator and subjecting the instrument or component thereof to the determined frequency via the speaker.
  • the step of determining at least one frequency of natural resonance of the instrument or component thereof includes the steps of providing a non-contact vibration sensor directed at the instrument or component thereof; performing a diagnostic audio sweep of the instrument or component thereof by sweeping and audio spectrum with one or more waveforms derived from the output of the audio frequency generator and directed at the instrument or component thereof via the speaker; and using data from the non- contact vibration sensor and the audio frequency generator to determine at least one frequency of natural resonance of the instrument or component thereof.
  • the vibration sensor is a laser Doppler
  • the audio spectrum used in the diagnostic audio sweet is from 20Hz to 20kHz.
  • the step of determining at least one frequency of natural resonance of the instrument or component thereof includes the steps of lightly touching the instrument or component thereof; performing a diagnostic audio sweep of the instrument or component thereof by sweeping an audio spectrum with one or more waveforms derived from the output of the audio frequency generator and directed at the instrument or component thereof via the speaker; and using biological feedback from the light touch on the instrument and data from the audio frequency generator to determine at least one frequency of natural resonance of the instrument or component thereof.
  • the audio spectrum used in the diagnostic audio sweep is from 20Hz to 20kHz.
  • the at least one frequency of natural resonance of the instrument or component thereof is determined by extrapolating known data in relation to the instrument or component thereof.
  • the at least one frequency of natural resonance preferably comprises the fundamental and higher order nodes of resonance of the instrument or component thereof.
  • the audio frequency generator generates a swept sine signal.
  • the non- dampening supports comprise at least one suspension line suspending the instrument or component thereof. Further preferably, the suspension line is a thin nylon line or rubber shock cord.
  • the method preferably further comprises the step of conducting a modal analysis of the instrument or component thereof after subjecting the instrument or component thereof to the determined frequency in order to determine changes to the characteristics of the instrument or component thereof.
  • the instrument or component thereof may be subjected to the determined frequency at amplitude that exceeds amplitudes experienced during normal playing conditions for the instrument.
  • the instrument or component thereof is subjected to the determined frequency for a period of time sufficient to cause a change in the acoustic characteristics of the instrument or component thereof. More preferably, the instrument or component thereof is subjected to the determined frequency for a period of between 6 to 12 hours, but other durations can be determined by the individual response of the instrument and by suitable application of an appropriate driving signal and intensity.
  • FIG. 1 illustrates an exemplary a schematic representation of a system in which an instrument being treated
  • FIG. 2 illustrates an exemplary method for treating a musical instrument
  • FIG. 3 illustrates two exemplary stages of diagnosing and treating an instrument according to the present method.
  • Fig. 1 shows a musical instrument 10 (e.g., acoustic guitar or violin) that is first diagnosed to determine the frequencies of a natural resonance of the instrument 10 and then treated to improve the acoustic response of the instrument 10 using the determined frequencies of natural resonance.
  • a musical instrument 10 e.g., acoustic guitar or violin
  • the instrument 10 is suspended above the ground from its headstock or instrument strap anchors using a suspension line 12, such as a thin nylon line or rubber shock-cord, such that the instrument 10 is relatively free to resonate without significant dampening.
  • a suspension line 12 such as a thin nylon line or rubber shock-cord
  • the instrument's 10 orientation may be fixed by the application of additional tethers subject to their ability to allow the instrument 10 to resonate freely.
  • a loudspeaker system comprising one or more loudspeakers 14 and an audio amplifier 16 capable of producing a broad range of frequencies at high amplitude (i.e. 20Hz - 20kHz +/- 3db @ >103db SPL) is placed in close proximity to and facing the instrument 10 under test.
  • An audit frequency generator 18 capable of outputting various waveforms (i.e. sine, square, ramp, pulsed) across the audible spectrum (i.e. from 20Hz to 20kHz) is connected to the one or more loudspeakers 14 via the audio amplifier 16.
  • a sound pressure meter 20 capable of accurately measuring the sound pressure level (SPL) of the loudspeaker 14 across the audible spectrum is placed in front of the loudspeaker 14.
  • a suitable laser Doppler vibrometer 22 capable of measuring the vibrational intensity and frequency of the instrument 10 or component thereof between 20Hz and 20kHz is placed in a position suitable for the recording and/or monitoring of the vibrational response and profile of the instrument 10 or component thereof under analysis.
  • the instrument 10 under analysis subjected to a sweep of stimulation signal (i.e. sine, square, ramp, pulsed wave forms) at frequencies ranging from 20Hz to 20kHz. These sweeps are conducted at fixed amplitude sufficient to demonstrably excite the musical instrument 10 at frequencies of natural resonance for the musical instrument 10 under analysis.
  • the SPL meter 20 can be used to verify that the nature of the sweep is of a relatively fixed amplitude should conditions of repetition be required.
  • Data from the vibration sensor 22 is cross-referenced with the output frequency and waveform data from the audio frequency generator 18, measurements from the SPL meter 20 and frequency data from the vibrometer 22.
  • Conditions associated with the expression of self resonant nodes and higher order nodes are determined and recorded for later us. These conditions are expressed as relative peaks in vibrational amplitude on the part of the instrument 10 or component thereof under study.
  • data relating to the frequencies of natural resonance of a particular instrument 10 may be known or extrapolated from existing data on the instrument 10 of an identically manufactured instrument.
  • the musical instrument 10 is subjected to a program of exposure to specific
  • frequencies and waveforms being excitation signals comprised of frequencies identified as being those associated with the fundamental and higher order nodes of resonance of the instrument 10 at an amplitude within the structural limitations of the instrument 10, but typically at or above the maximum level anticipated in normal use until a satisfactory change in acoustic and harmonic qualities of the instrument 10 are obtained.
  • the instrument 10 is subjected to this treatment for a sufficient duration to effect a change in the harmonic and acoustic response of the instrument 10 at a greater rate than that which would otherwise be obtained during the course of the instrument's 10 normal "maturation" or "opening up” process.
  • the treatment is preferably performed on specific classes of musical instruments which can benefit from the treatment including those instruments whose sonic character is determined at least in part by the physical resonances of the instrument's body or parts thereof and whose acoustic properties are known to be subject to change in accordance with the passage of time and use.
  • Such instruments include violins, cellos, double basses, acoustic guitars, solid body electric guitars, mandolins, acoustic pianos, electric and acoustic bass guitars, clarinets, oboes, acoustic drums, wooden bodied harps etc.
  • Instrument harmonic excitation levels can be measured in a number of ways.
  • SLDV sensor aimed at the instrument and capable of determining vibration frequency and amplitude across the audio frequency spectrum at the multiple points of reference
  • single point laser Doppler vibrometry can deliver broadly equivalent data albeit at the expense of time associated with setup at multiple points of observation across the instrument.
  • Basic relative vibrational intensity can also be ascertained using biofeedback by the application of the human hand very lightly upon the body of the instrument during a diagnostic sweep.
  • a peak in the relative intensity of the instrument's reaction to the sweep is usually easily detected and can be cross- referenced with the audio frequency generator to determine the specific frequency, waveform and bandwidth associated with that harmonic response.
  • An appropriate non-contact vibration sensor in collaboration with a suitable sound pressure level meter, ensuring the excitation signals are generated in accordance with a meaningful reference level, is however and excellent basis upon which the harmonic response of the instrument can plotted and later referenced when assessing changes brought about by the treatment regime.
  • Scanning laser Doppler vibrometers allow the simultaneous capture of vibratory data from a multitude of reference points on the instrument or part thereof and are therefore the most efficient means of acquiring detailed
  • Single point laser Doppler vibrometers can obtain a functional level of detail if relocated to a sufficient number of reference points of potential harmonic interest between sequential standardized diagnostic sweeps.
  • an instrument's fundamental and higher order inherent resonances can be determined from a relatively small number of reference points generally negating the need for an expensive scanning laser Doppler vibrometer.
  • the highly detailed analysis of an instrument's harmonic profile afforded by the use of a SLDV provides an excellent basis for comparison between pre- and post- treatment analysis, profiling and management of the instrument's complex harmonic character in addition to coherent identification of harmonic troughs of interest.
  • the data derived from such a modal analysis is used to identify frequencies for stimulation of the instrument 10 which when delivered at sufficient amplitude and duration both accelerates the maturation process and assists in tonal shaping of the instrument 10.
  • the stimulation frequencies are primarily selected on the basis that they have been identified during modal analysis as either fundamental nodes of resonance, higher order nodes of resonance or frequencies which are "latent frequencies" and in need of propagation in order to improve the sonic quality or tonal shaping of the instrument 10. Therefore, some stimulation frequencies may be selected in accordance with their specific contribution to the overall tonal shaping of the instrument in lieu of the instrument body's natural nodes of resonance.
  • An example includes fourth order harmonics from the equal tempered major and minor diatonic scales whose greater prominence is often associated with violins of higher quality.
  • latent frequency is used throughout the specification to define any such frequency from the major and minor diatonic scales at which an instrument resonates at less than optimum amplitude.
  • the instrument 10 is subjected to that frequency or group of frequencies at relatively high amplitudes which typically exceed those present during normal use but are below that which could cause structural damage or failure to the instrument 10 and for a period of time sufficient to expeditiously effect a positive change in the acoustic response of the instrument 10.
  • a typical time period often sufficient to effect a noticeable change is between 6 and 12 hours but may be more or less depending on specific circumstances.
  • Subtle and overt changes in the acoustic response of the instrument 10 can be quantified by a subsequent modal analysis based on the same analytic procedure as that employed before the high-amplitude stimulation treatment.
  • Several classes of stimulation signals are available for the purposes of modal analysis and treatment. These include transient, periodic in the time window, random and harmonic.
  • a swept sine excitation signal is generally the most appropriate because slowly swept sine can be used for single point measurements, and sweep excitation can allow for the detection of resonance of very lightly damped structures which may otherwise remain undetected by alternative excitation signals.
  • the modal analysis and treatment phases can be completed in an entirely non-contact environment.
  • Peaks and troughs in the excitation or vibrational characteristics of the body of the instrument indicate the particular frequencies at which the instrument, its body or parts thereof are inherently more or less resonant.
  • Specific treatment phase frequencies are subsequently chosen based upon peaks in the sympathetic response of the instruments as recorded and determined during the diagnostic sweep phase or alternative frequencies demonstrated as lacking and in need of propagation. For example, higher relative strengths of fourth order harmonics are often associated with higher quality violins. These frequencies can be targeted for propagation in addition to fundamentals where desired.
  • the diagnostic sweep may be conducted in a number of ways and upon a number of music instrument conditions, including (i) upon an unstrung instrument (ii) upon a strung instrument and (iii) upon a strung instrument, the strings of which have been dampened to avoid anomalous (non-instrument-body) resonances.
  • the method employed to fix the instrument in close proximity to the audio frequency generator shall be such that said fixing wherever possible shall involve the suspension of the instrument in space by a means that does not prevent the instrument from responding freely to the audio stimulus. Unnecessary vibrational and harmonic damping should be avoided wherever possible.
  • An example of such a technique that may satisfy the requirement for minimal damping includes hanging a guitar from the headstock using a thin nylon line or rubber shock cord of minimum diameter sufficient to safely suspend the instrument above ground, in front of and in close proximity to the loudspeaker attached to the audio frequency generator equipment without risk mechanical failure throughout the diagnostic and treatment phase.
  • the front of the instrument or soundboard should face the source of the audio frequency excitation signal; however, experimental data suggests that the ideal orientation of the instrument for excitation will vary depending upon design. In many cases, it is appropriate to sweep and treat the instrument from a variety of angles in an attempt to better convey and improve reception of audio energy or excitation stimulus.
  • Fig. 2 illustrates an exemplary method for treating a musical instrument as described herein.
  • a musical instrument is placed on dampening mechanical supports at step 210.
  • An audio speaker is arranged and directed to deliver sound waves to the instrument at step 220.
  • the step of delivering acoustic waves from the speaker to the musical instrument may be implemented through appropriate directional and distance settings between the audio speaker and the musical instrument.
  • a suitable audio signal is generated; for example, from a signal generator and as described in more detail herein, the suitable audio signal may include one or more frequencies or tones or other electrical signals used to drive the audio speaker.
  • the suitable audio signal is amplified using an audio amplifier so as to provide an appropriate electrical signal and suitable amplitude there of for driving the audio speaker at the correct intensity.
  • the musical instrument is sonicated until the desired acoustic characteristic of the musical instrument is achieved. This may involve allowing the audio speaker to sonicate the musical instrument at the appropriate intensity and for a duration sufficient to achieve such modification in the acoustic characteristic of the musical instrument.
  • Fig. 3 illustrates an exemplary method comprising two main phases for treating a musical instrument according to a preferred embodiment.
  • two phases comprise a diagnostic set of steps 300 followed by treatment steps 310.
  • Diagnostic steps 300 include a step of determining a natural vibratory response of the musical instrument 302. Also, a step of recording response peaks 304 that are determined as a result of the musical instrument's natural resonances and other construction features. The natural vibratory response peaks may indicate one or more natural frequencies of the musical instrument, which may then be used in the treatment steps 310 below.
  • Treatment steps 310 include supporting the musical instrument 312, preferably supporting the instrument without artificial dampening so that they instrument may respond to acoustic driving signals that are externally applied to the instrument. Treatment steps 310 then include applying an acoustical signal corresponding to the response peaks measured above. The step of applying the acoustic signal 314 is preferably accomplished by positioning an acoustical source proximal to and directed at the musical instrument without making physical mechanical contact with the instrument. As mentioned above, other techniques for driving an acoustic instrument have employed mechanically fixing a driver to the musical instrument, which can cause dampening of the musical instrument and inhibit natural response thereof.
  • the acoustic driving is applied to the musical instrument without touching the acoustical driver to the instrument.
  • air is used to propagate the acoustical sound waves from the source of the acoustical signal to the musical instrument, thereby causing the musical instrument to resonate and respond to the driving acoustical signal.
  • the musical instrument may be transformed to improve its natural response, sound and other acoustical qualities of the instrument.
  • the present techniques can be applied to improve the performance of musical instruments in a production line facility by treating more than one instrument substantially at the same time.
  • an instrument of a certain type can be tested to determine its response characteristics as described above.
  • a plurality of same, similar or same type of instruments may be treated using the same or similar treatment steps as would be applied to the actual instrument that underwent the testing.
  • the production of fine musical instruments can be scaled up to treat a larger number of instruments by only subjecting one or a few instruments to testing, collecting the needed parameters, then subjecting the plurality of instruments of similar nature to the treatment steps above. This results in a greater manufacturing throughput of treated instruments.

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  • Engineering & Computer Science (AREA)
  • Physics & Mathematics (AREA)
  • Acoustics & Sound (AREA)
  • Multimedia (AREA)
  • Manufacturing & Machinery (AREA)
  • Investigating Or Analyzing Materials By The Use Of Ultrasonic Waves (AREA)

Abstract

L'invention porte sur un procédé pour traiter des instruments de musique. Le procédé applique une énergie acoustique appropriée à travers le milieu environnant (par exemple, l'air) sans contact direct entre l'instrument et la source acoustique de façon à obtenir une réponse et des performances plus souhaitables à partir de l'instrument de musique. Dans certains modes de réalisation, l'instrument est supporté et positionné de façon appropriée par rapport à une source audio, laquelle source audio est attaquée avec une tonalité ou une séquence ou un signal d'attaque électrique approprié, laquelle source audio délivre alors le son nécessaire pendant la durée et le cycle nécessaires pour obtenir la transformation dans l'instrument.
PCT/AU2011/001355 2011-10-25 2011-10-25 Procédé d'amélioration de la réponse acoustique d'instruments de musique Ceased WO2013059852A1 (fr)

Priority Applications (1)

Application Number Priority Date Filing Date Title
PCT/AU2011/001355 WO2013059852A1 (fr) 2011-10-25 2011-10-25 Procédé d'amélioration de la réponse acoustique d'instruments de musique

Applications Claiming Priority (1)

Application Number Priority Date Filing Date Title
PCT/AU2011/001355 WO2013059852A1 (fr) 2011-10-25 2011-10-25 Procédé d'amélioration de la réponse acoustique d'instruments de musique

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WO2013059852A1 true WO2013059852A1 (fr) 2013-05-02

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Cited By (1)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US10370343B2 (en) 2015-09-03 2019-08-06 Forma Therapeutics, Inc. [6,6] Fused bicyclic HDAC8 inhibitors

Citations (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO2007089720A2 (fr) * 2006-01-27 2007-08-09 University Of South Florida Processus de vieillissement accéléré pour instruments à cordes acoustiques
US20090293707A1 (en) * 2008-06-02 2009-12-03 John Martin Suhr Wood aging method for musical instruments
US20110167991A1 (en) * 2010-01-13 2011-07-14 Sanns Jr Frank Method of improving sound quality of a musicial instrument

Patent Citations (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO2007089720A2 (fr) * 2006-01-27 2007-08-09 University Of South Florida Processus de vieillissement accéléré pour instruments à cordes acoustiques
US20090293707A1 (en) * 2008-06-02 2009-12-03 John Martin Suhr Wood aging method for musical instruments
US20110167991A1 (en) * 2010-01-13 2011-07-14 Sanns Jr Frank Method of improving sound quality of a musicial instrument

Cited By (3)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US10370343B2 (en) 2015-09-03 2019-08-06 Forma Therapeutics, Inc. [6,6] Fused bicyclic HDAC8 inhibitors
US10829460B2 (en) 2015-09-03 2020-11-10 Valo Early Discovery, Inc. [6,6] fused bicyclic HDAC8 inhibitors
US11414392B2 (en) 2015-09-03 2022-08-16 Valo Health, Inc. [6,6] fused bicyclic HDAC8 inhibitors

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