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 Post subject: What do I hear
PostPosted: 03 Feb 2015, 18:45 

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Comparison between a closed tubular flute and an a traditional transfers clay ocarina.

Will any of you physicists and/or mathematicians tell me what I am hearing and the reason for it? I know Bas and Kresimir have discussed these two instruments and their sounds before, but I simply do not understand. The bamboo closed tubular flute is indeed a globular flute. The ones I make seem to have more of a consistent blowing pressure and timbre. The pitches' clarity is also somewhat different. As both instruments can and have been made of different media, the answer can't be the medium. Judging by some ocarina makers having located the mouthpiece close and closer to the end of a traditional sweet potato style, it can't be the windway's location.

Any ideas why they sound so differently?

Andy


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 Post subject: Re: What do I hear
PostPosted: 11 Feb 2015, 19:51 

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Simply put, if the body of a flute is long and narrow, a standing wave will form in it. If it is short, round and chubby, it wont. That is the main physical difference between a tubular flute with a closed end and a globular flute, like an ocarina.


A standing wave in a flute is a pattern of air pressure that is created by superimposing sinusoidal waves with different amplitudes (called harmonics). In an ideal globular flute, there is generally no standing waves (unless it is overblown), so there are no harmonics. If we freeze time, air pressure inside an ocarina will be more or less the same in every place. Wavelength (the physical size) of the sound wave produced by an ocarina is typically larger than the length of the ocarina resonator. When it comes to flutes, it is closely related to the length of the flute and the position of holes (neither of which is very important on ocarinas). Of course, in practice, there are some harmonics even in the sound produced by an ocarina, but with much lower amplitudes - even more fundamentally, there is a theorem regarding Fourier series that states that no signal which is finite in time can have only a fundamental frequency, but has to have infinite number of upper harmonics. But that is not important for this discussion.


Complicating things even further, when a certain type of oscillations is achieved in an ocarina, the exact shape of the vessel matters very little when it comes to sound timbre. A much more drastic influence on the timbre is the shape of the voicing, windway exit, etc...



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 Post subject: Re: What do I hear
PostPosted: 22 Feb 2015, 20:23 

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Posto qualche immagine di un esperimento per una C3 con gruppo voicing con finestra quadrangolare. Allo stato umido sembra funzionare. Aspetto l'essiccazione e la cottura per descrivere le prime impressioni.
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 Post subject: Re: What do I hear
PostPosted: 23 Feb 2015, 00:38 

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Giorgio, I have just finished a new experiment with a rectangular window. So far it's good. Even the top note is musical. It is in the leather hard state now and yes, we will see upon drying. your window seems rather high (dimension of channel exit to labium) as compared to my experiments ---but that could be the angle of the photo

I continue to use the "garden shale" clay and after a bit of you-know-what added and 4 months ageing, wow, the clay is wonderful. I believe my troubles have been with the windchannel tools.

My camera is broken or I would post it's image. Ha, the shape is of a yellow squash and not a sweet potato! Will post as soon as I get or borrow a camera.

Andy


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