Anders Buen

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About Anders Buen

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  • Birthday 06/03/1970

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    Oslo, Norway
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    Violin-, Hardanger- fiddle-, room- and architectural acoustics.

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  1. I think there are a fair amount of UV light coming from sparks like that, not only visible light. And there is some NO2 produced too. In contact with water we get nitric acid. Hydro utilized this in Birkelands large spark ovens in the early 1900ds for producing fertiliser.
  2. Yes, the bowed string harmonics will be perfectly harmonic, according to Knut G. In struck piano strings part of the signal is longitudinal waves etc which are not harmonic. Piano tuning is a compromise, the equal tempered scale (ETS). I do not know the exact consequences and reason for this. Different played intervals differ a little in music, easily done and adjusted in singing and violin playing, as well as fiddle playing in folk music. In pianos and other instruments for ensemble playing the equalization between the intervals are following the ETS. The ears have "finite width filters" starting fairly flat at around some 100Hz width in the low frequency region below 200Hz (?) and narrowing up to something similar to the widths between one third octave bands. (I'm using this as I can remember the numbers. I think they are called ERB bands or Bark bands in psychoacoustics). The third octave bands from 200Hz have these center frequencies at: 200Hz, 250 Hz, 315 Hz, 400 Hz, 500 Hz, 630 Hz, 800 Hz, 1000Hz, 1250 Hz, 1600Hz, 2kHz, 2,5kHz, 3,15 kHz, 4 kHz 5 kHz, 6,3 kHz, 8 kHz 10 kHz etc. Harmonics that enter the same "listening band" are probably only perceived as being louder, but the note per se is not any longer precepted clearly. The lowest notes have a higher degree of this effect as the harmonics are closer and the amount of harmonics entering the same "ear band filter" are larger. I think that harmonics from low frequency notes more easily are precepted as more "rough". Maybe a strong "singers formant" is good and then the higher notes above that should be damped as much as possible? The noise part of Dons signal can be seen as the darker "landscape" some 30 dB below the played harmonics. I guess this part is stronger in the first part of the starting transient.
  3. Found a link to the article: http://www.cello-maker.com/research/pdf/timbre violin expression asa-asj-JM-yokoyama2016.pdf
  4. I haven't read the whole tread here. But for the high frequency sound I think noise from the bow hair/rosin play a significant role for making the played sound natural. It is more easily heard closer to the instrument and player as the air absorbs the higher frequencies a little more efficiently. It is the kind of noise we get by bowing the side of a violin, e.g. The starting transients also contain a fair amount of noise. The late Knut Guettler, former bass player, was able to filter the noise and harmonic part of a G string note starting played by Ricchi. The noise part alone sounds a bit like a "horse whip". Maybe the demo is at his website knutacoustics.com I would guess that the body sound of the instrument, the part we get by snapping the bridge by a fingernail is part of the transients and the noise part. I guess we get a larger portion of it when the violin is played in the highest notes. Synthesized violin sounds without this noise makes it sound non natural. I think noise is a pretty important property of almost any musical instrument. Wind instruments, as well as pianos, any instrument, to some extent. Even singers.
  5. Ok, many thanks Marty! Excel in a new version then. Looks cool! Thanks for doing all that work and sharing this.
  6. Hi Marty, What program has been used for this plot? A new version of Stoppanis software?
  7. This kind of arch is resembling what we see for Hardanger fiddles. At least for the arch just above the f-holes. F-holes are usually longer too. There is a slightly stronger B1- than B1+, a trait we sometimes see with HF´s. They tend to have thinner plates as well. Mainly upper and lowe bouts. I know this is not true for all living makers, but e.g. for O G Helland. Often backs are thinner too, if its made of maple. Center top is usually thicker than violins to compensate for long f-holes and flat arch. Interesting experiment!
  8. A sitar is a very ringy instrument. Sympathetic strings will give slightly weaker loudness àt its notes, but may give a an extra kind of ring in a bowed instrument like the Kleven Hardanger fiddle Salve show pictures of here. For a bowed instrument the s strings might improve the playability. That is the resonances will reduce the mobility of the bridge a little and thus reduce the minimum bow force a little. For a plucked instrument like the sitar, I would believe you will have a hard time noticing a difference, as the instrument is so ringy by nature. The best way to figure out is to try it. If you plan to use electronic pickup the story might change. Then you can decide how well the s strings should be heard. A project Id like to work on for the HF.
  9. The B1- and B1+ modes are subtracting the response in the violin body in between them. The A0 and the B1- add in the region between them. This is related to their vibrating phases.
  10. The winner violin had a very strong sounding third finger note on the E string, in my impression, playing it. Besides that, it was very even. According to Fan Tao the maker is associated with, or have an background from, the Florian Leonard workshop. It basically looked like a fine old violin.
  11. How would you guys travel from the aiport to the Renessaince Cleveland hotel? - By rapid rail (RTA red line) or by taxi? I wonder if it is safe and easy to take the rapid RTA red line and get to the hotel safely.
  12. A large hall will have higher room modal density in the lower frequencies than a small room. A small room, however, will give denser reflections in the time domain due to smaller travelling distance for the sound waves between source and receiver. Most pepole are able to recognize voices in different room environments. I think this carries over to musical sounds too, to some extent. The characteristivs of loudspeakers are usually by trained listeners heard through the room response, as shown by tests done at Harman. Comb filter effects are heard easily using broadband noise if louspeakers are close to a reflecting surface, but will be much more difficult to perceive for steady state musical sounds, which are "comb shaped" by itself. Comb filtering matter for percussion due to its broadband character, but I think to a lesser degree for, say, violin music.