For Physicists & Engineers using your

# For Physicists & Engineers using your

Télécharger la présentation

## For Physicists & Engineers using your

- - - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - - -
##### Presentation Transcript

1. PianoTuning For Physicists & Engineersusing your Laptop, Microphone, and Hammer by Bruce Vogelaar 313 Robeson HallVirginia Techvogelaar@vt.edu at 3:00 pm Room 130 Hahn North March 17, 2012

2. What our \$50 piano sounded like when delivered. So far: cleaned, fixed four keys, raised pitch a half-step to set A4 at 440 Hz, and did a rough tuning…

3. Bravely put your ‘VT physics education’ to work on that ancient piano!Tune: to what? why? how?Regulate: what?Fix keys: how?

4. A piano string is fixed at its two ends, and can vibrate in several harmonic modes. frequency of string = frequency of sound ( of string   of sound) “Pluck” center  mostly ‘fundamental’ “Pluck” near edge  many higher ‘harmonics’ What you hear is the sum (transferred into air pressure waves). [v = speed of wave on string]

5. Destructive Constructive timedomain frequencyspectrum

6. frequency content determines ‘timbre’

7. Given only the ‘sum’, what were the components? Fourier Analysis “How much of the sum comes from individual components”

8. 13 slides on how this is done (just can’t resist) Consider a class grade distribution: P(x) is the number of students versus grade f(x) is a 1x1 block at a certain grade Summing the product of P(x)f(x) gives the number of students with that grade P(x): f(x): P(x)f(x):

9. P(x) f(x)  P(x)f(x) 0 2 3 1 0 “sum” “components” 1 2 3 4 5 1 2 3 4 5

10. P(t) f(t)  P(t)f(t) 0 1 0

11. An arbitrary waveform can be described by a sumof cosine and sinefunctions: piano ‘note’ is a sum of harmonics want graph of amplitude-vs-frequency=2f

12. finding am all terms on right integrate to zero exceptmth! find bmusing sin(mt)

13. typical extraction of properties from a distribution

14. 200 Samples, every 1/200 second, giving f0 = 1 Hz 1 sec Input 4Hz pure sine wave Look for 3Hz component 4+3 = 7 Hz Multiply 4 - 3 = 1 Hz Average AVG = 0

15. 1 sec Input 4Hz pure sine wave Look for 4Hz component 4+4 = 8 Hz Multiply 4 - 4 = 0 Hz Average AVG = 1/2

16. 1 sec Input 4Hz pure sine wave Look for 5Hz component Multiply Average AVG = 0

17. Great, picked out the 4 Hz input. But what if the input phase is different? Use COS as well. For example: 4Hz, 0 = 30o; sample 4 Hz 1 sec 1 sec sin cos 0.25 0.43 0.25 (0.432 + 0.252)1/2 = 1/2 Right On!

18. Signal phase does not matter. What about input at 10.5 Hz? Finite Resolution

19. Remember, we only had 200 samples, so there is a limitto how high a frequency we can extract. Consider 188 Hz,sampled every 1/200 seconds: Nyquist Limit Sample > 2x frequency of interest; lots of multiplication & summing  slow…

20. Fast Fourier Transforms uses Euler’s several very clever features  1000’s of times faster Free FFT Spectrum Analyzer: http://www.sillanumsoft.org/download.htm “Visual Analyzer”

21. 40960 sample/s 32768 samples = 1.25 Hz resolution

22. Why some notes sound ‘harmonious’ 5th (3/2) Octave (2/1) 4th(4/3) Octaves are universally pleasing; to the Western ear, the 5th is next most important. 3rd (5/4)

23. G C 5th (3/2) G C f t

24. A frequency multiplied by a power of 2 is the same note in a different octave.

25. “Circle of 5th s” Going up by 5ths 12 times brings you very near the same note (but 7 octaves up) (this suggests perhaps 12 notes per octave) f Up by 5ths: (3/2)n “Wolf ” fifth log2(f) We define the number of ‘cents’ between two notes as1200 * log2(f2/f1) Octave = 1200 cents “Wolf “ fifth off by 23 cents. log2(f) shifted into same octave

26. log2 of ‘ideal’ ratios Options for equally spaced notes 1= log 2/1 log 3/2 log 4/3 log 5/4 log 6/5 log 9/8 0 Average deviation from ‘just’ notes We’ve chosen 12 EQUAL tempered steps; could have been 19 just as well…

27. Typically set A4 to 440 Hz

28. What an ‘aural’ tuner does… • for equal temperament: • tune so that desired harmonics are at the same frequency; • then, set them the required amount off by counting ‘beats’. 5th (3/2) Octave (2/1) 4th(4/3) 3rd (5/4)

29. From C, set G above it such that an octave and a fifth above the C you hear a 0.89 Hz ‘beating’ I was hopeless, and even wrote a synthesizer to try and train myself… but I still couldn’t‘hear’ it… These beat frequencies are for the central octave.

30. Is it hopeless?not with a little help from math and a laptop…we (non-musicians) can use a spectrum analyzer…

31. With a (free) “Fourier” spectrum analyzer we can set the pitches exactly!

32. But first – a critical note about ‘real’ strings (where ‘art’ can’t be avoided) • strings have ‘stiffness’ • bass strings are wound to reduce this, but not all the way to their ends • treble strings are very short and ‘stiff’ • thus harmonics are not true multiples of fundamentals– their frequencies are increased by 1+n2 • concert grands have less inharmonicity because they have longer strings

33. A4 (440) inharmonicity which should match A7? true 8x440 piano

34. Tuning the ‘A’ keys: Ideal strings 32 f0 With 0.0001 inharmonicity 33.6 f0 sounds ‘sharp’ sounds ‘flat’ Need to “Stretch” the tuning. Can not match all harmonics, must compromise  ‘art’

35. (how I’ve done it) octaves 3-5: no stretch (laziness on my part) octaves 0-2: tune harmonics to notes in octave 3 octaves 6-7: set ‘R’ inharmonicity to ~0.0003 load note into L and use R(L) ‘Stretched’

36. With Db4 Trying to set Db7 The effect is larger for higher harmonics, and so you simply can’t match everything at the same time. With Db5

37. but some keys don’t work… pianos were designed to come apart (if you break a string tuning it,you’ll need to remove the ‘action’ anyway) (remember to number the keys before removing themand mark which keys hit which strings) “Regulation”Fixing keys, and making mechanical adjustmentsso they work optimally, and ‘feel’ uniform.

38. a pain on spinets

39. “Voicing”the hammers NOT for the novice(you can easily ruin a set of hammers)

40. Let’s now do it for real… pin turning unisons (‘true’ or not?) tune using FFT put it back together
The content of the provided text is a transcript or notes from a presentation on piano tuning, focusing on the physics and engineering aspects, including the use of a laptop and software for tuning.
no_question

the text does not contain any mathematical questions or provide answers to such questions. it is primarily descriptive, explaining the process and principles of piano tuning.
Given a text passage, determine:
    1. If it contains a mathematical question (including word problems or calculations)
    2. If an answer to that mathematical question is provided in the text

First, describe the content structure you found in 1-2 sentences.

Then provide your analysis in the following format:
TYPE: <one of the following values>
- NO_QUESTION
- SINGLE_QUESTION
- SINGLE_QUESTION_WITH_ANSWER
- MULTIPLE_QUESTIONS
- MULTIPLE_QUESTIONS_WITH_ANSWERS
system
For Physicists & Engineers using your

# For Physicists & Engineers using your

Télécharger la présentation

## For Physicists & Engineers using your

- - - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - - -
##### Presentation Transcript

1. PianoTuning For Physicists & Engineersusing your Laptop, Microphone, and Hammer by Bruce Vogelaar 313 Robeson HallVirginia Techvogelaar@vt.edu at 3:00 pm Room 130 Hahn North March 17, 2012

2. What our \$50 piano sounded like when delivered. So far: cleaned, fixed four keys, raised pitch a half-step to set A4 at 440 Hz, and did a rough tuning…

3. Bravely put your ‘VT physics education’ to work on that ancient piano!Tune: to what? why? how?Regulate: what?Fix keys: how?

4. A piano string is fixed at its two ends, and can vibrate in several harmonic modes. frequency of string = frequency of sound ( of string   of sound) “Pluck” center  mostly ‘fundamental’ “Pluck” near edge  many higher ‘harmonics’ What you hear is the sum (transferred into air pressure waves). [v = speed of wave on string]

5. Destructive Constructive timedomain frequencyspectrum

6. frequency content determines ‘timbre’

7. Given only the ‘sum’, what were the components? Fourier Analysis “How much of the sum comes from individual components”

8. 13 slides on how this is done (just can’t resist) Consider a class grade distribution: P(x) is the number of students versus grade f(x) is a 1x1 block at a certain grade Summing the product of P(x)f(x) gives the number of students with that grade P(x): f(x): P(x)f(x):

9. P(x) f(x)  P(x)f(x) 0 2 3 1 0 “sum” “components” 1 2 3 4 5 1 2 3 4 5

10. P(t) f(t)  P(t)f(t) 0 1 0

11. An arbitrary waveform can be described by a sumof cosine and sinefunctions: piano ‘note’ is a sum of harmonics want graph of amplitude-vs-frequency=2f

12. finding am all terms on right integrate to zero exceptmth! find bmusing sin(mt)

13. typical extraction of properties from a distribution

14. 200 Samples, every 1/200 second, giving f0 = 1 Hz 1 sec Input 4Hz pure sine wave Look for 3Hz component 4+3 = 7 Hz Multiply 4 - 3 = 1 Hz Average AVG = 0

15. 1 sec Input 4Hz pure sine wave Look for 4Hz component 4+4 = 8 Hz Multiply 4 - 4 = 0 Hz Average AVG = 1/2

16. 1 sec Input 4Hz pure sine wave Look for 5Hz component Multiply Average AVG = 0

17. Great, picked out the 4 Hz input. But what if the input phase is different? Use COS as well. For example: 4Hz, 0 = 30o; sample 4 Hz 1 sec 1 sec sin cos 0.25 0.43 0.25 (0.432 + 0.252)1/2 = 1/2 Right On!

18. Signal phase does not matter. What about input at 10.5 Hz? Finite Resolution

19. Remember, we only had 200 samples, so there is a limitto how high a frequency we can extract. Consider 188 Hz,sampled every 1/200 seconds: Nyquist Limit Sample > 2x frequency of interest; lots of multiplication & summing  slow…

20. Fast Fourier Transforms uses Euler’s several very clever features  1000’s of times faster Free FFT Spectrum Analyzer: http://www.sillanumsoft.org/download.htm “Visual Analyzer”

21. 40960 sample/s 32768 samples = 1.25 Hz resolution

22. Why some notes sound ‘harmonious’ 5th (3/2) Octave (2/1) 4th(4/3) Octaves are universally pleasing; to the Western ear, the 5th is next most important. 3rd (5/4)

23. G C 5th (3/2) G C f t

24. A frequency multiplied by a power of 2 is the same note in a different octave.

25. “Circle of 5th s” Going up by 5ths 12 times brings you very near the same note (but 7 octaves up) (this suggests perhaps 12 notes per octave) f Up by 5ths: (3/2)n “Wolf ” fifth log2(f) We define the number of ‘cents’ between two notes as1200 * log2(f2/f1) Octave = 1200 cents “Wolf “ fifth off by 23 cents. log2(f) shifted into same octave

26. log2 of ‘ideal’ ratios Options for equally spaced notes 1= log 2/1 log 3/2 log 4/3 log 5/4 log 6/5 log 9/8 0 Average deviation from ‘just’ notes We’ve chosen 12 EQUAL tempered steps; could have been 19 just as well…

27. Typically set A4 to 440 Hz

28. What an ‘aural’ tuner does… • for equal temperament: • tune so that desired harmonics are at the same frequency; • then, set them the required amount off by counting ‘beats’. 5th (3/2) Octave (2/1) 4th(4/3) 3rd (5/4)

29. From C, set G above it such that an octave and a fifth above the C you hear a 0.89 Hz ‘beating’ I was hopeless, and even wrote a synthesizer to try and train myself… but I still couldn’t‘hear’ it… These beat frequencies are for the central octave.

30. Is it hopeless?not with a little help from math and a laptop…we (non-musicians) can use a spectrum analyzer…

31. With a (free) “Fourier” spectrum analyzer we can set the pitches exactly!

32. But first – a critical note about ‘real’ strings (where ‘art’ can’t be avoided) • strings have ‘stiffness’ • bass strings are wound to reduce this, but not all the way to their ends • treble strings are very short and ‘stiff’ • thus harmonics are not true multiples of fundamentals– their frequencies are increased by 1+n2 • concert grands have less inharmonicity because they have longer strings

33. A4 (440) inharmonicity which should match A7? true 8x440 piano

34. Tuning the ‘A’ keys: Ideal strings 32 f0 With 0.0001 inharmonicity 33.6 f0 sounds ‘sharp’ sounds ‘flat’ Need to “Stretch” the tuning. Can not match all harmonics, must compromise  ‘art’

35. (how I’ve done it) octaves 3-5: no stretch (laziness on my part) octaves 0-2: tune harmonics to notes in octave 3 octaves 6-7: set ‘R’ inharmonicity to ~0.0003 load note into L and use R(L) ‘Stretched’

36. With Db4 Trying to set Db7 The effect is larger for higher harmonics, and so you simply can’t match everything at the same time. With Db5

37. but some keys don’t work… pianos were designed to come apart (if you break a string tuning it,you’ll need to remove the ‘action’ anyway) (remember to number the keys before removing themand mark which keys hit which strings) “Regulation”Fixing keys, and making mechanical adjustmentsso they work optimally, and ‘feel’ uniform.

38. a pain on spinets

39. “Voicing”the hammers NOT for the novice(you can easily ruin a set of hammers)

40. Let’s now do it for real… pin turning unisons (‘true’ or not?) tune using FFT put it back together
user
The content of the provided text is a transcript or notes from a presentation on piano tuning, focusing on the physics and engineering aspects, including the use of a laptop and software for tuning.

TYPE: NO_QUESTION

The text does not contain any mathematical questions or provide answers to such questions. It is primarily descriptive, explaining the process and principles of piano tuning.