Make a clearer distinction between the concepts of sound quality and timbre. In fact, in the practice of the music industry, people also have different distinctions between these two concepts. Especially in acoustic teaching, the sound and sound quality have actually formed into two different concepts of agreement.
In the process of vocal music or musical instrument vocalization, we can clearly distinguish which strings, wind music, tenor, soprano, etc., the principle of sound is caused by the different components of the vibration of the object, This relationship is summarized as the vibration mode, the pronunciation method and the structure and material of the resonance body. For example, the violin gives a soft tone with string vibration, the trumpet gives a brilliant and loud tone with air column vibration, the piano is struck with a hammer, the fingers are plucked, and the violin is rubbed with a bow. The pronunciation method creates a distinct difference in tone. Of course, if the resonance of these instruments is removed, the sound will show different degrees of dryness and hoarseness.
Therefore, from the perspective of the vocal process to distinguish the definition of "tone" and "sound quality", there is a "sound quality", emphasizing the meaning of its "quality." For example, some words written in "sound quality" is the sound quality of the sound system. This is understood as: "sound quality" emphasizes more on the content of its vibration mode, including factors such as the texture and vibration of its vibration source.
The “tone†is more focused on factors that reflect the structure and material of the resonance.
Professor Li Weizhen’s acoustics has clearly explained this: the tone refers to the color of the sound. The difference in tone is caused by the adjustment of the resonance cavity and is a resonance problem.
In acoustic interpretation, the difference in tone depends on how much harmonics are produced by the resonance cavity. Generally speaking, the resonance cavity is long, and the air column which can generate overtones in the cavity is long. The overtone produced is relatively more, and the tone is round and pleasing. The resonance cavity is short, and the air column that can produce overtones in the cavity is short. Therefore, the overtones generated are relatively small, and the tone is rough.
The principle of acoustics is based. In the acoustic principle of air column vibration, the longitudinal vibration of the air column determines the fundamental frequency and the frequency of a series of overtones. At the same time, the cylindrical wave generated by its transverse vibration will form a high-order overtone. It determines its rich overtones and high-order overtones, so it forms a round, bright, plump, metal-like tone.
Vocal educators advocate making the channels of sound into small tubes or tubes. In this way, the air column in the resonance pipe is necessarily shorter and thinner, so the overtone is relatively less, and the tone is crisp and bright.
The theoretical description of the resonance characteristics is also documented. For example, "When the treble sounds, it must be narrow, must be thin, and the sound of the bass will be wide and thick. It is an understanding of establishing a resonance channel.
In addition, the key to affecting the tone is the overtone that cannot be heard. The overtone can't be heard, but it is the key to affecting the sound. Professor Tong Zhenjia, Professor of Music, Institute of Music, National Taiwan University, explained: "Overtones exist, but we don't necessarily hear them. When the volume of two sounds (sound), and pitch When they are all the same, it is possible to produce a different tone. The difference in the middle is the distribution of the energy of its overtones. The distribution of the intensity of the overtones is different and sounds different.
He exemplified: "The harp has a special feature. When the string is plucked, it is placed in the center of the string. When the sound comes out, its energy is basically concentrated on an odd multiple of the overtone.
The scientific rationality and sensibility behind the tone will be nice.
An odd multiple of the overtone will bring an ethereal tone. Various instruments are also different because of the change of overtones. Most of our ears can only distinguish the level of the pitch, but the brain's feelings about music are affected by the inaudible overtones. By observing the characteristics of overtones, scientists can transform subjective musical appreciation into objective data, creating a perfect intersection between rationality and sensibility.
To sum up the above, we can easily see that the key to determining the tone is the material and structural design of the cavity. In other words, the theory of electroacoustic theory: the horn determines the quality of the sound = pitch, sound intensity, sound quality = pitch. The cavity determines the color of the sound, = tone = overtone. This is based on.
Mr. Liu Guoqing, Taiwan's electroacoustic master:
Mr. Liu Guoqing, Taiwan Electroacoustic Master
Liu Guoqing: ( Veteran electroacoustic sound engineer, senior electro-acoustic tuner , senior electro-acoustic cavity designer) was born in Taiwan in 1952. At the age of 17, I began to learn the design and development of speakers and speakers. It has been more than 40 years old. Since childhood, he has a special hobby for music. At the age of 14, he is a teacher of Nanhai. He studied classical guitar and studied hard. He has a deep knowledge of such instruments, and his ability to discriminate the electroacoustic sounds in the future makes the "he" of today In the field of sound recognition of headphones and speakers, the pitch, pitch, and pitch can be accurately discriminated, and a good tone can be obtained with the pitch. At the age of 25, he studied as a Japanese chamber design expert and went to study at Kyushu University. He focused on the tuning and structural design of headphones and speakers, which made him the title of master in the field of headphones and speakers. More than hundreds of earphones have been developed as standard sound products. Most of the works are "reducing the essence of music, which is the ultimate value of electro-acoustic" as the ultimate goal.
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