Paper AuthorsWithAffiliations	Paper Title	Paper Abstract	Paper Status
Amir, Noam(1); Sharp, David(2) (1) Dept. of Communication Disorders Speech, Language and Hearing Sackler Faculty of Medicine Tel Aviv University (2) The Open University Walton Hall Milton Keynes MK7 6AA website: www.open.ac.uk	Bore reconstruction from time and frequency domain measurements	A review of pulse reflectometry, past present and future, is given and time domain bore reconstruction using frequency domain measurements is discussed.	keynote
Campbell, Murray(1); Gilbert, Joël(2) (1) School of Physics - The University of Edinburgh James Clerk Maxwell Building - The King's Buildings Mayfield Road - Edinburgh EH9 3JZ - United Kingdom / Scotland (2) Corresponding author : joel.gilbert@univ-lemans.fr Laboratoire d'Acoustique de l'Université du Maine - UMR CNRS 6613 Avenue Olivier Messiaen - 72085 Le Mans cedex 9 - France	Advances in physical modelling of brass instruments	The self-sustained oscillation of a brass wind musical instrument involves a complex aerodynamic coupling between a multimode mechanical vibratory system (the lips of the player) and a multimode acoustical vibratory system (the air colum of the instrument). A major difficulty in improving this kind of physical modelling was the lack of reliable experimental data on brass players' lips. This difficulty has been partly overcome in the last few years by the use of artificial mouths. In this presentation, we will review some results coming from studies carried out with artificial mouths at the University of Edinburgh in collaboration with the Laboratoire d'Acoustique de l'Université du Maine. First, mechanical response measurements of the vibrating lips will be shown and analysed. Next, their outward/inward striking behaviour will be discussed. The experimentally observed threshold frequencies of the coupled system, suggesting a behaviour which passes smoothly from `inward striking' to `outward striking' will be compared with theoretical linear stability analysis. Then the implications for one-mass and two-mass models will be discussed. At the end, recent results concerning the open area of vibrating lips and their consequences for brass instrument behaviour will be presented.	keynote
Bidmon, Marcus Austrian Reasearch Promotion Agency	Research Funding Opportunities in the European Framework Programme	BIT - the Bureau for International Research and Technology Cooperation - is the Austrian centre offering services to participants in European and international programmes, actions and initiatives for cooperation in research, technological development and demonstration (RTD). BIT provides information and assistance relating to a wide range of RTD activities, in particular the Framework Programme of the EU, EUREKA and INTAS. BIT supports companies, universities, independent research institutes and other organisations interested in transnational RTD cooperation. In addition, as the coordinator of the INNOVATION Relay Centre Austria, BIT is actively involved in the transfer of new technologies and in other measures supporting innovation.	invited
Dalmont,Jean-Pierre(1); Gilbert, Joël;(1) Kergomard, Jean(2) (1) Corresponding author : joel.gilbert@univ-lemans.fr Laboratoire d'Acoustique de l'Université du Maine - UMR CNRS 6613 Avenue Olivier Messiaen - 72085 Le Mans cedex 9 - France (2) Laboratoire d'Acoustique et de Mécanique - UPR CNRS 7051 31 chemin Joseph-Aiguier 13402 Marseille cedex 20 - France	Extinction threshold of a clarinet simplified model	When a clarinet is blown with an increasing mouth pressure the oscillations start for a particular pressure, usually called "threshold of oscillation", and stop for another pressure, called here "threshold of extinction". The question on what limits the amplitude of the oscillations of clarinet-like instruments and how the extinction is controled, is investigated by using a simplified model including frequency independent losses. The bifurcation diagamm is derived and the extinction threshold is discussed. The analysis emphasises the role of the different control parameters, and particularly the influence of the amount of losses on the extinction threshold. Some of the theoretical results are confirmed by experiments using an artificial mouth in which the amount of losses is varied by using several terminations with different geometries.	invited
Noreland, Daniel Uppsala University, Department of Information Technology website: user.it.uu.se/~daniel/	Elements of horn optimisation	This lecture will mainly address the physical, mathematical and implementational issues of numerical horn optimisation using gradient based minimisation algorithms. A shape optimisation problem is typically formulated as a minimisation problem where a loss function, defined from a set of acoustical properties, is minimised by adjusting a number of parameters describing the shape of the instrument. The conception of what a brass instrument should look like is well defined in general terms. For instance, it is unlikely that a roughed or jagged horn contour - however musically advantageous - would be appreciated either by instrument makers or by customers. This suggests the use of parameterisations that allow only for acceptable shapes, e.g. by spline interpolation of the horn profile using a small set of variables. However, it is not always evident how to choose such a parameterisation in order not to compromise the musical qualities by restricting the search space too much. In such cases it may be necessary to use a large set of design variables. Key points in the talk are the questions about computational efficiency and how to choose an appropriate set of design variables. Examples will be given on horn optimisation based on both 1-D and 2-D models.	invited
Petiot, Jean-François(1); Poirson, Emilie(1); Gilbert, Joël(2) (1) Corresponding author: Jean-Francois.Petiot@irccyn.ec-nantes.fr Institut de Recherche en Communications et Cybernétique de Nantes UMR CNRS 6597 - Equipe MCM - Ecole Centrale de Nantes 1 rue de la Noë, BP 92101, 44321 Nantes Cedex 3 France (2) Laboratoire d'Acoustique de l'Université du Maine - UMR CNRS 6613 Avenue Olivier Messiaen - 72085 Le Mans cedex 9 - France	Optimisation of brass instruments via sensory profiling techniques and genetic algorithms	Studying the quality of musical instruments is particularly interesting to help their development and to improve quality assessment procedures. In this context, we present a study on the quality of brass instruments as it is perceived by musicians, and describe a methodology for a user-centred design. In order to study the influence of the bore's geometry of brasses on the sound produced, we developed a special trumpet leadpipe with a parameterised internal geometry. Using the same trumpet and the parameterised leadpipe, two types of study were carried out on a set of 12 instruments: firstly, a sensory study, which aim is to characterize the perception of the instruments by musicians. We set up and trained a panel of experts ; a set of attributes, characteristic of the quality of a trumpet, has been defined by the musicians, after a group session and a free-verbalization task on instruments of various quality. After a training period for the rating of the attributes, the assessors performed the sensory profile of each of the instruments. Secondly, the input impedance of the instrument was measured. The correlations between the sensory profiling data and the instrumental measurements were next studied, in order to deduct relevant objective functions for the design of new instruments. After the definition of a "target" for these objective functions, the design of a new leadpipe was finally made by multicriteria optimization of the objective functions, using genetic algorithms.	invited
Syrový, Václav Academy of Music / SOUND STUDIO - Zvukové studio HAMU Malostranské námesti 13, CZ-11800 Praha 1	Some methodical "revision" remarks on measurements of air column oscillations	The paper deals with some "ever green" problems by musical wind instruments, namely with their true acoustical length, influence of friction losses, acoustical resistance and radiation impedance on resonance properties. The abstract approach was confronted with the results of practical measurements and experiments and with the simple modeling results.	invited
Bertsch, Matthias(1) ;Waldherr, Karin(2) (1) Inst. f. Musical Acoustics IWK, Univ. f. Music Singerstr. 26/a A-1010 Vienna, Austria website: www.bias.at (2) University Vienna	What is a perfect wind instrument?	The trumpet research project TRP aims at correlating certain terms which are used by musicians to assess quality parameters of trumpets with several properties of the measured input impedance curve. The study includes mechanisms allowing to evaluate the consistency of responses given by the subjects. Preliminary and surprising results imply that some widely used terms don't show any consistence at all. Nevertheless there are some terms which have been used repeatably and consistently. Some correlations of these terms with several features of the input impedance curve have been found, other expected correlations didn't seem to exist. Preliminary results: Terms which have clearly been used unreliably are e.g. general response, resistance, tone colour. Terms which have been used reliably are e.g. overall rating, brilliance and power of sound, how good notes can be lipped up/down, how fast notes start. Terms which could be correlated with physical properties of the input impedance function are e.g. how good notes can be lipped up/down. Consistent terms which did not correlate with any feature of the input impedance curve which has been investigated yet are e.g. the overall quality rating.	contributed
Braden, Alistair School of Physics - The University of Edinburgh James Clerk Maxwell Building - The King's Buildings Mayfield Road - Edinburgh EH9 3JZ - United Kingdom / Scotland	Higher modes and the input impedance of trombones	When modelling the input impedance of brass musical instruments, the plane-wave transmission-line model is commonly used, notably during bore optimisation procedures. However, this model is well-known to have significant discrepancies with experimental data. This paper examines the problem of including higher modes in the transmission-line and the resultant effect on impedance. A series of impedance measurements taken with the BIAS equipment is presented and compared with the calculated data.	contributed
d'Alessandro, Christophe; Nief, Guillaume LIMSI-CNRS BP 133- Bâtiment 508 Université Paris Sud XI 91403 Orsay, France website: www.limsi.fr	Sound documentation of PIPE organs	This study reports on a project aiming at acoustic documentation of an historical organ. The instrument under study is the organ of Sainte Elisabeth, Paris (built by Suret in 1853, 3 keyboards and pedal, 40 stops). Calibrated recordings of all isolated notes have been performed for the 9 stops of the “positif de dos”, inside and outside the organ case (420 pipes, 162 reed pipes and 258 flue pipes). Several microphone positions (i.e. various distances to the pipe opening and/or mouth) have been used inside the organ case, and one outside of the organ case. Signal analysis has been performed on these recordings, using the following measures: 1. spectral envelopes and harmonic amplitudes of the stationary part of the spectrum; 2. time-frequency analysis of the attack transient; 3. analysis of the absolute SPL. The results showed that the microphone position for organ documentation is of paramount importance. Although the listener is experiencing coherence in the sound between the different pipes in a same stop, and the same stop at different listening positions, signal measurements are showing large and unexpected variations. Then organ documentation should be composite by nature. We suggest that multiple microphone recordings (close in the case, in the room and at close to the organist head) should be performed, as no single position would be satisfactory. Another output of our measurements is the quantification of parameter variation for the pipes of a same stop, across stops and across recording position. Correlations between measurements will be useful for understanding perceptual invariance. The aim is ultimately to characterise the “style” of instrument in terms of its acoustic signature.	contributed
Doutaut, Vincent ITEMM, Institut Technologique Européen des Métiers de la Musique 71 avenue Olivier Messiaen F-72000 Le Mans	Instrument making and innovation: some experiences	For five years, as a French center for innovation in the music trades, Itemm is actively involved in supporting instrument makers, especially craftsmen, in their technological development. A short overview is given about the activities which are developed to reach this aim. In order to practically illustrate the context of technology transfer with professionals of instrument making, examples of partnerships, realizations and current projects are presented.	contributed
Egger, Rainer;(1) Kausel, Wilfried(2) (1) A. Egger Metallblas-Instrumentenbau Turnerstr. 32, CH 4058 Basel website: www.eggerinstruments.ch (2) Inst. f. Musical Acoustics IWK, Univ. f. Music Singerstr. 26/a A-1010 Vienna, Austria website: www.bias.at	The Brass-Wind-Instrument-Optimizer as a tool for instrument makers: A case study	Actual results of a computer optimization of a lead pipe of a rotary valve trumpet are presented. For the lead pipe optimization the Brass-Wind-Instrument-Optimizer BIOS has been used and the proposed lead pipe has been manufactured. Practical experiences with this design approach are shared and the resulting instrument is presented. Improvements in intonation and playability are documented and demonstrated.	contributed
Fricke, Jobst Universität Köln Albertus-Magnus-Pl. 1, D-50923 Köln	Non-systematic notched spectra in capped reed instruments	In terms of timbre, reed instruments with enclosed reeds all have a particularly sharp sound because their spectra contain a large number of harmonics. But, strikingly, these spectra also show a series of reoccurring deep indentations-a phenomenon which can be explained by the reeds' valve function that generates a series of impulses. Such reoccurring deep indentations in the spectrum are typical features for impulses as a means of tone production; we will therefore use the term "notched spectra" to describe them. The form and duration of the impulses determine the positions of the notches. When these spectral indentations remain constant over a large frequency range, as applies to instruments with fixed formants, the rules that predict their positions are easy to ascertain. In the case of capped reed instruments, however, the notches can move upwards or downwards in frequency, parallel to corresponding displacements of the fundamental note within the approximate limit of a third; however, the spectral structure can also change drastically and unsystematically even when the fundamental only moves stepwise (half-tones or whole tones). The rules and reasons for such phenomena in the spectra of capped reed instruments are particularly difficult to investigate. The reed fissure opens and closes according to the Bernoulli principle of self-regulation. Due to the use of the windcaps, the musician cannot influence what goes on inside. Thus, the impulses' form and duration cannot be kept constant if the fundamental is changed. They are determined by the instrument's physical features alone. In other words: the impulses' characteristics are determined solely by the instrument's makeup, and not by any actions taken by the player while blowing. However, this does not apply to the same extent to frequency, which is based on the impulses' rate of repetition. The note's frequency is only partially determined by the distance between the two points of reflection inside the resonance tube. It is also dependent, to a large extent, on blowing pressure. The player of a capped reed instrument can make modifications in frequency to a very large extent by means of wind pressure alone. Therefore the player has to play with a very constant blowing pressure-otherwise, intonation would suffer. This is why capped instruments only display a very limited range of dynamics. Thanks to the physical features of the reeds themselves (their thickness, their elasticity, their width), the player is able to influence dynamics, frequency range and timbre to a larger extent. The impulses' form, on the other hand, is determined by a series of frequency dependent factors based on the instrument's construction and on the musician's previous treatment of the reeds. For instance, the point of reflection at the open end of the resonance tube possesses a frequency dependent impedance that modifies the impulses' form. This applies particularly when the finger-holes are open. The spectra of impulses which are basically cyclical in their structure (e.g. characterized by depressions between the envelope curves) will vary in structure from one note to the next, due to the fact that the determining circumstances vary according to which note is played. The spectral structure of wind-cap instruments can thus only remain relatively constant within a quite narrow frequency range. We will demonstrate these phenomena with the examples of certain specific capped reed instruments: the ranket, the Rauschpfeife and the shawm.	contributed
Kausel, Wilfried;(1); Chilekwa, Victor(2) (1) Inst. f. Musical Acoustics IWK, Univ. f. Music Singerstr. 26/a A-1010 Vienna, Austria website: www.bias.at (2) The Open University Walton Hall Milton Keynes MK7 6AA website: www.open.ac.uk	A modular approach to wind instrument simulation	A general and reusable wind instrument simulation object is presented based on a hierarchical instrument representation with a treelike topology of (one-dimensional, single-mode) transmission lines, branches and termination impedance elements allowing to simulate tone holes as well as arbitrary trees of acoustical ducts. A message passing scheme is proposed in order to reflect dynamic modifications of the representation as introduced by an optimizer or by real-time user-interactions in such a way that recalculations are minimized as much as is possible. Almost everything should be parameterized to be easily updateable dynamically. This includes not only geometry parameters but also termination impedance models and even loss coefficients associated with boundary conditions of a certain duct part. This way it should be possible to precalculate e.g. the bell of an instrument together with given radiation conditions using some 3D FE or LB simulator and include these numerical results as a termination impedance vector of the remaining part of the instrument which is to be optimized. It should also be possible to introduce wall properties or to reconstruct loss coefficients once all other characteristics are known. This software project aims at providing a strong basis for future application programmers inside and outside of Universities and research groups and collaboration of other scientists e.g. to contribute higher order mode models, tubing bend models, higher level models (horn elements, exponential elements, parabolic elements...) is welcome.	contributed
Kuehnelt, Helmut; Mayer, Alexander Inst. f. Musical Acoustics IWK, Univ. f. Music Singerstr. 26/a A-1010 Vienna, Austria website: www.bias.at	Intonation measurements on flutes	Flute intonation has been determined by measuring the input impendances of the head and the corpus at their coupling cross-sections separately using the BIAS System. The corpus measurement has been adjusted in order to account for the volume which is lost when head and corpus are nested. From the two separate impedance curves a single reflection function has been calculated showing the resonance frequencies of the whole instrument. The center frequencies of these resonances approximate the played pitch but are not exactly equivalent. The air jet as well as the players lips and face have a significant influence on intonation. It could be shown that by simulating the embouchure required to play a certain note during the measurement of the head part, realistic intonation values can be obtained at least for the played fundamentals. The intonation of overblown notes seems to be strongly affected by the jet and can therefore not be predicted accurately without it. As embouchure and air jet vary significantly from register to register, determining realistic intonation figures requires much higher experimental efforts as compared to brass instruments. However, using the method as a means for quality control in flute production seems to be a promising application.	contributed
Ludwigsen, Daniel O. Dept. of Science and Mathematics, Kettering University 1700 W. Third Ave., Flint, Michigan 48504	Input impedance of brass instruments with velocity measurement	A new velocity sensor known as the Microflown is essentially a two-wire MEMS device by Microflown Technologies. Packaged with a small precision microphone, simultaneous measurement of particle velocity and pressure can be accomplished in a tiny space, such as the the mouthpiece of a brass instrument. The velocity sensor eliminates the reliance on a constant flow provided by a capillary tube or feedback loop control of the driver. The apparatus and calibration procedures will be described, and results of measurements of several instruments will be presented. In an easily-used device, this approach could benefit instrument designers, makers, and repair technicians.	contributed
Oehler, Michael; Reuter, Christoph Institute of Applied Musicology and Psychology (IAMP), Cologne Beethovenstr. 4, D-50674 Köln website: www.chr-reuter.de/	The digital pulse forming as an old/new sound synthesis principle	The Variophon is a wind synthesizer, that was developed at the Musicological Institute of the University of Cologne in the 1970/80ies and at that time is based on a completely new synthesis principle: the pulse forming process. The central idea of that principle was, that every wind instrument sound can basically be put down to its excitation impulses, which independently of the fundamental always behave according to the same principles. The planned realisation of a software-based Variophon makes it possible to bypass some restrictions, resulting from the limited technical feasibility at that time, as for example, to synthesize the excitation impulses of original instruments by means of cosinusoidal or polygonal impulses, where the rising and falling edges of the impulses can be adjusted freely. The aim of the software-based modelling of that synthesis principle is both, creating an experiment system for analyzing and synthesizing (wind) instrument sounds, as well as building a synthesizer, that would be an alternative to comparable Physical Modelling applications, because on the one hand this sound synthesis technique accounts for the place where the sound is generated (at the embouchure of the instrument), on the other hand just a single breath controller is required to produce all the sound-nuances, that are possible on a real instrument.	contributed
Otcenasek, Zdenek Academy of Music / SOUND STUDIO - Zvukové studio HAMU Malostranské námesti 13, CZ-11800 Praha 1	Recording and reproduction of musical stimuli for psycho-acoustic listening test	The judges of the psychoacoustic listening tests have to have the impression at maximum identical to that which was on realistic scene if he would be personaly presented at the place of recording. Noun, but in the connection to listening test not yet discussed, cognitions about binaural recording and reproducing will be presented and the demands for the choice of appropriate method of the stimuli presentations will be declared.	contributed
Smevik, Torunn Acoustics Group Norwegian University of Science and Technology NOR-7491 Trondheim, Norway	Input impedance of brass instruments	The changes in input impedance due to changes in shape such as corners and bends are investigated with the finite element method (FEMLAB) in 2D and 3D and TLM, and the results compared to BIAS measurements on tubes and musical instruments.	contributed
Tronchin, Lamberto DIENCA - CIARM, University of Bologna Viale Risorgimento, 2 I-40136 Bologna (Italy)	On the acoustics and sound of a 2000 years old bronze trumpet	The history of wind instruments goes normally back to millennia and is mostly related with woodwinds. Nevertheless, early little metal trumpets were firstly realized in late Roman Empire. This work deals with the recent discovery in Italy of a special, unique Roman bronze trumpet, more than 1.5 meters long, provided with its original mouthpiece. The construction of the trumpet goes back to 1 Century. This special musical instrument, realized with a special bronze alloy, has other different accessories able to produce different sound. The mouthpiece (in molten metal) was realized with a different bronze alloy and is perfectly conserved. In this paper some preliminary results of acoustical measurements on the mouthpiece are presented. The measurements were conducted by means of an excitation signal in the position of lips and getting (with a special acoustical probe) the frequency response of the mouthpiece, as described in previous papers (JNMR 1998; Acta/Acustica 2000). The measurements are therefore able to capture the impulse response of the mouthpiece and could be used for virtual musical instruments as previously reported. Further measurements are already planned in order to measure other acoustical parameters, as IAR (JASA 2005).	contributed
Widholm, Gregor Inst. f. Musical Acoustics IWK, Univ. f. Music Singerstr. 26/a A-1010 Vienna, Austria website: www.bias.at	Unsolved questions about brass materials - a joint research effort?	Short statement about a possible joint research project as input to the round table discussion	contributed