Because of mechanical string-structure coupling, the string vibration, and therefore the sound, substantially depends on the lutherie parameters. The sound of a solid body electric guitar comes from the loudspeaker transducing into sound the string velocity. As a result, the influence of polishing in the making procedure depends on the selected wood species. Further, polishing tends to reduce the acoustic dissipation in the wooden pipes, especially for the most porous species. For maple, changing the pipe direction of 60° considerably increases the attenuation factor, compared to those of the other pipes, parallel to the grain. This order is the same before and after polishing the bore, which is an essential step in the making process of wind instrument. The attenuation factors are ranked in the following order from largest to smallest: maple, boxwood, pear wood, and African Blackwood. Their comparison reveals significant differences of acoustic dissipation among the species considered. An experimental method, involving input impedance measurements with several lengths of air column, is introduced to estimate the characteristic impedance and the attenuation factor in the pipes. The pipes are parallel to the grain, except one which forms an angle of 60° with the fiber direction. In this study, the acoustic dissipation is investigated experimentally in wooden pipes of different species commonly used in woodwind instrument making: maple (Acer pseudoplatanus), pear wood (Pyrus communis L.), boxwood (Buxus sempervirens), and African Blackwood (Dalbergia melanoxylon). More in general, this study validates the adequacy and relevance of the free playing and verbalisation method applied to musical instruments involving multimodal perception. The main difference between the two voicings was the loudness of the sound (in agreement with the equivalent sound level) and the hardness of the plectra (in agreement with the minimum triggering force). This perceptual characterisation was compared to physical measurements (minimum triggering force on the key, equivalent sound level) made during or after the tests. A perceptual characterisation of each set of plectra was obtained, based on evaluations of loudness of the sound, hardness of the plectra, strength of the voicing, length/resonance, dynamics, equality and evolution of sound and touch over the The verbal data was analysed with methods inherited from the field of psycholinguistics. This article presents a perceptual test investigating how different voicings are perceived.Įxperienced harpsichord players took part in a free playing and verbalisation task and evaluated two different sets of plectra. In harpsichord making and setup, the “voicing process” consists in selecting and shaping the plectra in order to provide the instrument with interesting sound features and omogeneity of sound and touch over the whole tessitura. The way harpsichord strings are plucked depends on the mechanical and geometrical properties of the plectrum, which influence is expected on the sound (initial conditions of string vibration) and touch (mechanical reaction of the key).
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