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Selected aspects of resonance properties of different woods and the construction of string instruments

Lewandowski Miłosz, Foltynowicz Zenon

Drewno : prace naukowe, doniesienia, komunikaty

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2022

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Vol. 65, nr 210

Art. no. 1644-3985.408.04

EN

Wood is the primary material used in the manufacture of string instruments. The quality of the resonance wood, together with the skills of the luthier- the violin makers, is one of the main factors influencing the final quality of the instruments. There are several important parameters used to evaluate the quality of the resonance wood. The most important are: wood structure, moisture content, density, elasticity, speed of acoustic wave propagation, and degree of vibration damping. There are many studies available in the specialist literature, results of these studies are presented in this article. Therefore, an in-depth analysis of the databases of scientific journals is the primary research method. The quality of the resonance wood, together with the skills of the violin makers, is one of the main factors influencing the final quality of the instruments.

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Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements

Torres J. A., Torres-Martínez R.

Archives of Acoustics

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2015

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Vol. 40, No. 3

351--358

EN

The feasibility of substituting the types of wood usually employed in the making of guitars and violins was analyzed, but without comparing the properties of involved materials as it is often reported; in this work, the vibrational behavior of twelve guitars and three violins built with alternative types of woods was compared to data of classical instruments available in the literature. In the guitars here measured, the back plate and ribs were not made from traditional woods; while in the violins, only the top plate was made from an alternative type of wood. The results showed that changing the wood of back plate and ribs does not radically affect the typical mobility of a guitar; however, the expected mobility for a violin was not clearly obtained substituting the wood of the top plate. Thus it seems feasible to substitute the wood of back plate and ribs in guitars without causing dramatic changes in their performance; in contrast, a change of the wood type for top plate in violins seems inadvisable unless the design of the top plate is modified to compensate the differences between the woods.

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Effect of Bass Bar Tension on Modal Parameters of a Violin’s Top Plate

Skrodzka E. B., Linde B.B.J., Krupa A.

Archives of Acoustics

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2014

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Vol. 39, No. 1

145--149

EN

Experimental modal analysis of a violin with three different tensions of a bass bar has been performed. The bass bar tension is the only intentionally introduced modification of the instrument. The aim of the study was to find differences and similarities between top plate modal parameters determined by a bass bar perfectly fitting the shape of the top plate, the bass bar with a tension usually applied by luthiers (normal), and the tension higher than the normal value. In the modal analysis four signature modes are taken into account. Bass bar tension does not change the sequence of mode shapes. Changes in modal damping are insignificant. An increase in bass bar tension causes an increase in modal frequencies A0 and B(1+) and does not change the frequencies of modes CBR and B(1−).

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Analiza kinematyki kończyny górnej podczas gry na skrzypcach

Guzik-Kopyto A., Wodarski P., Piecko M.

Aktualne Problemy Biomechaniki

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2014

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z. 8

27--32

PL

Artykuł przedstawia przeprowadzoną analizę kinematyczną kończyny górnej podczas gry na skrzypcach. Przedstawione wyniki badań z wykorzystaniem systemu MVN Biomech firmy XSENS miały na celu wyznaczenie minimalnego i maksymalnego kąta oraz zakresu ruchomości kątowej w trzech głównych stawach kończyny górnej smyczkującej podczas wykonywania określonych sekwencji pociągnięć smyczkiem po kolejnych strunach skrzypiec.

EN

This article presents the undertaken kinematic analysis of the upper extremity while playing the violin. The researches were done by MVN Biomech from XSENS company. The researches had to lay down the minimum and maximum angle and angular range of motion in the three main joints of the upper extremity while performing certain sequences of bow strokes on a violin. Data analysis consisted of averaging the 12 replicated values recorded during researches and calculation of the angular range of motion for each joint of the upper extremity.

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

Skrodzka E. B., Linde B.B.J., Krupa A.

Archives of Acoustics

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2013

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Vol. 38, No. 1

75--81

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.

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Zastosowanie metody falowodowej do cyfrowej syntezy dźwięku skrzypiec

Bobiński P., Kubiak M.

Elektronika : konstrukcje, technologie, zastosowania

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2009

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Vol. 50, nr 4

111-115

PL

Przedstawiono cyfrowy syntezator dźwięku skrzypiec, modelowany fizycznie za pomocą metody falowodowej. Omówiono podstawy budowy skrzypiec oraz ich fizyczne właściwości mające związek z wytwarzaniem dźwięku. Następnie przedstawiono charakterystykę metody falowodowej na tle innych używanych współcześnie metod syntezy dźwięku. Dalej opisano teoretyczne podstawy wykorzystywanego modelu oraz jego implementację. Falowodowy model zaimplementowano w asemblerze, na procesorze sygnałowym ADSP-21364. Do sterowania syntezatorem za pomocą protokołu zgodnego ze standardem MIDI wykorzystano specjalny konwerter MIDI do SPI. Dźwięk zrealizowanego syntezatora poddano ocenie subiektywnej w celu porównania jego jakości z brzmieniem generowanym przez syntezator wavetable. W zakończeniu zaprezentowano wyniki subiektywnej oceny jakości generowanego dźwięku, które potwierdzają użyteczność metody falowodowej w syntezie dźwięku skrzypcowego.

EN

In the paper the violin synthesizer based on digital waveguide sound synthesis method is presented. The description of the anatomy and the basic physics of the violin are shown. The digital waveguide in comparison with other synthesis methods is examined. Next the theory and the implementation of the digital waveguide model of violin are presented. The digital waveguide model of violin was implemented in assembler on ADSP-21364 processor. Due to the use of MIDI to SPI converter the efficient control of the synthesizer by means of MIDI protocol is allowed. In order to compare the sound quality of the implemented synthesizer with the quality of sound generated by commercial wavetable synthesizer, both of them were subjectively estimated in listening tests. Finally, the results of the listening test are revealed.