Frequency Response Functions (FRFs) are one of the cornerstones of musical acoustic experimental research. They describe the way in which musical instruments vibrate in a wide range of frequencies and are used to predict and understand the acoustic differences between them. In the specific case of stringed musical instruments such as violins, FRFs evaluated at the bridge are known to capture the overall body vibration. These indicators, also called bridge admittances, are widely used in the literature for comparative analyses. However, due to their complex structure they are rather difficult to quantitatively compare and study. In this manuscript we present a way to quantify differences between FRFs, in particular violin bridge admittances, that separates the effects in frequency, amplitude and quality factor of the first resonance peaks characterizing the responses. This approach allows us to define a distance between FRFs and clusterise measurements according to this distance. We use two case studies, one based on Finite Element Analysis and another exploiting measurements on real violins, to prove the effectiveness of such representation. In particular, for simulated bridge admittances the proposed distance is able to highlight the different impact of consecutive simulation `steps' on specific vibrational properties and, for real violins, gives a first insight on similar styles of making, as well as opposite ones.
翻译:频率反应功能(FRFs)是音乐声学实验研究的基石之一,它们描述了乐器在多种频率上振动的方式,用来预测和理解音乐仪器之间的声学差异。在小提琴等弦乐器的具体情况下,在桥上评价的FRFs可以捕捉整体体震动。这些指标,又称为桥接收器,在文献中被广泛用于比较分析。但是,由于其结构复杂,很难进行定量比较和研究。在这个手稿中,我们介绍了如何量化乐器之间差异,特别是小提琴桥接收器的差异,从而将反应的频率、振动和质量因素区分开来。这种方法使我们能够根据距离确定FRFs和集束测量之间的距离。我们使用两个案例研究,一个基于精度元素分析,另一个利用真琴的测量,以证明这种表达的有效性。特别是模拟桥接收器之间的差异,特别是将第一次共振反应峰值的频率、振动和质量因素区分开来。这个方法使我们能够确定FRFRFRs和集测量方法之间的距离。我们使用两个案例研究,一个基于精度分析,另一个对真小提琴的测量方式进行模拟,首先显示对立式的震动和反动的图像的深度。