Relationships between pressure, flow, lip motion, and upstream and downstream impedances for the trombone.

This experimental study investigates ten subjects playing the trombone in the lower and mid-high range of the instrument, B♭2 to F4. Several techniques are combined to show the pressures and the impedance spectra upstream and downstream of the lips, the acoustic and total flows into the instrument, the component of the acoustic flow due to the sweeping motion of the lips, and high speed video images of the lip motion and aperture. The waveforms confirm that the inertance of the air in the channel between the lips is usually negligible. For lower notes, the flow caused by the sweeping motion of the lips contributes substantially to the total flow into the mouthpiece. The phase relations among the waveforms are qualitatively similar across the range studied, with no discontinuous behavior. The players normally played at frequencies about 1.1% above that of the impedance peak of the bore, but could play below as well as above this frequency and bend from above to below without discontinuity. The observed lip motion is consistent with two-degree-of-freedom models having varying effective lengths. These provide insight into why lips can auto-oscillate with an inertive or compliant load, or without a downstream resonator.

Vocal tract resonances and the sound of the Australian didjeridu (yidaki). III. Determinants of playing quality.

Traditional didjeridus have a broad range of bore geometries with many details not immediately apparent to a player, and are therefore suitable for examining the relationship between perceived quality and physical properties. Seven experienced players assessed the overall playing quality of 38 didjeridus that spanned a wide range of quality, pitch, and geometry, as well as 11 plastic cylindrical pipes. The ranking of these instruments was correlated with detailed measurements of their acoustic input impedance spectra. Most significantly, the ranked quality of a didjeridu was found to be negatively correlated with the magnitude of its acoustic input impedance, particularly in the frequency range from 1 to 2 kHz. This is in accord with the fact that maxima in the impedance of the player's vocal tract can inhibit acoustic flow, and consequently sound production, once the magnitude of these impedance maxima becomes comparable with or greater than those of the instrument. This produces the varying spectral peaks or formants in the sound envelope that characterize this instrument. Thus an instrument with low impedance and relatively weak impedance maxima in this frequency range would allow players greater control of the formants in the output sound and thus lead to a higher perceived playing quality.

Model for vocalization by a bird with distensible vocal cavity and open beak.

Some birds make use of a distensible oral cavity to produce nearly pure-tone song. Songbirds such as the Northern cardinal (Cardinalis cardinalis) have a muscularly distended oropharyngeal-esophageal cavity between the top of the trachea and the open beak. The present paper analyzes the acoustics of this vocal system. It is shown that the resonance of the oropharyngeal-esophageal cavity, vented through the beak, introduces a dominant peak in the radiation efficiency, the frequency of which can be adjusted by varying the volume of the cavity, the beak gape, and perhaps the position of the tongue in the mouth. To produce nearly pure-tone song, the bird adjusts the frequency of this peak to coincide with the fundamental of the syringeal oscillation. The present paper provides the acoustical analysis underlying this behavior.

Vocal tract resonances and the sound of the Australian didjeridu (yidaki) I. experiment.

The didjeridu, or yidaki, is a simple tube about 1.5 m long, played with the lips, as in a tuba, but mostly producing just a tonal, rhythmic drone sound. The acoustic impedance spectra of performers' vocal tracts were measured while they played and compared with the radiated sound spectra. When the tongue is close to the hard palate, the vocal tract impedance has several maxima in the range 1-3 kHz. These maxima, if sufficiently large, produce minima in the spectral envelope of the sound because the corresponding frequency components of acoustic current in the flow entering the instrument are small. In the ranges between the impedance maxima, the lower impedance of the tract allows relatively large acoustic current components that correspond to strong formants in the radiated sound. Broad, weak formants can also be observed when groups of even or odd harmonics coincide with bore resonances. Schlieren photographs of the jet entering the instrument and high speed video images of the player's lips show that the lips are closed for about half of each cycle, thus generating high levels of upper harmonics of the lip frequency. Examples of the spectra of "circular breathing" and combined playing and vocalization are shown.

Songbirds tune their vocal tract to the fundamental frequency of their song.

In human speech, the sound generated by the larynx is modified by articulatory movements of the upper vocal tract, which acts as a variable resonant filter concentrating energy near particular frequencies, or formants, essential in speech recognition. Despite its potential importance in vocal communication, little is known about the presence of tunable vocal tract filters in other vertebrates. The tonal quality of much birdsong, in which upper harmonics have relatively little energy, depends on filtering of the vocal source, but the nature of this filter is controversial. Current hypotheses treat the songbird vocal tract as a rigid tube with a resonance that is modulated by the end-correction of a variable beak opening. Through x-ray cinematography of singing birds, we show that birdsong is accompanied by cyclical movements of the hyoid skeleton and changes in the diameter of the cranial end of the esophagus that maintain an inverse relationship between the volume of the oropharyngeal cavity and esophagus and the song's fundamental frequency. A computational acoustic model indicates that this song-related motor pattern tunes the major resonance of the oropharyngeal-esophageal cavity to actively track the song's fundamental frequency.

Acoustics: the vocal tract and the sound of a didgeridoo.

The Australian didgeridoo (or yidaki in the Yolngu language of northern Australia) is a simple musical instrument that, at the lips of an experienced player, is capable of a spectacular variety of timbres--considerably greater than those that can be coaxed from orchestral instruments, for example. To understand this phenomenon, we simultaneously measured the sound produced by the didgeridoo and the acoustic impedance of the player's vocal tract. We find that the maxima in the envelope of the sound spectrum are associated with minima in the impedance of the vocal tract, as measured just inside the lips. This acoustic effect is similar to the production of vowel sounds made during human speech or singing, although the mechanism is different, and leads to the surprising conclusion that experienced players are subconsciously using their glottis to accentuate the instrument's tonal variation.

The cochlear amplifier as a standing wave: "squirting" waves between rows of outer hair cells?

This paper draws attention to symmetric Lloyd-Redwood (SLR) waves-known in ultrasonics as "squirting" waves-and points out that their distinctive properties make them well-suited for carrying positive feedback between rows of outer hair cells. This could result in standing-wave resonance-in essence a narrow-band cochlear amplifier. Based on known physical properties of the cochlea, such an amplifier can be readily tuned to match the full 10-octave range of human hearing. SLR waves propagate in a thin liquid layer enclosed between two thin compliant plates or a single such plate and a rigid wall, conditions found in the subtectorial space of the cochlea, and rely on the mass of the inter-plate fluid interacting with the stiffness of the plates to provide low phase velocity and high dispersion. The first property means SLR wavelengths can be as short as the distance between rows of outer hair cells, allowing standing wave formation; the second permits wide-range tuning using only an order-of-magnitude variation in cochlear physical properties, most importantly the inter-row spacing. Viscous drag at the two surfaces potentially limits SLR wave propagation at low frequencies, but this can perhaps be overcome by invoking hydrophobic effects.

A simple frequency-scaling rule for animal communication.

Different animals use widely different frequencies for sound communication, and it is reasonable to assume that evolution has adapted these frequencies to give greatest conspecific communication distance for a given vocal effort. Acoustic analysis shows that the optimal communication frequency is inversely proportional to about the 0.4 power of the animal's body mass. Comparison with observational data indicates that this prediction is well supported in practice. For animals of a given class, for example mammals, the maximum communication distance varies about as the 0.6 power of the animal's mass. There is, however, a wide spread of observed results because of the different emphasis placed upon vocal effort in the evolution of different animal species.

Vocal tract filtering and the "coo" of doves.

Ring doves (Streptopelia risoria) produce a "coo" vocalization that is essentially a pure-tone sound at a frequency of about 600 Hz and with a duration of about 1.5 s. While making this vocalization, the dove inflates the upper part of its esophagus to form a thin-walled sac structure that radiates sound to the surroundings. It is a reasonable assumption that the combined influence of the trachea, glottis and inflated upper esophagus acts as an effective band-pass filter to eliminate higher harmonics generated by the vibrating syringeal valve. Calculations reported here indicate that this is indeed the case. The tracheal tube, terminated by a glottal constriction, is the initial resonant structure, and subsequent resonant filtering takes place through the action of the inflated esophageal sac. The inflated esophagus proves to be a more efficient sound radiating mechanism than an open beak. The action of this sac is only moderately affected by the degree of inflation, although an uninflated esophagus is inactive as a sound radiator. These conclusions are supported by measurements and observations that have been reported in a companion paper.