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

Doc, Jean-Baptiste; Vergez, Christophe

doi:10.1121/1.4916197

Cited by 10 publications

(18 citation statements)

References 18 publications

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“…In comparison with values from Ref. 31, the inharmonicity of the present resonator remains, for µ > 1, below the thresholds of quasi-periodic regimes. This does not hold for thin and long mouthpieces (i.e., µ < .5 ⇔ y > 200mm): they do not always produce sound of the first register as do the larger and shorter mouthpieces.…”

Section: Numerical Resultsmentioning

confidence: 76%

Idealized digital models for conical reed instruments, with focus on the internal pressure waveform

Kergomard

Guillemain

Silva

et al. 2016

The Journal of the Acoustical Society of America

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Two models for the generation of self-oscillations of reed conical woodwinds are presented. They use the fewest parameters (of either the resonator or the exciter), whose influence can be quickly explored. The formulation extends iterated maps obtained for lossless cylindrical pipes without reed dynamics. It uses spherical wave variables in idealized resonators, with one parameter more than for cylinders: the missing length of the cone. The mouthpiece volume equals that of the missing part of the cone, and is implemented as either a cylindrical pipe (first model) or a lumped element (second model). Only the first model adds a length parameter for the mouthpiece and leads to the solving of an implicit equation. For the second model, any shape of nonlinear characteristic can be directly considered. The complex characteristics impedance for spherical waves requires sampling times smaller than a round trip in the resonator. The convergence of the two models is shown when the length of the cylindrical mouthpiece tends to zero. The waveform is in semiquantitative agreement with experiment. It is concluded that the oscillations of the positive episode of the mouthpiece pressure are related to the length of the missing part, not to the reed dynamics.

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Section: Numerical Resultsmentioning

confidence: 76%

Idealized digital models for conical reed instruments, with focus on the internal pressure waveform

Kergomard

Guillemain

Silva

et al. 2016

The Journal of the Acoustical Society of America

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“…For instance, focusing on the two lowest resonance frequencies f 1 and f 2 , the ratio f 2 /f 1 = 2 without mouthpiece and f 2 /f 1 = 1.9 when the mouthpiece is added. As studied in previous work [6], inharmonicity favors the bifurcation towards non-conventional oscillation regimes, such as multiphonic sounds and squeaks. The second effect of the mouthpiece is to generate an additional resonance, around 950 Hz.…”

Section: Problem Statementmentioning

confidence: 53%

“…The artificial lip is placed around 1cm downstream from the tip of the reed. The experimental device used in this study has been used for a previous study [6] where details concerning its functioning are given.…”

Section: Methodsmentioning

confidence: 99%

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Sound production on a “coaxial saxophone”

Doc

Vergez

Guillemain

et al. 2016

The Journal of the Acoustical Society of America

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Sound production on a "coaxial saxophone" is investigated experimentally. The coaxial saxophone is a variant of the cylindrical saxophone made up of two tubes mounted in parallel, which can be seen as a low-frequency analogy of a truncated conical resonator with a mouthpiece. Initially developed for the purposes of theoretical analysis, an experimental verification of the analogy between conical and cylindrical saxophones has never been reported. The present paper explains why the volume of the cylindrical saxophone mouthpiece limits the achievement of a good playability. To limit the mouthpiece volume, a coaxial alignment of pipes is proposed and a prototype of coaxial saxophone is built. An impedance model of coaxial resonator is proposed and validated by comparison with experimental data. Sound production is also studied through experiments with a blowing machine. The playability of the prototype is then assessed and proven for several values of the blowing pressure, of the embouchure parameter, and of the instrument's geometrical parameters.

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“…This is one of the possible characteristics of a bicylindrical resonator compared to a conical one. Doc [29] shows that a few percents of difference on the harmonicity conditions the production of certain regimes, quasi-periodic for example, on a saxophone. The high-frequency resonances that appear with the bicylindrical resonator (see figure 7) may also change the sound production behavior.…”

Section: Comparison Between Characteristics Of the Impedancesmentioning

confidence: 99%

Numerical Optimization of a Bicylindrical Resonator Impedance: Differences and Common Features Between a Saxophone Resonator and a Bicylindrical Resonator

Colinot¹,

Guillemain²,

Doc³

et al. 2019

Acta Acustica united with Acustica

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This paper explores the analogy between a saxophone resonator and a bicylindrical resonator, sometimes called transverse saxophone or cylindrical saxophone. The dimensions of a bicylindrical resonator are optimized numerically to approximate a saxophone impedance. The target is the impedance measured on an usual saxophone. A classical gradient-based non-linear least-square fit function is used. Several cost functions corresponding to distances to the target impedance are assessed, according to their influence on the optimal geometry. Compromises appear between the frequency regions depending on the cost function. It is shown that the chosen cost functions are differentiable and locally convex. The convexity region contains the initial geometrical dimensions obtained by crude approximation of the first resonance frequency of the target. One optimal geometry is submitted to further analysis using descriptors of the impedance. Its deviations from the target saxophone are put into perspective with the discrepancies between the target saxophone and a saxophone from a different manufacture. Descriptors such as harmonicity or impedance peak ratio set the bicylindrical resonator apart from saxophone resonators, despite a good agreement of the resonance frequencies. Therefore, a reed instrument with a bicylindrical resonator could be tuned to produce the same notes as a saxophone, but due to differences in the intrinsic characteristics of the resonator, it should be considered not as a saxophone but as a distinct instrument.

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

Cited by 10 publications

References 18 publications

Idealized digital models for conical reed instruments, with focus on the internal pressure waveform

Idealized digital models for conical reed instruments, with focus on the internal pressure waveform

Sound production on a “coaxial saxophone”

Numerical Optimization of a Bicylindrical Resonator Impedance: Differences and Common Features Between a Saxophone Resonator and a Bicylindrical Resonator

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