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acoustics for violin and guitar makers
Description
-Sound and hearing
-Resonance and Resonators
-Sound and the Room
-Properties of the Violin and the Guitar String
-Vibration Properties of the Wood and Tuning of Violin Plates
-The Function, Tone, and Tonal Quality of the Guitar
-The Function of the Violin
-The Tone and Tonal Quality of the Violin
-Sound Examples and simple experimental material
-Resonance and Resonators
-Sound and the Room
-Properties of the Violin and the Guitar String
-Vibration Properties of the Wood and Tuning of Violin Plates
-The Function, Tone, and Tonal Quality of the Guitar
-The Function of the Violin
-The Tone and Tonal Quality of the Violin
-Sound Examples and simple experimental material
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Date
Jun 10, 2005
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Link ID
8753
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downloadable plans for several spanish wind instruments.
tagelharpa, pito de cana, gaita serrana, gaita de graus, dulzaina, trompa, chifla de campoo ...
Construcción de INSTRUMENTOS MUSICALES, planos, foro, mercadillo, noticias, reportajes, album de fotos, materiales...
instrumentos construcciones tradiciones tradición construcción luthier musicas música planos rabeles zanfonas gaitas flautas tambores dulzainas carracas mirlitones chicotenes trompas violines tejoletas zambombas lengüetas cuernos cuerdas guitarras castañuelas arpas albocas laud pifanos tamboril montar bricolaje maderas pieles cañas cuernos vejigas mp3 download free handmade hand made make hobby hurdy gurdy culture traditions bagpipes flute idiofonos idiófonos aerofono aerófonos membranofonos membranófonos cordofonos cordófonos sociedades grupos actualidad gratis foros noticias eventos payno sencillo niños historia didactico enseñanza libro cultura etnografía fundación poemas ciegos siglos antecesores ancestros españa espana comunidades provincial regional bailes buscadores fotos clavijeros clavija laud internacional país paises agrupación fiestas sonar partitura
tagelharpa, pito de cana, gaita serrana, gaita de graus, dulzaina, trompa, chifla de campoo ...
Construcción de INSTRUMENTOS MUSICALES, planos, foro, mercadillo, noticias, reportajes, album de fotos, materiales...
instrumentos construcciones tradiciones tradición construcción luthier musicas música planos rabeles zanfonas gaitas flautas tambores dulzainas carracas mirlitones chicotenes trompas violines tejoletas zambombas lengüetas cuernos cuerdas guitarras castañuelas arpas albocas laud pifanos tamboril montar bricolaje maderas pieles cañas cuernos vejigas mp3 download free handmade hand made make hobby hurdy gurdy culture traditions bagpipes flute idiofonos idiófonos aerofono aerófonos membranofonos membranófonos cordofonos cordófonos sociedades grupos actualidad gratis foros noticias eventos payno sencillo niños historia didactico enseñanza libro cultura etnografía fundación poemas ciegos siglos antecesores ancestros españa espana comunidades provincial regional bailes buscadores fotos clavijeros clavija laud internacional país paises agrupación fiestas sonar partitura
Category:
The Cornamuse is a quiet double reed instrument matching well with recorders and other instruments for playing chamber music. Michael Praetorius gave a good description of this instrument in his famous work "Syntagma musicum", part II "De Organographia" from 1619:
Die Corna Muse sind gleich aus/ und nicht mit doppelten/ sondern mit einer einfachen Röhre/ gleich den Bassanelli, aber von unten zugedäckt/ und auf der Seiten herumb etliche löcherlein/ dardurch der Resonanz herausser gehet. Am Klang seind sie gar den Krumbhörnern gleich/ nur daß sie stiller/ lieblicher und gar sanft klingen.
(The Cornamuse is not made from a double but from a single tube like a Basanelli, but the bottom is closed and has a couple of small holes at the sides for leaving of the sound. The sound is similiar the sound of a crumhorn but it is sounding quieter, more lovely and gentle.)
Don't be confused by the word "cornemuse", that's the French word for bagpipes. Indeed some French pipes have a chanter with an endcap like a cornamuse and it's very probable that the German word "Cornamuse" came from the French word. If you know the carving of a Cornish pipe from the church in Davidstow, Cornwall (16. cent.) you may find that the ends of these pipes could be caps too. (A picture you can find on Julian Goodacre's website.)
I made the turned parts from pearwood and the reed from a yoghurt container. The wood is sounding very well and gives the instrument a gently but sonorous sound. If you'll use another wood you should choose a hard, long fibred and not too heavy wood. There is no reason to use cane reeds because the cap at the end damps the overtones, so it's not necessary to generate them.
The function of this endcap is an acoustical low pass, the same as the function of a car's exhaust. If you compare the spectra with and without this cap (spectroscope, e.g. TuneIt! is a nice PC-tool) you'll find that there are no overtones of higher order with the endcap but many overtones without this cap. If you use a bell a part of this overtones will be amplified strongly. (The spectrum of the overtones determines the sound of an instrument.)
The shape of the cornamuse and the measurements are my choice. Because there's no picture in Praetorius' book and there are no survived instruments the field of experiments is very wide ...
Die Corna Muse sind gleich aus/ und nicht mit doppelten/ sondern mit einer einfachen Röhre/ gleich den Bassanelli, aber von unten zugedäckt/ und auf der Seiten herumb etliche löcherlein/ dardurch der Resonanz herausser gehet. Am Klang seind sie gar den Krumbhörnern gleich/ nur daß sie stiller/ lieblicher und gar sanft klingen.
(The Cornamuse is not made from a double but from a single tube like a Basanelli, but the bottom is closed and has a couple of small holes at the sides for leaving of the sound. The sound is similiar the sound of a crumhorn but it is sounding quieter, more lovely and gentle.)
Don't be confused by the word "cornemuse", that's the French word for bagpipes. Indeed some French pipes have a chanter with an endcap like a cornamuse and it's very probable that the German word "Cornamuse" came from the French word. If you know the carving of a Cornish pipe from the church in Davidstow, Cornwall (16. cent.) you may find that the ends of these pipes could be caps too. (A picture you can find on Julian Goodacre's website.)
I made the turned parts from pearwood and the reed from a yoghurt container. The wood is sounding very well and gives the instrument a gently but sonorous sound. If you'll use another wood you should choose a hard, long fibred and not too heavy wood. There is no reason to use cane reeds because the cap at the end damps the overtones, so it's not necessary to generate them.
The function of this endcap is an acoustical low pass, the same as the function of a car's exhaust. If you compare the spectra with and without this cap (spectroscope, e.g. TuneIt! is a nice PC-tool) you'll find that there are no overtones of higher order with the endcap but many overtones without this cap. If you use a bell a part of this overtones will be amplified strongly. (The spectrum of the overtones determines the sound of an instrument.)
The shape of the cornamuse and the measurements are my choice. Because there's no picture in Praetorius' book and there are no survived instruments the field of experiments is very wide ...
Category:
full and partial schematics (circuit diagrams); overdirve, wah pedal, pickup wiring and switching ideas ...
Many different elements combine to make up the sound of an electric guitar:
Guitar woods and construction,
Strings types and ages,
Pickup types, placement and combinations,
Quality and length of cables (or radio system),
Stompboxes, pedal and special effects,
Amplifier designs, tones and overdrive,
Speaker types and speaker box construction,
Your playing environment and volume level,
Most of these are covered in my guitar pages, which I have split broadly into:
Guitar Amplifiers
An explanation of guitar amplifier design, and why they are so different to 'standard' amplifiers. There's information on valve and transistor designs, history on overdrive (or distortion) trends, and some overdrive circuit diagrams for experimenters ...
Many different elements combine to make up the sound of an electric guitar:
Guitar woods and construction,
Strings types and ages,
Pickup types, placement and combinations,
Quality and length of cables (or radio system),
Stompboxes, pedal and special effects,
Amplifier designs, tones and overdrive,
Speaker types and speaker box construction,
Your playing environment and volume level,
Most of these are covered in my guitar pages, which I have split broadly into:
Guitar Amplifiers
An explanation of guitar amplifier design, and why they are so different to 'standard' amplifiers. There's information on valve and transistor designs, history on overdrive (or distortion) trends, and some overdrive circuit diagrams for experimenters ...
Category:
The Mountain dulcimer, building, drawing plans and playing this instrument, or the Longneck dulcimer consumes my life like an addiction...... Hi, My name is Wendell and I am retired and living in the hills of Arkansas. The perfect place to practice my hobby; far enough away from everyone so as to avoid getting pelted with rocks for all to frequently hitting bad notes. Here are a few examples of my creations. I Like to think of them as creations, not construction projects ...
dulcimer,plans,build,
mountain dulcimer,longneck dulcimer,construction,tips,
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wood craft,music,instrument,
building,
building a dulcimer,dulcimer construction,designing a dulcimer,music,string instrument,dulcimer music
dulcimer,plans,build,
mountain dulcimer,longneck dulcimer,construction,tips,
hobby,
wood craft,music,instrument,
building,
building a dulcimer,dulcimer construction,designing a dulcimer,music,string instrument,dulcimer music
Category:
I have been playing medieval and renaissance music for several years now, and was seeking to create a sound that was closer to the original than my present performance. Presently I am playing the majority our repetoire of mostly renaissance dance music on violin, which while both period in instrument and application of the instrument (the violin appeared sometime between 1540 and 1560 - but that's another discussion altogether), it was not really appropriate for a substantial portion of the music we played which predated the appearance of the violin. One of the violin's precursors was the rebec (the other probably being the lyra di bracchio via the viola di bracchio, also another point of discussion which I'm not going to go into here), if not in morphology at least in usage as an upper range melody instrument played for dance music, among other applications, so it seemed to me logically that I should try to add that instrument to the pile I lug around. (As a side note, I've now (Nov. 2001) acquired a 4 string vielle from the Early Music Shop in London, made by Marco Salerno, which I've been playing more often as its more period than the violin, and louder than the rebec.) So I made a search for a rebec, and discovered that 1.) they are far from easy to find, and 2.) once found, they are very expensive. Not having the funds to acquire one from a master luthier (who seem to be the only ones who make them) and not able to find a kit of any kind anywhere, I turned to the prospect of making one myself. To do so, I needed to learn a lot more about the instrument, and took the opportunity to learn more of its history and usage in the process. These discoveries, along with the results of the project, I now pass on to all interested parties ...
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