Index of content:
Volume 135, Issue 5, May 2014
- MUSIC AND MUSICAL INSTRUMENTS 
135(2014); http://dx.doi.org/10.1121/1.4871360View Description Hide Description
Although it can be transformed by various electronic devices, the sound of the solid body electric guitar originates from, and is strongly linked with, the string vibration. The coupling of the string with the guitar alters its vibration and can lead to decay time inhomogeneities. This paper implements and justifies a framework for the study of decay times of electric guitar tones. Two damping mechanisms are theoretically and experimentally identified: the string intrinsic damping and the damping due to mechanical coupling with the neck of the guitar. The electromagnetic pickup is shown to not provide any additional damping to the string. The pickup is also shown to be far more sensitive to the out-of-plane polarization of the string. Finally, an accurate prediction of the decay time of electric guitar tones is made possible, whose only requirements are the knowledge of the isolated string dampings and the out-of-plane conductance at the neck of the guitar. This prediction can be of great help for instrument makers and manufacturers.
135(2014); http://dx.doi.org/10.1121/1.4869679View Description Hide Description
The effect of tuning slots on the sound characteristics of labial organ pipes is investigated in this paper by means of laboratory experiments. Besides changing the pitch of the pipe, the tuning slot also plays an important role in forming the timbre. The objectives of this contribution are to document the influence of tuning slots built with different geometries on the pipe sound and to validate the observed tendencies by means of reproducible experiments. It is found that the measured steady state sound spectra show unique characteristics, typical only for tuning slot organ pipes. By separately adjusting the geometrical parameters of the tuning slots on experimental pipes, the impact of each scaling parameter on the steady state spectrum is determined. It is shown that the scaling procedures used currently in organ building practice do not provide sufficient control over the sound characteristics, leaving the capabilities provided by the tuning slot unexploited. Subjective comparison made by organ builders of sound recordings of various setups confirms that the observed sound quality of tuning slot pipes is strongly dependent on the scaling of the slot.