A Minimal Model of a Single-Reed Instrument Producing Quasi-Periodic Sounds

Doc, Jean Baptiste; Vergez, Christophe; Missoum, Samy

doi:10.3813/aaa.918734

Cited by 18 publications

(20 citation statements)

References 30 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…11 This numerical study was based on the use of a minimal model of wind instruments, so it is possible to deduce that the features neglected in this model are not determining factors in the production of quasi-periodic regimes (inertia and damping of the reed, resonance modes higher than the third one, etc. ).…”

Section: Discussionmentioning

confidence: 99%

“…For reed instruments, the paper by Dalmont et al 10 presents the first experimental evidence that the harmonicity of the resonances may influence the production of quasi-periodic regimes by an alto saxophone. This pioneering work has recently been revisited in a study 11 based on the use of a numerical model of the sound production. This study shows that control parameters set by the player have also a significant influence on the production of quasi-periodic regimes.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Oscillation regimes produced by an alto saxophone: Influence of the control parameters and the bore inharmonicity

Doc

Vergez

2015

The Journal of the Acoustical Society of America

View full text Add to dashboard Cite

The aim of this work is to highlight experimentally how inharmonicity of the bore resonance frequencies of an alto saxophone influences the nature of the oscillation regimes. A variable volume branching from the neck of an alto sax at an appropriate position allows one to change the frequency of the first resonance independently from the second. A blowing machine with artificial lips is used to make the saxophone play while controlling independently the control parameters: the blowing pressure and an embouchure parameter. Values of these parameters are estimated experimentally through the measurement of the nonlinear characteristics linking the mean air flow blown into the instrument to the static pressure difference across the reed. Experiments with different values of the control parameters as well as of the inharmonicity produce different kinds of oscillation regimes. These regimes are categorized through the analysis of the pressure signal inside the mouthpiece. The resulting maps demonstrate that the emergence of quasi-periodic regimes, and their extent, depend on the level of inharmonicity, but also on the values of the control parameters. Periodic regimes playable by choosing appropriate values of the control parameters also differ according to the level of inharmonicity, a higher inharmonicity facilitating the emergence of the third register.

show abstract

Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Oscillation regimes produced by an alto saxophone: Influence of the control parameters and the bore inharmonicity

Doc

Vergez

2015

The Journal of the Acoustical Society of America

View full text Add to dashboard Cite

show abstract

“…A strong feature of wind instrument bores is the existence of weakly damped resonances visible on the modulus of the input impedance, that enable the musician to produce stable and clear tones. For most woodwind bores, the resonances are approximately harmonic, which influences the tuning and timbre of the self-sustained oscillations (see, e.g., [16]). …”

Section: Example: the Cylindrical Pipementioning

confidence: 99%

“…The optimized variables may be the poles and the modal coefficients (see Refs. [16,11]) or the poles only (Ref [17], where the modal coefficients are explicitly determined within the evaluation of the cost function). Both these methods rely on an iterative procedure that requires a decent initialization to guarantee feasibility and a fast convergence.…”

Section: Introductionmentioning

confidence: 99%

Modal analysis of the input impedance of wind instruments. Application to the sound synthesis of a clarinet

Taillard¹,

Silva

Guillemain

et al. 2018

Applied Acoustics

View full text Add to dashboard Cite

Modal analysis of the input impedance of wind instruments. Application to the sound synthesis of a clarinet. Applied Acoustics, Elsevier, 2018, 141, pp.271 -280 AbstractThis paper investigates the modal analysis of wind instruments as seen from the input of their air column. Beside the treatment of analytical models, a particular emphasis is given to the analysis of measured input impedances. This requires special care because the measurements cover only a limited frequency band and are affected by some unknown errors. This paper describes how the Prony analysis and the Least Squares Complex Exponential (LSCE) classical techniques can be used in this context and how the main pitfalls can be avoided in their application. A physically acceptable method of reconstruction of the low frequency band is proposed. A technique using fictitious points in the high frequency range is described in order to ensure the passivity of the resonator in the whole frequency band. The principles of a real-time synthesis of clarinet sounds based on the modal representation of the resonator is given as an application, with a method to efficiently handle the modal representation during the transition between fingerings. A musically relevant example finally illustrates the possibilities of the modal analysis applied to wind instruments.

show abstract

“…In this simplification, called "ghost reed" hereafter, the reed penetrates the mouthpiece wall freely. This free interpenetration is nonphysical but it allows analytical developments [1,2] and numerical studies of minimal models [3,4]. To lesser extent, it may also lessen the computational cost.…”

Section: Introductionmentioning

confidence: 99%

Influence of the "Ghost Reed" Simplification on the Bifurcation Diagram of a Saxophone Model

Colinot¹,

Guillot²,

Vergez³

et al. 2019

Acta Acustica united with Acustica

View full text Add to dashboard Cite

This paper presents how the bifurcation diagram of a saxophone model is affected by the contact force limiting the displacement of the reed when it strikes the mouthpiece lay. The reed impact is modeled by a nonlinear stiffness and damping activated by contact with the lay. The impact model is compared with the "ghost reed" simplification, where the reed moves through the lay unimpeded. Bifurcation diagrams in both cases are compared, in terms of amplitude of the oscillations and location of the bifurcations, on the solution branches corresponding to the first and second register. The ghost reed simplification has limited influence at low values of the blowing pressure parameter: the diagrams are similar. This is true even for "beating reed" regimes, in which the reed coincides with the lay. The most noticeable discrepancies occur near the extinction of the oscillations, at high blowing pressure.

show abstract

A Minimal Model of a Single-Reed Instrument Producing Quasi-Periodic Sounds

Cited by 18 publications

References 30 publications

Oscillation regimes produced by an alto saxophone: Influence of the control parameters and the bore inharmonicity

Oscillation regimes produced by an alto saxophone: Influence of the control parameters and the bore inharmonicity

Modal analysis of the input impedance of wind instruments. Application to the sound synthesis of a clarinet

Influence of the "Ghost Reed" Simplification on the Bifurcation Diagram of a Saxophone Model

Contact Info

Product

Resources

About