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Johann

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About Johann

  • Rank
    Chatty concertinist
  • Birthday 04/20/1951

Contact Methods

  • Website URL
    http://elektor.htl-leonding.ac.at/~jp/
  • Yahoo
    J_pascher

Profile Information

  • Interests
    All about building reed instruments
  • Location
    Upper Austria

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563 profile views
  1. Hi Tom, a friend of mine had two reed organs for repair and the did not have this shape of the reed tongue. The shape was as usual in accordions, but i know from other instruments, that it was in use quite a lot. Talk rektion is very slow on this reed organs. I have the impression that it was far more important to get a special sound as to have very good talk reaktion. Best regards Johann
  2. Hi Dana, thanks for your reply. You are the native speaker and i full agree with all you did explain! Have a nice day an keep healthy. i keep working, because we should stay indoors anyway. Johann
  3. Hi all, i can only speak about accordion reeds and dont have much experience with Concertina reeds. The shaping of tongues can vary and was used in reed organs to give a distinct tone character. And special bendig tools ware in use. On Accordions i find it in most cases best to set the curve to a nice parable lice set. Learn to here the difference in sound with different settings and shapes. It is the key of understanding in respect of talk reaktion and more. The way how do the bending varies depending on the size of the reeds. Usually you get along with just using the thin shim an
  4. Hi Tom, i have red some of P. Cottigham's publications now. especially "Analysis of free reed attack transients " Since it is quite a long time as i was talking about additional modes in reed motions in some forums. I am surprised that this letter now more or less confirms my hypotheses i made years ago. Then i was criticized about my theses. Over time i even was not sure anymore, since i could not find a real prove expect that i could hear some of this mode related pitches. I have found some way to control low reeds, without special tool only by hearing and changing the profile, but not as g
  5. Hi Tom, yes Tom exactly, still if we look deeper into the subject it may be important to remember that the western reed still behaves comparable, even we can get away with a much simplified model. Sure there are differences in the reed and in the cavity and where the reed is mounted. The circumstances remain the same, we still have a cavity and a reed and a mounting point of the reed all differs dramatically but the reed needs the air to sound. With the western reed, the reed is the dominant part and the cavity, it is nearly neglectable. I also like to point out again on very low reeds it is
  6. High Wolf, it is really difficult how we charge sound and timbre. The main key is for me the human vocal tract how we form speech. The frequencies that count to distinguish vocals. So the answer for me, as with most things is somewhere in the middle. Read about https://en.wikipedia.org/wiki/Speech_recognition. This is a part from the german wiki can't find the same in the engisch: "Auf akustischer Ebene spielt insbesondere die Lage der Formanten eine Rolle: Die Frequenzanteile gesprochener Vokale konzentrieren sich typischerweise auf bestimmte unterschiedliche Frequenzen, die Formanten genann
  7. Hi tom, we keep on thinking and doing our best, but in the end we never know how others hear the same sound. For me spectrum carts are not as informative as the actual sound i hear. I wish we would have better tools to visualise sound and timbre. But in the end well trained ear is more precise. That's what i realised. I also would like to to some dow back on my opinion about additional mode frequencies, and how much the cont in the resulting sound. I still think such frequencies are more or less present especially under transient conditions, but when a reed is sounded constantly i
  8. Tom i have the real sound not only the recording, and i think it depends strongly on the individium how we charge the sound. I had my hearing cuve checked some Years ago and then the test showed that i don't have any dropouts and i here quote high tone very well. Other my manly hear the lower components of the sound. So it may be well so that for you the titanium sounds brighter and for me it is the steel. Quite explanable with this 5th harmonic. 5th harmonic is 5:4 major 3rd (c to e1). If the 5th gets dominant it is more like a 3rd mayor is present. You may experiment with the sound by using
  9. No Tom see the index on the right. I did not change anything just the lins are now drown ble on top of orange.
  10. Tom the tongue thickness is not constant it has the usual profile and the tongue bends in a smooth curve similar to the steel profile. But the titanium alloy reed is approximately 1/3 less stiff to get to the same pitch. So your theoretical model uses different parameter, with the same stiffness but different length. To get to the same pitch with nearly equal reed dimensions stiffness mast the different what results in less strong higher harmonics. That is for me a known circonstance if i make reedsets with different stiffness. Johann
  11. Hi tom, the are not equal. I have attached the same chart but this time with blue line on top.
  12. Please look at the attached pictures i also mentioned that test condition is totally equal and air pressure was 500 PaN/m2. Reeds were mounted equally on the same tunningtabel on exactly the same place. Nothing special about the microphone is an electrede micro. I don't say this are ideal test condition but enough to see differences in the chart. It my be you war mistaken steel has much more higher harmonics look at the chart and listen again. Don't take the blips to seriesly the my be caused by the wind machine i would need to repeat the test again with different pressures so i could tell for
  13. I may be well wong on how the final instrument with titanium alloy reeds sound, i only know small accordions with brass or bronze reeds. All would need intense verifying and making complete sets with titanium alloys. Also keep in mind we only talk about reed sets my experience is that the instrument itself has also influence on the resulting sound and with "typical formant range" in the spectrum. We have et list some different filtering depending on the instrument. Comparing ist therefore alway not so easy. Best regards Johann
  14. " Listening to Johan’s sound files of a steel reed vs a titanium one, I really couldn’t tell the difference. The chart does show the different strengths of the harmonics, but our ears probably aren’t designed to distinguish between sounds that are proportionally so similar, especially since both seem to have strong odd harmonics as the defining feature of the tone. [...] Tom doesn’t’ agree with Benade’s explanation and convinced me it may not be correct, but that is as far as I got. Dana" Hi Dena use headphones and you should hear the difference. Is not as much
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