Modal Parameters of Two Violins with Different Varnish Layers and Subjective Evaluation of Their Sound Quality

• Autorzy: Skrodzka E. B. , Linde B.B.J. , Krupa A.
• Języki publikacji: EN

Abstrakty

EN

Two violins were investigated. The only intentionally introduced difference between them was the type of varnish. One of the instruments was covered with a spirit varnish, the other was oil varnished. Experimental modal analysis was done for unvarnished/varnished violins and a questionnaire inquiry on the instrument’s sound quality was performed. The aim of both examinations was to find differences and similarities between the two instruments in the objective (modal parameters) and subjective domain (subjective evaluation of sound quality). In the modal analysis, three strongly radiating signature modes were taken into account. Varnishing did not change the sequence of mode shapes. Modal frequencies A0 and B(1+) were not changed by oil varnishing compared to the unvarnished condition. For the oil varnished instrument, the frequency of mode B(1+) was lower than that of the same mode of the spirit varnished instrument. Our two violins were not excellent instruments, but before varnishing they were practically identical. However, after varnishing it appeared that the oil-varnished violin was better than the spirit-varnished instrument. Therefore, it can be assumed with a fairly high probability that also in general, the oil-varnished violins sound somewhat better than initially identical spirit-varnished ones.

Słowa kluczowe

EN

violin; modal analysis; varnish; subjective sound quality evaluation

• Wydawca: Instytut Podstawowych Problemów Techniki PAN ; Komitet Akustyki PAN ; Polskie Towarzystwo Akustyczne
• Czasopismo: Archives of Acoustics
• Rocznik: 2013
• Tom: Vol. 38, No. 1
• Strony: 75--81
• Opis fizyczny: Bibliogr. 26 poz., rys., tab., wykr.

Twórcy

autor

Skrodzka E. B.

• Institute of Acoustics, Adam Mickiewicz University Umultowska 85, 61-614 Poznan, Poland
• Faculty of String Instruments, Harp, Guitar and Luthiery The Ignacy Jan Paderewski Academy of Music Sw. Marcin 87, 61-808 Poznan, Poland

autor

Linde B.B.J.

• Institute of Experimental Physics, University of Gdansk Wita Stwosza 57, 80-952 Gdansk, Poland

autor

Krupa A.

• Faculty of String Instruments, Harp, Guitar and Luthiery The Ignacy Jan Paderewski Academy of Music Sw. Marcin 87, 61-808 Poznan, Poland

Bibliografia

• 1. Bissinger G. (1995), Some mechanical and acoustical consequences of the violin soundpost, J. Acoust. Soc. Am., 97, 3154-3164.
• 2. Bissinger G. (2003), Modal analysis of a violin octet, J. Acoust. Soc. Am., 113, 4, 2105-2113.
• 3. Bissinger G. (2006), The violin bridge as filter, J. Acoust. Soc. Am., 120, 1, 482-491.
• 4. Bissinger G. (2008), Structural acoustics of good and bad violins, J. Acoust. Soc. Am., 124, 3, 1764-1773.
• 5. Bissinger G., Keiffer J. (2003), Radiation damping, efficiency, and directivity for violin normal modes below 4 kHz, Acoust. Res. Lett. Online, 4, 1, 7-12.
• 6. Boullosa R. R. (2002), Vibration measurements in the classical guitars, Appl. Acoust., 62, 311-322.
• 7. Cremer L. (1981), The physics of the violin, Hirzel Verlag, Stuttgart.
• 8. Dünnwald H. (1999), Deduction of objective quality parameters on old and new violins, Catgut Acoust. Soc. J., 2, 1, 1-5.
• 9. Echard J. P., Benoit C., Peris-Vicente J., Malecki V., Gimeno-Adelanto J. V., Vaiedelich S. (2007), Gas chromatography/mass spectrometry characterization of historical varnishes of ancient Italian lutes and violin, Anal. Chim. Acta, 584, 172-180.
• 10. Echard J.P., Cotte M., Dooryhee E., Bertrand L. (2008), Insights into the varnishes of historical musical instruments using synchrotron micro-analytical methods, Appl. Phys. A, 92, 77-81.
• 11. Elejabarrieta M. J., Ezcurra A., Santamaria C. (2000), Evolution of the vibrational behavior of a guitar soundboard along successive construction phases by means of the modal analysis technique, J. Acoust. Soc. Am., 108, 1, 369-378.
• 12. Ewins D. J. (1995), Modal Testing: Theory and Practice, Research Studies Press Ltd., Taunton, Somerset, England.
• 13. Fletcher N. H., Rossing T. D. (1997), The Physics of Musical Instruments, Chap. 10, pp. 272-330, Springer-Verlag, New York.
• 14. Fouilhe E., Goli G., Houssay A., Stoppani G. (2011), Vibration modes of the cello tailpiece, Arch. Acoust., 36, 4, 713-726.
• 15. Fritz C., Cross I., Moore B. C. J., Woodhouse J. (2007), Perceptual thresholds for detecting modifications applied to the acoustical properties of a violin, J. Acoust. Soc. Am., 122, 3640-3650.
• 16. Hartmann W. M. (1997), Signals, Sound, and Sensation, Woodbury, New York.
• 17. Marshall K. D. (1985), Modal analysis of a violin, J. Acoust. Soc. Am., 77, 695-709.
• 18. Meinel H. (1937), On the frequency curves of violin, Akust. Z., 2, 22-33.
• 19. Saldner H. O., Molin N-E., Jansson E. V. (1996), Vibration mode of the violin forced via the bridge and action of the sound post, J. Acoust. Soc. Am., 100, 1168-1177.
• 20. Schleske M. (2002), Empirical tools in contemporary violin making. 1. Analysis of design, materials, varnish and normal modes, Catgut Acoust. Soc. J., 4, 50-65.
• 21. Skrodzka E., Krupa A., Rosenfeld E., Linde B. B. J. (2009), Mechanical and optical investigation of dynamic behavior of violins in modal frequencies, Appl. Opt., 48, C165-170.
• 22. Skrodzka E., Łapa A., Gordziej M. (2005), Modal and spectral frequencies of guitars with differently anglednecks, Arch. Acoust., 30, 4, 197-201.
• 23. Skrodzka E., Łapa A., Linde B. B. J., Rosenfeld E. (2011), Modal parameters of two incomplete and complete guitars differing in the bracing pattern of the soundboard, J. Acoust. Soc. Am., 130, 4, 2186-2194.
• 24. Skrodzka E. B., Sęk A. P. (1998), Vibration patterns of the front panel of the loudspeaker system: measurement conditions and results, J. Acoust. Soc. Jap. (E), 19, 4, 249-257.
• 25. The STAR system version 3.02D. Theory and application, User’s Manual (1990), SMS.
• 26. Weinreich G., Holmes C., Mellody M. (2000), Air-wood coupling and Swiss-cheese violin, J. Acoust. Soc. Am., 108, 2389-2402.