Re: Materials' effects on tone color (was Re: Celluloid: The true history and application)
ttonon
>
> There are a few other parameters that are often overlooked that I've
> experimented with and found to make a difference as well:
>
> *The material type and thickness of the pads on the pallets. I think
> accordions use a felt/leather combination that's about 0.1" thick.
> Bandoneons use a thin leather only pad that's 0.03"-0.05" thick.
> That's why the pallets need to be hinged to ensure a tight seal is
> maintained as the material becomes compressed over time.
>
> *Material type and thickness of the valveboard in combination with the
> base of the reedblock. In bandoneons and many chemnitzers (some bayans
> too?), there is no base to the reedblock. Incidentally (Tom Tonon
> chime in if you're around) this also affects pitch, which is why a
> reedblock outside the instrument on a tuning bellows will sound at a
> slightly different pitch from what it will inside the instrument.
>
Hi Theodore,
For you and others who may be interested, I've attempted a detailed
explanation of the acoustic effects that various geometric factors have
on the sound of the reed in the form of a paper in "Papers of the
International Concertina Association" (PICA), Vol 2, 2005, (ISSN
1744-7356 print, and ISSN 1744-7364 web), a publication of the
International Concertina Association, and Edited by Allan Atlas, at the
Center for the Study of Free-Reed Instruments (The Graduate Center, The
City University of New York). The public can obtain electronic copies
of PICA at www.concertina.org, or http://web.gc.cuny.edu/freereed for a
small fee.
In this paper, I've included a discussion of various influences, such
as cavity geometry, reed tip orientation, and others such as the ones
you mention here; i.e., the nearness of the pallet to the pallet board
aperture and the effect of aperture length, etc. The discussion
includes the physical basis for these influences, complete with
mathematical formulae and sample calculation. These issues are too
complicated for me to address here, but I invite you and others to
check out this paper. (I receive no monetary reward for this work.) I
don't think you'll find such a detailed and complete write up in
any other place.
Best regards,
Tom
www.bluesbox.biz
Roger Gawley
On Sun, 19 Mar 2006, ttonon wrote:
>
> Hi Theodore,
> For you and others who may be interested, I've attempted a detailed
> explanation of the acoustic effects that various geometric factors have
> on the sound of the reed in the form of a paper in "Papers of the
> International Concertina Association" (PICA), Vol 2, 2005, (ISSN
> 1744-7356 print, and ISSN 1744-7364 web), a publication of the
> International Concertina Association, and Edited by Allan Atlas, at the
> Center for the Study of Free-Reed Instruments (The Graduate Center, The
> City University of New York). The public can obtain electronic copies
> of PICA at www.concertina.org, or http://web.gc.cuny.edu/freereed for a
> small fee.
>
The world should be able to read this on the web without charge but we
(the International Concertina Association) seem to have only the first
volume of PICA on the web so far. Tom's article appears in volume 2. Will
nudge people a bit on this.
I expect we could send a paper offprint to anyone who needs it right now.
Roger Gawley, ICA
[ if this arrives twice, my apologies: something funny happened ]
Johann Pascher
I would like to have a copy of Toms paper.
Would it be possible to scan the pages and post them via email?
Best regards, Johann Pascher
Roger Gawley schrieb:
ginny
Roger Gawley wrote:
> The world should be able to read this on the web without charge but we
> (the International Concertina Association) seem to have only the first
> volume of PICA on the web so far. Tom's article appears in volume 2. Will
> nudge people a bit on this.
>
> I expect we could send a paper offprint to anyone who needs it right now.
>
> Roger Gawley, ICA
>
> [ if this arrives twice, my apologies: something funny happened ]
>
I would be interested in glancing at this if it does become freely
available. Please post if and or when this occurs.
Theodore M. Kloba
> For you and others who may be interested, I've attempted a detailed
> explanation of the acoustic effects that various geometric factors have
> on the sound of the reed in the form of a paper in "Papers of the
> International Concertina Association"
Thanks Tom. That sure beats speculation!
tto...@ailr.com
I just obtained from the Publisher a pdf file of my article as it
appears in PICA Vol 2 and would be glad to freely email it to anyone
interested.
Best regards,
Tom
www.bluesbox.biz
ginny
I would appreciate a copy
Ginny
(if this appears twice, something went wrong with my first attempt to
post.)
DoN. Nichols
> Greetings,
>
> I just obtained from the Publisher a pdf file of my article as it
> appears in PICA Vol 2 and would be glad to freely email it to anyone
> interested.
I would love to get one -- but if the total e-mail size is over
30K it *can't* make it in to me, thanks to the virus filtering which I
have active.
So -- under those circumstances, I will probably need to wait
until it is available at the ICA web site.
Thanks,
DoN.
--
Email: <dnic...@d-and-d.com> | Voice (all times): (703) 938-4564
(too) near Washington D.C. | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---
tto...@ailr.com
Sorry, the file is about ten times that. But it looks like Volume 2
will be available very soon on the ICA site. If it takes too long for
that, I'll send you a hard copy.
Best regards,
Tom
DoN. Nichols
> Hi Don,
>
> Sorry, the file is about ten times that. But it looks like Volume 2
> will be available very soon on the ICA site. If it takes too long for
> that, I'll send you a hard copy.
Thanks. The ICA site should do. No need to go through the
trouble of a snail-mail copy.
Thanks again,
ginny
Roger Gawley
rest of volume two of Papers of the International Concertina Association
will be on the website at
any day now. Roger