Mechanical response measurements of real and artificial brass players lips

Abstract

Mechanical frequency responses of human and artificial lips in brass instrument playing have been measured using a high-speed digital video technique, in an attempt to classify the true nature of the “lip-reed.” Four semiprofessional human players were used, and three notes played on a trombone were studied. All measurements revealed a strong mechanical resonance with “outward striking” behavior; the played note always sounded above this frequency. Several measurements also showed a weaker second resonance, above the played frequency, with “inward striking” behavior. The Q values of the dominant resonances in human lips were lower than those typical of artificial lips.

The Influence of Geometrical and Mechanical Input Parameters on Theoretical Models of Phonation

“…large slope magnitude as shown in Figure 2. Since the stiffness K increases linear with increasing m,t he estimated Yo ung'smodulus increases linearly with m.The retrievedv alues are within the order of magnitude reported for 'in-vivo'e stimations [10,11], although reported 'invivo'values vary significantly (1)(2)(3)(4)(5)(6)(7)(8)(9)(10)(11)(12)(13)(14)(15)(16)(17)(18)(19)(20).Recall that both the magnitude of the gathered resonance frequencies as well as the number of resonances peaks on the 'in-vitro' measured mechanical resonance frequencies are relevant with respect to 'in-vivo'observations [4].…”

“…Simplified theoretical phonation models, likeo ne or twom ass models [1,2,3] are of interest for their limited number of input parameters favouring the relationship with 'in-vivo'physiological variables. Moreover, the incessant development of 'in-vivo'm easurement techniques allows to quantify mechanical 'in-vivo'properties [4,5].…”

Vocal tract resonances in speech, singing, and playing musical instruments

“…Some preliminary results have been reported for 2008a͒ show how, in the high pitch range ͑b͒, experienced saxophonists tune a resonance of the tract to select the note to be played ͑the spike near 1000 Hz͒. ͓In the low range ͑a͒, accessible to amateurs, resonance tuning is not needed.͔ very simple systems (Wolfe et al, 2003), but the technical difficulties of producing reliable, reproducible models of human lips are considerable (Fréour et al, 2007;Newton and Campbell, 2007). It is also possible to observe the effect of pressure waves on the motion of vocal folds directly.…”

Relationships between pressure, flow, lip motion, and upstream and downstream impedances for the trombone

“…The pressure in the mouthpiece and its relation to the upstream steady pressure have been investigated (Bouhuys, 1965;Yoshikawa, 1995;Fletcher and Tarnopolsky, 1999). Stroboscopy (Martin, 1942;Copley and Strong, 1996;Yoshikawa and Muto, 2003) and high-speed video (Newton et al, 2008;Bromage et al, 2010) have been used to study the motion of the lips directly. The electrical impedance across the lips has been used to study it indirectly (Wolfe and Smith, 2008;Scavone, 2011, 2013), although a variable delay between the variations in electrical impedance across the lips and the lip aperture (Boutin et al, 2014;H ezard et al, 2014) makes it difficult to draw firm conclusions.…”