Some empirical observations on sound level properties of recorded piano tones.
Some empirical observations on sound level properties of recorded piano tones.
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对录制的钢琴音调的声级特性的一些经验观察。
DOI：
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发表时间：
1993
影响因子：
2.4
通讯作者：
B. Repp
中科院分区：
文献类型：
--
作者：
B. Repp
初步尝试在声学记录的钢琴音乐中测量重叠的音调的相对强度，本研究调查是否可以可靠地推断出录制的钢琴音调的相对峰值声级从它们的两个最低谐波的水平，在音调开始附近的频谱测量。单音调的声学记录是从两个计算机控制的机械钢琴，一个直立（雅马哈MX 100 A Disclavier）和一个音乐会大（Bösendorfer 290 SE），在一系列的音高和锤速度。电子录音从数码钢琴（罗兰RD 250 S），这是免费的机械和声音传输因素，包括比较。结果发现，在所有三个仪器，最低的两个谐波（dB）的水平，接近音调开始一般线性增加的峰值均方根（rms）的水平（dB）作为锤速度变化为任何给定的音高。这个线性函数的斜率在第一谐波（基波）的中音音高（C2到C6）上相当恒定，但在第二谐波上随着音高而增加。然而，有两个来源的不可预测的变化：在两个机械钢琴，峰值均方根水平变化相当大的音高，即使字符串被击中在名义上相等的锤速度;这可能是由于锤弦相互作用，音板响应和室内声学的不均匀性的综合影响。此外，对于相同峰值均方根电平的不同音高，两个最低谐波的电平变化很大，即使在电子乐器上也是如此。（250字处删节）
Preliminary to an attempt at measuring the relative intensities of overlapping tones in acoustically recorded piano music, this study investigated whether the relative peak sound levels of recorded piano tones can be reliably inferred from the levels of their two lowest harmonics, measured in the spectrum near tone onset. Acoustic recordings of single tones were obtained from two computer-controlled mechanical pianos, one upright (Yamaha MX100A Disclavier) and one concert grand (Bösendorfer 290SE), at a range of pitches and hammer velocities. Electronic recordings from a digital piano (Roland RD250S), which were free of mechanical and sound transmission factors, were included for comparison. It was found that, on all three instruments, the levels of the lowest two harmonics (in dB) near tone onset generally increased linearly with the peak root-mean-square (rms) level (in dB) as hammer velocity was varied for any given pitch. The slope of this linear function was fairly constant across midrange pitches (C2 to C6) for the first harmonic (the fundamental), but increased with pitch for the second harmonic. However, there were two sources of unpredictable variability: On the two mechanical pianos, peak rms level varied considerably across pitches, even though the strings were struck at nominally equal hammer velocities; this was probably due to the combined effects of unevenness in hammer-string interaction, soundboard response, and room acoustics. Moreover, for different pitches at equal peak rms levels, the levels of the two lowest harmonics varied substantially, even on the electronic instrument.(ABSTRACT TRUNCATED AT 250 WORDS)
DOI：
10.1121/1.401249
发表时间：
1991
期刊：
The Journal of the Acoustical Society of America
影响因子：
--
作者：
Palmer,C;Brown,JC
通讯作者：
Brown,JC