|Room Acoustics - Research||Room Acoustics - Solutions||Room Acoustics - How it Worked||Room Acoustics - Evaluation||Calculation Table for Different Absorption Coefficients/Sabines|
|Instrument Acoustics- The Problem||Instrument Acoustics - Research||Instrument Acoustics - Solutions||Instrument Acoustics - Practical Designs||Instrument Acoustics - How it Worked||Instrument Acoustics - Evaluation|
Building an Instrument (Part 6)
This was an interesting project and learning more detail of the workings of instruments and creating pitches and the relationships between pitches was fascinating.
The research seemed to go well, establishing the lengths of bars required to make the pitches of the glockenspiel, and the distance from the ends that the nodes needed to be placed.
Sadly the practical application did not go so well with my instrument untenable owing to the looseness of the eyelets in the frame and the lack of fine adjustment available on the tuning mechanism.
The problem of the resolution of the tuning mechanism could be cured in a number of ways. Guitars and violins seem to have less of a problem with this. Possibly this is because the strings are longer and therefore the small adjustments make less of a difference to the overall length, e.g. adding an extra millimetre on a 1 metre string is a much smaller ratio that on a 10 centimetre string and would make correspondingly less of a pitch differential.
Possibly a thicker string would have made tuning more stable for similar reasons i.e. the difference of a millimetre adjustment would have been less of a difference to the overall string mass if the string was thicker.
The tuning reliability may have been better with a harder wood or other stronger material, which would not crumble away as the screw thread turned. Or possibly larger more sturdy eyelets or possibly even using guitar tuning pegs.
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