Zden~k OtEencjSek, Vbclav Syrov);
Summary: The sound of a violin played by a person in an anechoic room was recorded simultaneously by 16 microphones lying in a circle with the violin in the middle (the angle among the microphone positions was 22,Y). To create the sound radiation pattern for the individual frequencies, the levels of onicsw ere specified in the spectrumo btainedf rom the SPL-recordingso n the honesi n the given geometrical layout. Next, the violin was excited ficially, with the cal presence of a player standing in position as though he were playing. The nner of recording remains unchanged.Considering the results obtained from both s of violin exciting, the widest range of angles ossible was sought in which the adiation is stable.
INTRODUCTION
The directivity of the musical instruments’ radiation has been frequenty tudied, one of many studies being (1). As part of our project it was necessary to find a position for recording where the sound of the instrument is representative in loudness and sound timbre, and where is not crucial to precisely adjust the position of the instrument with regard to the microphone. It is possible to use an artificial driver to measure the violin’s radiation directivity, but string radiation and the influence of the violinist are not captured. A naturale tone played by a violinist is not easily reproduced, hence the sound from all directions has been recorded simultaneously. The aim of this presentation is to match both methods and to determine the range of ideal microphone positions by means of a listening test.
METHOD
For a description of sound radiated by the violin sixteen microphones in an anechoic room were used. The microphones were allocated in equal proportion in a circle ( the diameter of circle 3,2 m, the distance of the microphones 650 mm) situated in a plane perpendicular to the floor. The plane of the microphones passed through the middle point between the feet of
the bridge. The microphone situated in the plane of the bridge in a direction opposite the top plate of the violin was labeled as 0’ Other followed anticlockwise 22,5 ‘; 45 “; . . . . Signals from the sixteen microphones were simultaneously recorded by two sound cards
ARC88 (each card having eight VO with 16 bit A/D D/A and f =.= 44,l kHz). Recordings were made directly to a PC Pentium 133 hard disc in sixteen mono WAV files form. To exite violin sound both an artificial driver and a normal playing manner were used.
DISCUSSION
As can be seen in the preceding figures for both methods verified by the listening tests,directionalr adiation was dependenot n the presenceo f the violinist, especiallyin the rangeo fangles 225-270”. ln the range 338-68 ’ the tones are fairly similar in timbre. The loudness oftonesi ncreasedin angle 68 ’ , and the timbre also changedF. or anglesg reatert han 90 ’ to 270’ the perception of timbre and loudness changed notably compared with those in tbe restrange.A ngles 112’ and 3 15’ are very similar in shinea nd occuranceo f high frequenciesW. ecan conclude that for the range of angles between 0 - 45 ’ violin sound remains stable in
timbre and highly similar. However, it is not possible to generalize the results until otherinstruments are measured.
ACKNOWLEDGMENTS
The investigation was supported by the Ministry of Education and Youth (Project No.VS 96031). Tbe violin was played by J. Tomsek, Professor of the Music Faculty of theAcademy of Performing Arts (HAMU) in Prague.
Summary: The sound of a violin played by a person in an anechoic room was recorded simultaneously by 16 microphones lying in a circle with the violin in the middle (the angle among the microphone positions was 22,Y). To create the sound radiation pattern for the individual frequencies, the levels of onicsw ere specified in the spectrumo btainedf rom the SPL-recordingso n the honesi n the given geometrical layout. Next, the violin was excited ficially, with the cal presence of a player standing in position as though he were playing. The nner of recording remains unchanged.Considering the results obtained from both s of violin exciting, the widest range of angles ossible was sought in which the adiation is stable.
INTRODUCTION
The directivity of the musical instruments’ radiation has been frequenty tudied, one of many studies being (1). As part of our project it was necessary to find a position for recording where the sound of the instrument is representative in loudness and sound timbre, and where is not crucial to precisely adjust the position of the instrument with regard to the microphone. It is possible to use an artificial driver to measure the violin’s radiation directivity, but string radiation and the influence of the violinist are not captured. A naturale tone played by a violinist is not easily reproduced, hence the sound from all directions has been recorded simultaneously. The aim of this presentation is to match both methods and to determine the range of ideal microphone positions by means of a listening test.
METHOD
For a description of sound radiated by the violin sixteen microphones in an anechoic room were used. The microphones were allocated in equal proportion in a circle ( the diameter of circle 3,2 m, the distance of the microphones 650 mm) situated in a plane perpendicular to the floor. The plane of the microphones passed through the middle point between the feet of
the bridge. The microphone situated in the plane of the bridge in a direction opposite the top plate of the violin was labeled as 0’ Other followed anticlockwise 22,5 ‘; 45 “; . . . . Signals from the sixteen microphones were simultaneously recorded by two sound cards
ARC88 (each card having eight VO with 16 bit A/D D/A and f =.= 44,l kHz). Recordings were made directly to a PC Pentium 133 hard disc in sixteen mono WAV files form. To exite violin sound both an artificial driver and a normal playing manner were used.
DISCUSSION
As can be seen in the preceding figures for both methods verified by the listening tests,directionalr adiation was dependenot n the presenceo f the violinist, especiallyin the rangeo fangles 225-270”. ln the range 338-68 ’ the tones are fairly similar in timbre. The loudness oftonesi ncreasedin angle 68 ’ , and the timbre also changedF. or anglesg reatert han 90 ’ to 270’ the perception of timbre and loudness changed notably compared with those in tbe restrange.A ngles 112’ and 3 15’ are very similar in shinea nd occuranceo f high frequenciesW. ecan conclude that for the range of angles between 0 - 45 ’ violin sound remains stable in
timbre and highly similar. However, it is not possible to generalize the results until otherinstruments are measured.
ACKNOWLEDGMENTS
The investigation was supported by the Ministry of Education and Youth (Project No.VS 96031). Tbe violin was played by J. Tomsek, Professor of the Music Faculty of theAcademy of Performing Arts (HAMU) in Prague.
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