This work investigated the ironwood used to construct a gambang, which is a traditional musical instrument. A gambang is constructed from a wooden bar with a similar thickness and width but a different length. The sound and established frequencies were compared with the equal tempered scale. The peak differed from the intended pitch and the partials were not always harmonic. This gambang only classified 4 octaves. The audio classification of the gambang was based on signal processing using a Picoscope oscilloscope. This article explains how wood is transformed into musical instruments. The findings revealed that the sound aspect and sound value of the wood keyboard instruments differed from the desired pitch. The third octave notes created C5, E5, E5, G5, and A5 instead of C5, D5, E5, G5, and A5, while the fourth octave pitch produced C6, D6, E6, G6, and A6# instead of C6, D6, E6, G6, and A6. Only the third and fourth octaves exhibited nearly flawless tuning for the gambang.

No abstract

This work evaluates four violins from three distinct manufacturers, notably Eurostring, Stentor, and Suzuki, using a scientific approach. Eurostring1 and Eurostring2 were the names given to the two Eurostring units. The purpose of this study is to identify elements in various violins that could be used as tools for selecting a pleasantsounding violin by having them classified by a professional violinist. The signal’s time varying frequency was evaluated using a frequency spectrum and a time frequency plane, and the combination of frequency spectrum and time frequency domain is utilised. PicoScope oscilloscopes and Adobe Audition version 3 were used to record the acoustic spectra in terms of time and frequency. The time frequency plane is identified, and time frequency analysis (TFA) is produced by Adobe Audition spectrograms. The sound was processed in order to generate Fast Fourier Transform analysis: Fourier spectra (using PicoScope) and spectrograms (using Adobe Audition). Fourier spectra identify the intensity of the fundamental frequency and the harmonic spectra of the overtone frequencies. The highest frequencies that can be read are up to and including the 9th overtone. All violins have a constant harmonic overtone pattern with an uneven acoustic spectrum pattern. Eurostring1 showed inconsistent signal in the string G with 6th and 7th overtone missing, whereas Eurostring2 lack of the 6th overtone. Among the string D, only Eurostring1 display an exponential decay for the overtone. All the string A except for Suzuki showed nice and significant peak of fundamental and overtone. Stentor displays up to the 5th overtone. Among the string E, Suzuki showed inconsistent harmonic peak intensity. TFA revealed that the fundamental frequency of string E for Eurostring1 was lower than the first overtone. Only Eurostring1 has an uneven decay for the overtone frequency, whereas Eurostring2 exhibits a large exponential decay for the overtone frequency.

Based on several previous studies presented at IASA annual conferences (2001, 2005, 2009, 2013, 2014, 2015, 2017) this paper intends to summarize long-term outcomes with a focus on the innovation needed in the digital era and the possible human failure in small-scale archives such as those the authors work with in Asia. In this paper, all authors[1] follow their specific question with the purpose of contributing to an analytic view on how technology collides with or creates a sense of community. Our emphasis is on sharing positive experiences and encouraging others by honestly discussing possible failures due to various conditions. Embedding these possible failures into a wider context is part of a mutual learning process. At the same time, each author will address a different clientele of stakeholders such as educational institutions, governmental decision makers, academia, occasional users, and the AV archivists themselves. [1] The authors know each other and have networked through the activities of the panel organizer in all these institutions over the last two decades.

This study visualises the mode of the vibration of kulintangan using Electronic Speckle Pattern Interferometry (ESPI) to reveal the modes. It was found that the production of sound by the kulintangan was dominated by a particular mode which may be the (0,1), (1,1), (2,2), (3,2), and (4,2) of free edge circular gong. The spectrum distribution from the strike on the kulintangan showed it. The small gong A-H has an approximately harmonic spectrum with a fundamental frequency of 1240, 1055, 934, 792, 705, 624, 474, and 422 Hz. The gong does not display a similar occurrence of harmonics due to the ruggedness of the surface texture of the gong. This finding can be of great importance to facilitate a better understanding of the mechanisms involved in the sound production of musical instruments. Our research is visualising the sound sonically through PicoScope oscilloscopes and ESPI.