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Woodwind tonehole's linear behavior is characterized by two complex quantities: the series and shunt acoustic impedances. A method to determine experimentally these two quantities is presented for the case of open toneholes. It is based on two input impedance measurements. The method can be applied to clarinet-like instruments, and can be used for undercut toneholes as well as toneholes with pads above their output, under the condition that a symmetry axis exists. The robustness of the method proposed is explored numerically through the simulation of the experiment when considering geometrical and measurement uncertainties. Experimental results confirm the relevance of the method proposed to estimate the shunt impedance. Even the effect of small changes in the hole's geometry, such as those induced by undercutting, are characterized experimentally. The main effect of undercutting is shown to be a decrease in the tonehole's acoustic mass, in agreement with theoretical considerations based on the shape of the tonehole. Investigation on the effects of pads will be studied in a further work. Experimental results also reveal that losses in toneholes are significantly higher than those predicted by the theory. Therefore, the method is suitable for the experimental determination of the shunt impedance, but it is not convenient for the characterization of the series impedance.

International audience; This paper describes a generic Taylor series based continuation method, the so-called Asymptotic Numerical Method, to compute the bifurcation diagrams of nonlinear systems. The key point of this approach is the quadratic recast of the equations as it allows to treat in the same way a wide range of dynamical systems and their solutions. Implicit Differential-Algebraic Equations, forced or autonomous, possibly with time-delay or fractional order derivatives are handled in the same framework. The static, periodic and quasi-periodic solutions can be continued as well as transient solutions.

International audience; Self-sustained musical instruments are complex nonlinear dynamical systems that are known to produce a wealth of dynamical regimes. This includes different kinds of non-periodic sounds, which are either played on purpose or avoided depending on the cultural and musical context. We investigate non-periodic sounds produced by two types of flute-like instruments, namely, an alto recorder and traditional pan-like flutes from Central Chile. We adopt a nonlinear dynamics point of view to characterize the multiphonics produced by the alto recorder and the sonidos rajados produced by the Chilean flutes. Our results unveil the common quasiperiodic nature of the two types of sound regimes and suggest that they result from a similar physical sound production mechanism. This paves the way for a better control of non-periodic sound regimes by the instrument makers.

The lowest fingerings of the saxophone can lead to several different regimes, depending on the musician’s control and the characteristics of the instrument. This is explored in this paper through a physical model of saxophone. The harmonic balance method shows that for many combinations of musician control parameters, several regimes are stable. Time-domain synthesis is used to show how different regimes can be selected through initial conditions and the initial evolution (rising time) of the blowing pressure, which is explained by studying the attraction basin of each stable regime. These considerations are then applied to study how the produced regimes are affected by properties of the resonator. The inharmonicity between the first two resonances is varied in order to find the value leading to the best suppression of unwanted overblowing. Overlooking multistability in this description can lead to biased conclusions. Results for all the lowest fingerings show that a slightly positive inharmonicity, close to that measured on a saxophone, leads to first register oscillations for the greatest range of control parameters. A perfect harmonicity (integer ratio between the first two resonances) decreases first register production, which adds nuance to one of Benade’s guidelines for understanding sound production. Thus, this study provides some a posteriori insight into empirical design choices relative to the saxophone.

Computational optimization algorithms coupled with acoustic models of wind instruments provide instrument makers with an opportunity to explore new designs. Specifically, they enable the automatic discovery of geometries exhibiting desired resonance characteristics. In this paper, the design optimization of woodwind instruments with complex geometrical features (e.g., non-cylindrical bore profile and side holes with various radii and chimney heights) is investigated. Optimal geometric designs are searched so that their acoustic input impedance has peaks with specific target frequencies and amplitudes. However, woodwind instruments exhibit complex input impedance whose features, such as resonances, might have non-smooth evolution with respect to design variables, thus hampering gradient-based optimization. For this reason, this paper introduces new formulations of the impedance characteristics (resonance frequencies and amplitudes) using a regularized unwrapped angle of the reflection function. The approach is applied to an illustrative instrument subjected to geometric constraints similar to the ones encountered by manufacturers (a key-less pentatonic clarinet with two-registers). Three optimization problems are considered, demonstrating a strategy to simultaneously adjust several impedance characteristics on all fingerings.

International audience; The system formed by a trumpet player and his/her instrument can be seen as a non-linear dynamical system, and modeled by physical equations. Numerical tools can then be used to study these models and clarify the influence of the model parameters. The acoustic input impedance, for instance, is strongly dependent on the geometry of the air column and is therefore of primary interest for a musical instrument maker. In this study, a method of continuation of periodic solutions based on the combination of the Harmonic Balance Method (HBM) and the Asymptotic Numerical Method (ANM), is applied to a physical model of brass instruments. It allows the study of the evolution of the system where one parameter of the model (static mouth pressure) varies. This method is used to compare different B trumpets on the basis of two descriptors (hysteresis behavior and dynamic range) computed from the continuation outputs. Results show that this methodology enables to differentiate instruments in the space of the calculated descriptors. Calculations for different values of the lip parameters are also performed to confirm that the obtained categorization is independent of variations of lip parameters.

International audience; Since the founding theory established by G. Floquet more than a hundred years ago, computing the stability of periodic solutions has given rise to various numerical methods, mostly depending on the way the periodic solutions are themselves determined , either in the time domain or in the frequency domain. In this paper, we address the stability analysis of branches of periodic solutions that are computed by combining a pure Harmonic Balance Method (HBM) with an Asymptotic Numerical Method (ANM). HBM is a frequency domain method for determining periodic solutions under the form of Fourier series and ANM is continuation technique that relies on high order Taylor series expansion of the solutions branches with respect to a path parameter. It is well established now that this HBM-ANM combination is efficient and reliable, provided that the system of ODE is first of all recasted with quadratic nonlinearities, allowing an easy manipulation of both the Taylor and the Fourier series. In this context, Hill's method, a frequency domain version of Floquet theory, is revisited so as to become a by-product of the HBM applied to a quadratic system, allowing the stability analysis to be implemented in an elegant way and with good computing performances. The different types of stability changes of periodic solutions are all explored and illustrated through several academic examples, including systems that are autonomous or not, conservative or not, free or forced.

International audience; A saxophone mouthpiece fitted with sensors is used to observe the oscillation of a saxophone reed, as well as the internal acoustic pressure, allowing to identify qualitatively different oscillating regimes. In addition to the standard two-step regime, where the reed channel successively opens and closes once during an oscillation cycle, the experimental results show regimes featuring two closures of the reed channel per cycle, as well as inverted regimes, where the reed closure episode is longer than the open episode. These regimes are well-known on bowed string instruments and some were already described on the Uilleann pipes. A simple saxophone model using measured input impedance is studied with the harmonic balance method, and is shown to reproduce the same two-step regimes. The experiment shows qualitative agreement with the simulation: in both cases, the various regimes appear in the same order as the blowing pressure is increased. Similar results are obtained with other values of the reed opening control parameter, as well as another fingering.

Nonlinear Energy Sinks (NESs) are a promising technique for passively reducing the amplitude of vibrations. Through nonlinear stiffness properties, a NES is able to passively and irreversibly absorb energy. Unlike the traditional Tuned Mass Damper (TMD), NESs do not require a specific tuning and absorb energy over a wider range of frequencies. Nevertheless, they are still only efficient over a limited range of excitations. In order to mitigate this limitation and maximize the efficiency range, this work investigates the optimization of multiple NESs configured in parallel. It is well known that the efficiency of a NES is extremely sensitive to small perturbations in loading conditions or design parameters. In fact, the efficiency of a NES has been shown to be nearly discontinuous in the neighborhood of its activation threshold. For this reason, uncertainties must be taken into account in the design optimization of NESs. In addition, the discontinuities require a specific treatment during the optimization process. In this work, the objective of the optimization is to maximize the expected value of the efficiency of NESs in parallel. The optimization algorithm is able to tackle design variables with uncertainty (e.g., nonlinear stiffness coefficients) as well as aleatory variables such as the initial velocity of the main system. The optimal design of several parallel NES configurations for maximum mean efficiency is investigated. Specifically, NES nonlinear stiffness properties, considered random design variables, are optimized for cases with 1, 2, 3, 4, 5, and 10 NESs in parallel. The distributions of efficiency for the optimal parallel configurations are compared to distributions of efficiencies of non-optimized NESs. It is observed that the optimization enables a sharp increase in the mean value of efficiency while reducing the corresponding variance, thus leading to more robust NES designs.

International audience; This paper explores the analogy between a saxophone resonator and a bicylindrical resonator, sometimes called transverse saxophone or cylindrical saxophone. The dimensions of a bicylindrical resonator are optimized numerically to approximate a saxophone impedance. The target is the impedance measured on an usual saxophone. A classical gradient-based non-linear least-square fit function is used. Several cost functions corresponding to distances to the target impedance are assessed, according to their influence on the optimal geometry. Compromises appear between the frequency regions depending on the cost function. It is shown that the chosen cost functions are differentiable and locally convex. The convexity region contains the initial geometrical dimensions obtained by crude approximation of the first resonance frequency of the target. One optimal geometry is submitted to further analysis using descriptors of the impedance. Its deviations from the target saxophone are put into perspective with the discrepancies between the target saxophone and a saxophone from a different manufacture. Descriptors such as harmonicity or impedance peak ratio set the bicylindrical resonator apart from saxophone resonators, despite a good agreement of the resonance frequencies. Therefore, a reed instrument with a bicylindrical resonator could be tuned to produce the same notes as a saxophone, but due to differences in the intrinsic characteristics of the resonator, it should be considered not as a saxophone but as a distinct instrument.

International audience; In this work we apply and compare two numerical path continuation algorithms for solving algebraic equations arising when applying the Harmonic Balance Method to compute periodic regimes of nonlinear dynamical systems. The first algorithm relies on a predictor-corrector scheme and an Alternating Frequency-Time approach. This algorithm can be applied directly also to non-analytic nonlinearities. The second algorithm relies on a high-order Taylor series expansion of the solution path (the so-called Asymptotic Numerical Method) and can be formulated entirely in the frequency domain. The series expansion can be viewed as a high-order predictor equipped with inherent error estimation capabilities, which permits to avoid correction steps. The second algorithm is limited to analytic nonlinearities, and typically additional variables need to be introduced to cast the equation system into a form that permits the efficient computation of the required high- order derivatives. We apply the algorithms to selected vibration problems involving mechanical systems with polynomial stiffness, dry friction and unilateral contact nonlinearities. We assess the influence of the algorithmic parameters of both methods to draw a picture of their differences and similarities. We analyze the computational performance in detail, to identify bottlenecks of the two methods.

International audience; This article presents an extension of the Asymptotic Numerical Method combined with the Harmonic Balance Method to the continuation of periodic orbits of Delay Differential Equations. The equations can be forced or autonomous and possibly of neutral type. The approach developed in this paper requires the system of equations to be written in a quadratic formalism which is detailed. The method is applied to various systems, from Van der Pol and Duffing os-cillators to toy models of clarinet and saxophone. The Harmonic Balance Method is ascertained from a comparison to standards time-integration solvers. Bifurcation diagrams are drawn which are sometimes intricate, showing the robustness of this method.

International audience; This paper is concerned with a Taylor series based continuation algorithm, ie, the so-called Asymptotic Numerical Method (ANM). It describes a generic continuation procedure that apply the ANM principle at best, that is to say, that presents a high level of genericity without paying the price of this genericity by low computing performances. The way to quadratically recast a system of equation is now part of the method itself, and the way to handle elementary transcendental function is detailed with great attention. A sparse tensorial formalism is introduced for the internal representation of the system, which, when combines with a block condensation technique, provides a good computational efficiency of the ANM. Three examples are developed to show the performance and the versatility of the implementation of the continuation tool. Its robustness and its accuracy are explored. Finally, the potentiality of this method for complex non linear finite element analysis is enlightened by treating 2D elasticity problem with geometrical nonlinearities.

International audience; Spectra of musical instruments exhibit formants or anti-formants which are important characteristics of the sounds produced. In the present paper, it is shown that anti-formants exist in the spectrum of the mouthpiece pressure of saxophones. Their frequencies are not far but slightly higher than the natural frequencies of the truncated part of the cone. To determine these frequencies, a first step is the numerical determination of the playing frequency by using a simple oscillation model. An analytical analysis exhibits the role of the inharmonicity due to the cone truncation and the mouthpiece. A second step is the study of the input impedance values at the harmonics of the playing frequency. As a result, the consideration of the playing frequency for each note explains why the anti-formants are wider than those resulting from a Helmholtz motion observed for a bowed string. Finally numerical results for the mouthpiece spectrum are compared to experiments for three saxophones (soprano, alto and baritone). It is shown that when scaled by the length of the missing cone, the anti-formant frequencies in the mouthpiece are very similar for the three instruments. The frequencies given by the model are close to the natural frequencies of the missing cone length, but slightly higher. Finally, the numerical computation shows that anti-formants and formants might be found in the radiated pressure.

International audience; This paper addresses the numerical computation of periodic solutions of nonlinear differential systems involving fractional derivatives. For this purpose, the Harmonic Balance Method and the Asymptotic Numerical Method are combined, generalizing an approach largely followed in non-fractional systems. This enables to perform the continuation of periodic solutions of fractional systems with respect to a system parameter or to the fractional order. In the particular case of a constant fractional order, the results are validated by a successful comparison with an alternative formulation based on the diffusive representation of fractional operators. The new numerical strategy presented here allows to simulate phenomena still lacking from theoretical foundations. For example, the numerical experiments proposed here lead to a bifurcation similar to the Hopf bifurcation, well known in the case of non-fractional systems. Throughout this article, the Weyl derivative is used; its link with the classic Caputo derivative is elucidated.

International audience; Sound production on a " coaxial saxophone " is investigated experimentally. The coaxial saxophone is a variant of the cylindrical saxophone made up of two tubes mounted in parallel, which can be seen as a low-frequency analogy of a truncated conical resonator with a mouthpiece. Initially developed for the purposes of theoretical analysis, an experimental verification of the analogy between conical and cylindrical saxophones has never been reported. The present paper explains why the volume of the cylindrical saxophone mouthpiece limits the achievement of a good playability. To limit the mouthpiece volume, a coaxial alignment of pipes is proposed and a prototype of coaxial saxophone is built. An impedance model of coaxial resonator is proposed and validated by comparison with experimental data. Sound production is also studied through experiments with a blowing machine. The playability of the prototype is then assessed and proven for several values of the blowing pressure, of the embouchure parameter, and of the instrument's geometrical parameters.

International audience; In this work we apply and compare two algorithms for setting up Harmonic Balance equations and numerical continuation of the solution path for harmonically driven mechanical systems. The first algorithm relies on a predictor-corrector scheme and an Alternating Frequency-Time approach (AFT-PreCo). The second algorithm relies on a high-order Taylor series expansion of the solution path (asymptotic numerical method) and classical Harmonic Balance formulated entirely in the frequency domain (cHB-ANM). We conclude that the cHB-ANM is suited for smooth nonlinearities, for instance geometrically nonlinear finite element models. Here, cHB-ANM avoids aliasing errors and convinces with a numerically robust adjustment of the continuation step length and a continuous representation of the solution path. For non-smooth nonlinearities such as stick-slip friction or unilateral constraints, AFT-PreCo is better suited, and convinces with high numerical robustness and efficiency.

A reed instrument model with N acoustical modes can be described as a 2N dimensional autonomous nonlinear dynamical system. Here, a simplified model of a reed-like instrument having two quasi-harmonic resonances, represented by a four dimensional dynamical system, is studied using the continuation and bifurcation software AUTO. Bifurcation diagrams of equilibria and periodic solutions are explored with respect to the blowing mouth pressure, with focus on amplitude and frequency evolutions along the different solution branches. Equilibria and periodic regimes are connected through Hopf bifurcations, which are found to be direct or inverse depending on the physical parameters values. Emerging periodic regimes mainly supported by either the first acoustic resonance (first register) or the second acoustic resonance (second register) are successfully identified by the model. An additional periodic branch is also found to emerge from the branch of the second register through a period-doubling bifurcation. The evolution of the oscillation frequency along each branch of the periodic regimes is also predicted by the continuation method. Stability along each branch is computed as well. Some of the results are interpreted in terms of the ease of playing of the reed instrument. The effect of the inharmonicity between the first two impedance peaks is observed both when the amplitude of the first is greater than the second, as well as the inverse case. In both cases, the blowing pressure that results in periodic oscillations has a lowest value when the two resonances are harmonic, a theoretical illustration of the Bouasse-Benade prescription.

International audience; Time-periodic solutions of dynamical systems can be looked for using a discretization method. This paper tests the Harmonic Balance Method (HBM) on a one-degree-of-freedom system (mass, damper, spring, belt) with a regularized friction law. Its relative error is computed with respect to the number of discretization unknowns. Despite the widespread idea that frequency methods are hardly applicable to friction problems, the HBM compares well with a classical time-domain method for this nonlinear system. The main conclusion of this article is that the HBM, without any specific optimization, is well suited for regularized friction.

International audience; A physical model of brass instrument is considered in this paper : a one degree-of-freedom outward-striking valve for the lips, non-linearly coupled to a modal representation of the air column. It is studied through Linear Stability Analysis (LSA) of the equilibrium solution. This approach provides the threshold blowing pressure value, at which instability occurs, and the instability frequency value. The relevance of the results of this method is theoretically limited to the neighbourhood of the equilibrium solution. This paper checks the efficiency of LSA to understand the behaviour of the model computed through time-domain simulations. As expected, a good agreement is observed between LSA and numerical simulations of the complete nonlinear model around the oscillation threshold. For blowing pressures far above the oscillation threshold, the picture is more contrasted. In most of the cases tested, a periodic regime coherent with the LSA results is observed, but over-blowing, quasi-periodicity and period-doubling also occur. Interestingly, LSA predicts the production of the pedal note by a trombone, for which only nonlinear hypotheses have been previously proposed. LSA also predicts the production of a saxhorn note which, although known to musicians, has barely been documented.

International audience; Periodic solutions of systems with friction are difficult to investigate because of the irregular nature of friction laws. This paper examines periodic solutions and most notably stick-slip, on a simple one-degre-of-freedom system (mass, spring, damper, belt), with Coulomb's friction law, and with a regularized friction law (i.e. the friction coefficient becomes a function of relative speed, with a stiffness parameter). With Coulomb's law, the stick-slip solution is constructed step by step, which gives a usable existence condition. With the regularized law, the Asymptotic Numerical Method and the Harmonic Balance Method provide bifurcation diagrams with respect to the belt speed or normal force, and for several values of the regularization parameter. Formulations from the Coulomb case give the means of a comparison between regularized solutions and a standard reference. With an appropriate definition, regularized stick-slip motion exists, its amplitude increases with respect to the belt speed and its pulsation decreases with respect to the normal force.

International audience; A time-domain numerical modeling of brass instruments is proposed. On one hand, outgoing and incoming waves in the resonator are described by the Menguy-Gilbert model, which incorporates three key issues: nonlinear wave propagation, viscothermal losses, and a variable section. The non-linear propagation is simulated by a TVD scheme well-suited to non-smooth waves. The fractional derivatives induced by the viscothermal losses are replaced by a set of local-in-time memory variables. A splitting strategy is followed to couple optimally these dedicated methods. On the other hand, the exciter is described by a one-mass model for the lips. The Newmark method is used to integrate the nonlinear ordinary differential equation so-obtained. At each time step, a coupling is performed between the pressure in the tube and the displacement of the lips. Finally, an extensive set of validation tests is successfully completed. In particular, self-sustained oscillations of the lips are simulated by taking into account the nonlinear wave propagation in the tube. Simulations clearly indicate that the nonlinear wave propagation has a major influence on the timbre of the sound, as expected. Moreover, simulations also highlight an influence on playing frequencies, time envelopes and on the playability of the low frequencies in the case of a variable lips tension.

This paper presents an analysis of the effects of noise and precision on a simplified model of the clarinet driven by a variable control parameter. When the control parameter is varied the clarinet model undergoes a dynamic bifurcation. A consequence of this is the phenomenon of bifurcation delay: the bifurcation point is shifted from the static oscillation threshold to an higher value called dynamic oscillation threshold. In a previous work [8], the dynamic oscillation threshold is obtained analytically. In the present article, the sensitivity of the dynamic threshold on precision is analyzed as a stochastic variable introduced in the model. A new theoretical expression is given for the dynamic thresholds in presence of the stochastic variable, providing a fair prediction of the thresholds found in finite-precision simulations. These dynamic thresholds are found to depend on the increase rate and are independent on the initial value of the parameter, both in simulations and in theory., 14 pages

Reed instruments are modeled as self-sustained oscillators driven by the pressure inside the mouth of the musician. A set of nonlinear equations connects the control parameters (mouth pressure, lip force) to the system output, hereby considered as the mouthpiece pressure. Clarinets can then be studied as dynamical systems, their steady behavior being dictated uniquely by the values of the control parameters. Considering the resonator as a lossless straight cylinder is a dramatic yet common simplification that allows for simulations using nonlinear iterative maps. In this paper, we investigate analytically the effect of a time-varying blowing pressure on the behavior of this simplified clarinet model. When the control parameter varies, results from the so-called dynamic bifurcation theory are required to properly analyze the system. This study highlights the phenomenon of bifurcation delay and defines a new quantity, the dynamic oscillation threshold. A theoretical estimation of the dynamic oscillation threshold is proposed and compared with numerical simulations., 14 pages

International audience; Nonlinear systems can have periodic solutions evolving with the parameters of the system. Studying this evolution (numerical continuation of solutions) uncovers sought-after regimes in musical acoustics : many musical instruments rely on auto-oscillation, that is, the excitation of a nonlinear system coupled with a linear resonator, where some parameters may be adjusted by the player. Periodic solutions can be approximated as truncated Fourier series (Harmonic Balance Method) ; the period is one of the unknowns. Several stable or unstable solutions can be found for the same playing parameters thanks to continuation. An important challenge is the continuation of quasi-periodic solutions, also called multiphonic sounds by musicians. Depending on the context, these oscillation regimes are considered pleasant (jazz or contemporary music for instance) or unpleasant (classical music). We developed a method based on double Fourier series, coupled with a continuation technique. The two base frequencies are unknowns and incommensurable. The system is reformulated as quadratic in order to allow straight interface with previous work on periodic harmonic balance. This method is illustrated on simple models relevant to musical acoustics, though the method can be applied to many nonlinear problems, without a priori knowledge of the solutions.

International audience; Properties of small amplitude oscillations of the single reed woodwind instruments near the oscillation threshold are investigated. Analytical formulae with explicit dependence on the physical parameters of the instrument and instrumentist allow to determine the bifurcation point, the nature of the bifurcation, the amplitude of the first harmonics and the oscillation frequency. The model, which takes the reed dynamics into account, is entirely expressed in the frequency domain and its behaviour is analysed. An application to a model of saxophone is proposed and compared with numerical results obtained through the harmonic balance technique and a time domain simulation, showing excellent agreements.

Combinig the harmonic balance method (HBM) and a continuation method is a well-known technique to follow the periodic solutions of dynamical systems when a control parameter is varied. However, since deriving the algebraic system containing the Fourier coefficients can be a highly cumbersome procedure, the classical HBM is often limited to polynomial (quadratic and cubic) nonlinearities and/or a few harmonics. Several variations on the classical HBM, such as the incremental HBM or the alternating frequency/time domain HBM, have been presented in the literature to overcome this shortcoming. Here, we present an alternative approach that can be applied to a very large class of dynamical systems (autonomous or forced) with smooth equations. The main idea is to systematically recast the dynamical system in quadratic polynomial form before applying the HBM. Once the equations have been rendered quadratic, it becomes obvious to derive the algebraic system and solve it by the so-called ANM continuation technique. Several classical examples are presented to illustrate the use of this numerical approach., Comment: PACS numbers: 02.30.Mv, 02.30.Nw, 02.30.Px, 02.60.-x, 02.70.-c

International audience; Since they correspond to a jump from a given note to another one, the mouth pressure thresholds leading to regime changes are particularly important quantities in flute-like instruments. In this paper, a comparison of such thresholds between an artificial mouth, an experienced flutist and a non player is provided. It highlights the ability of the experienced player to considerabily shift regime change thresholds, and thus to enlarge its control in terms of nuances and spectrum. Based on recent works on other wind instruments and on the theory of dynamic bifurcations, the hypothe- sis is tested experimentally and numerically that the dynamics of the blowing pressure influences regime change thresholds. The results highlight the strong influence of this parameter on thresholds, suggesting its wide use by experienced musicians. Starting from these observations and from an analysis of a physical model of flute-like instruments, involving numerical continuation methods and Floquet stability analysis, a phenomenological modelling of regime change is proposed and validated. It allows to predict the regime change thresholds in the dynamic case, in which time variations of the blowing pressure are taken into account.

International audience; A continued fraction expansion to the immittances defining viscothermal wave propagation in acylindrical tube has been presented recently in this journal, intended as a starting point for timedomain numerical method design. Though the approximation has the great benefit of passivity, orpositive realness under truncation, its convergence is slow leading to approximations of high orderin practice. Other passive structures, when combined with optimisation methods, can lead to goodaccuracy over a wide frequency range, and for relatively low order.

This paper proposes a methodology to map the various acoustic regimes of wind instruments. The maps can be generated in a multi-dimensional space consisting of design, control parameters, and initial conditions. The bound- aries of the maps are obtained explicitly in terms of the parameters using a support vector machine (SVM) classifier as well as a dedicated adaptive sam- pling scheme. The approach is demonstrated on a simplified clarinet model for which several maps are generated based on different criteria. Examples of computation of the probability of occurrence of a specific acoustic regime are also provided. In addition, the approach is demonstrated on a design optimization example for optimal intonation.

The high-order purely frequency-based harmonic balance method (HBM) presented by Cochelin and Vergez (2009) [1] and extended by Karkar et al. (2013) [2] now allows to follow the periodic solutions of regularized non-smooth systems (stiff systems). This paper compares its convergence property to a reference method in applied mathematics: orthogonal collocation with piecewise polynomials. A first test is conducted on a nonlinear smooth 2 degree-of-freedom spring mass system, showing better convergence of the HBM. The second test is conducted on a one degree-of-freedom vibro-impact system with a very stiff regularization of the impact law. The HBM continuation of the nonlinear mode was found to be very robust, even with a very large number of harmonics. Surprisingly, the HBM was found to have a better convergence than the collocation method for this vibro-impact system. (C) 2014 Elsevier Ltd. All rights reserved.

Using an artificial mouth with an accurate pressure control, the onset of the pressure oscillations inside the mouthpiece of a simplified clarinet is studied experimentally. Two time profiles are used for the blowing pressure: in a first set of experiments the pressure is increased at constant rates, then decreased at the same rate. In a second set of experiments the pressure rises at a constant rate and is then kept constant for an arbitrary period of time. In both cases the experiments are repeated for different increase rates. Numerical simulations using a simplified clarinet model blown with a constantly increasing mouth pressure are compared to the oscillating pressure obtained inside the mouthpiece. Both show that the beginning of the oscillations appears at a higher pressure values than the theoretical static threshold pressure, a manifestation of bifurcation delay. Experiments performed using an interrupted increase in mouth pressure show that the beginning of the oscillation occurs close to the stop in the increase of the pressure. Experimental results also highlight that the speed of the onset transient of the sound is roughly the same, independently of the duration of the increase phase of the blowing pressure., Comment: 14 pages

International audience; An approach to map the various acoustic regimes of a wind instument is presented. In this work, the regimes are first classified based on the occurence or the lack of sound. Physically, the production of a sound corresponds to the existence of self-sustained oscillations in the resonator of the instrument, whereas the lack of sound is associated with a stable static regime. Another classification based on the sound frequency is also investigated. The maps are created in a space consisting of design and control parameters. The boundaries of the maps are obtained explicitly in terms of the parameters using a support vector machine classifier as well as a dedicated adaptive sampling scheme. The approach is applied to a simplified clarinet model.

Self-sustained musical instruments (bowed string, woodwind and brass instruments) can be modelled by nonlinear lumped dynamical systems. Among these instruments, flutes and flue organ pipes present the particularity to be modelled as a delay dynamical system. In this paper, such a system, a toy model of flute-like instruments, is studied using numerical continuation. Equilibrium and periodic solutions are explored with respect to the blowing pressure, with focus on amplitude and frequency evolutions along the different solution branches, as well as “jumps” between periodic solution branches. The influence of a second model parameter (namely the inharmonicity) on the behaviour of the system is addressed. It is shown that harmonicity plays a key role in the presence of hysteresis or quasiperiodic regime. Throughout the paper, experimental results on a real instrument are presented to illustrate various phenomena, and allow some qualitative comparisons with numerical results.

International audience; This paper considers the simulation of self-sustained oscillations in reed and brass instruments, based on a compact continuous-time formulation of the sound production mechanism. The control parameters such as the mouth pressure and the player's embouchure, but also the acoustic resonator and the reed may vary with respect to time, allowing the analysis of transient and non-stationary phenomena like changes of regime. A particular attention is first given to staccato notes, with comparison of the evolution of the instantaneous frequency in simulations to theoretical and experimental results. This shows the importance of using realistic control parameters on the onset of the oscillations. When the acoustic resonator is modelled using a modal expansion with non-stationary resonance frequencies and damping, it is also possible to simulate and study slurs and musical effects like the wah-wah, gaining some insight on the mechanisms involved.

Copyright (2012) Acoustical Society of America. This article may be downloaded for personal use only. Any other use requires prior permission of the author and the Acoustical Society of America. The original article may be found at : http://asadl.org/jasa/resource/1/jasman/v131/i1/p698_s1; International audience; This paper focuses on the oscillation threshold of single reed instruments. Several characteristics such as blowing pressure at threshold, regime selection, and playing frequency are known to change radically when taking into account the reed dynamics and the flow induced by the reed motion. Previous works have shown interesting tendencies, using analytical expressions with simplified models. In the present study, a more elaborated physical model is considered. The influence of several parameters, depending on the reed properties, the design of the instrument or the control operated by the player, are studied. Previous results on the influence of the reed resonance frequency are confirmed. New results concerning the simultaneous influence of two model parameters on oscillation threshold, regime selection and playing frequency are presented and discussed. The authors use a numerical continuation approach. Numerical continuation consists in following a given solution of a set of equations when a parameter varies. Considering the instrument as a dynamical system, the oscillation threshold problem is formulated as a path following of Hopf bifurcations, generalizing the usual approach of the characteristic equation, as used in previous works. The proposed numerical approach proves to be useful for the study of musical instruments. It is complementary to analytical analysis and direct time-domain or frequency-domain simulations since it allows to derive information that is hardly reachable through simulation, without the approximations needed for analytical approach.

The tone hole geometry of a clarinet is optimized numerically. The instrument is modeled as a network of one dimensional transmission line elements. For each (non-fork) fingering, we first calculate the resonance frequencies of the input impedance peaks, and compare them with the frequencies of a mathematically even chromatic scale (equal temperament). A least square algorithm is then used to minimize the differences and to derive the geometry of the instrument. Various situations are studied, with and without dedicated register hole and/or enlargement of the bore. With a dedicated register hole, the differences can remain less than 10 musical cents throughout the whole usual range of a clarinet. The positions, diameters and lengths of the chimneys vary regularly over the whole length of the instrument, in contrast with usual clarinets. Nevertheless, we recover one usual feature of instruments, namely that gradually larger tone holes occur when the distance to the reed increases. A fully chromatic prototype instrument has been built to check these calculations, and tested experimentally with an artificial blowing machine, providing good agreement with the numerical predictions.

International audience; In this paper, we extend the method proposed by Cochelin and Vergez [A high order purely frequency-based harmonic balance formulation for continuation of periodic solutions, Journal of Sound and Vibration, 324 (2009) 243-262] to the case of non-polynomial nonlinearities. This extension allows for the computation of branches of periodic solutions of a broader class of nonlinear dynamical systems. The principle remains to transform the original ODE system into an extended polynomial quadratic system for an easy application of the harmonic balance method (HBM). The transformation of non-polynomial terms is based on the differentiation of state variables with respect to the time variable, shifting the nonlinear non-polynomial nonlinearity to a time-independent initial condition equation, not concerned with the HBM. The continuation of the resulting algebraic system is here performed by the asymptotic numerical method (high order Taylor series representation of the solution branch) using a further differentiation of the non-polynomial algebraic equation with respect to the path parameter. A one dof vibro-impact system is used to illustrate how an exponential nonlinearity is handled, showing that the method works at very high order, 1000 in that case. Various kinds of nonlinear functions are also treated, and finally the nonlinear free pendulum is addressed, showing that very accurate periodic solutions can be computed with the proposed method.

Reed woodwind instruments differ in both their geometry (mainly cylindrical or mainly conical) and their excitation mechanism (single or double reed). How much of the resulting sound is due to the single/double reed, and how much to the geometry of the instrument? Measurements done by Almeidaet al.(J. Acoust. Soc. Am.,121, 1, 536-546, 2007) show that the flow vs pressure characteristic curve of an oboe reed is not that different from that of a clarinet reed, the only difference probably being due to pressure recovery inside the conical staple. Is it possible to make a single reed mouthpiece for an oboe, while keeping the conical staple, that would still give the oboe its characteristic sound? To find it out, a mouthpiece with the following characteristics was made: A standard clarinetBb reed can be attached to it, its volume is approximately that of the missing part of the instrument cone, and a standard French oboe staple can be inserted to it, so that it can be inserted in the usual way in any french oboe. In this paper, the first prototype of the mouthpiece is shown. Also, a sound comparison of the oboe sounds played with this mouthpiece and a standard double reed by a professional player is presented.

International audience; An instrumented saxophone mouthpiece has been developed to measure, during the player's performance, the evolution of important variables: the mouth pressure, the mouthpiece pressure and the force applied on the reed by the lower lip. Moreover, according to the pressure signals in the mouth and in the mouthpiece, the instantaneous ratio of the vocal tract input impedance and of the saxophone input impedance is estimated at frequencies multiple of the playing frequency (using the concept of Gabor mask). On the selected sound examples, analyses reveal many aspects of the strategies of the player. First of all, the role of the vocal tract in the characteristics of the sound production is sometimes prominent. Secondly, the sound production on the desired note (and register) as well as pitch correction seem to be the result of complementary adjustments of the mouth pressure and of the lip pressure on the reed. This is not in agreement with musicians feeling, since they often claim to let their force on the reed unchanged during the note and from note to note.

Dated: January 10, 2010 )Real-time regulation of air pressure in an arti cial mouth i s studied. A closed-loop strategyis developped, including a controller algorithm which upda tes (according to the di erencebetween the target and the measured blowing pressure) the el ectrical command sent to thesero-valve providing air ow. In this paper the targets cons idered may be steady states orslowly varying trajectories. Since both the musical instru ment and the servo-valve behavenonlinearly, the design of the controller algorithm requir es preliminary modelling and identi- cation steps in order to optimize the compromise performan ces/robustness. The controller nally adopted for the experiments is a PI (Proportional Int egral) whose integral gain isadapted according to an online estimator. Moreover, a caref ully tuned dither signal is addedon the electric command in order to limit consequences of fri ction inside the servo-valve.The high-precision regulation is used to investigate the fu nctionning of the recorder. Firstly,it allows to highlight the existence of aeolian sounds which had never been observed on arecorder. Moreover, the in uence of some small "details" of the chamfers geometry on theglobal behavior of the instrument is investigated. Hence th e in uence of the maker's workcan be evaluated, as well as the important consequences on th e possibilities o ered to theplayer: with the optimized chamfers, the instrument can sou nd louder and the transitionbetween the two regimes is safer (larger hysteresis width).PACS numbers: 43.75.Ef, 43.75.Qr, 43.75.YyI. INTRODUCTIONBlowing machines (or arti cial mouths), were devel-oped since the early stage of research in musical acoustics(at least since 65 years

International audience; The concept of nonlinear modes is applied in order to analyze the behavior of a model of woodwind reed instruments. Using a modal expansion of the impedance of the instrument, and by projecting the equation for the acoustic pressure on the normal modes of the air column, a system of second order ordinary differential equations is obtained. The equations are coupled through the nonlinear relation describing the volume flow of air through the reed channel in response to the pressure difference across the reed. The system is treated using an amplitude-phase formulation for nonlinear modes, where the frequency and damping functions, as well as the invariant manifolds in the phase space, are unknowns to be determined. The formulation gives, without explicit integration of the underlying ordinary differential equation, access to the transient, the limit cycle, its period and stability. The process is illustrated for a model reduced to three normal modes of the air column.

International audience; Schlieren flow visualizations of transverse oscillations of jets submitted to an acoustic perturbation are analyzed in this paper. The aim is to estimate the shape and the position of the median line of the jet. Two methods for image processing are proposed, based on complementary approaches~: inter image and intra image analysis. Synthesized images of an oscillating jet are used to validate each method and compare their performances in the case of noisy pictures. Illustrations are then shown on real laminar and turbulent jets. The results obtained using both methods are very close, showing their reliability. Applications investigated in this paper are focused on the estimation of the convection velocity of perturbations along the jet, and the influence of the Reynolds number and of the channel geometry upstream the jet formation.

cote interne IRCAM: Almeida07a; None / None; National audience; This article proposes a characterization of the double reed in quasistatic regimes. The nonlinear relation between the pressure drop, delta p, in the double reed and the volume flow crossing it, q, is measured for slow variations of these variables. The volume flow is determined from the pressure drop in a diaphragm replacing the instrument's bore. Measurements are compared to other experimental results on reed instrument exciters and to physical models, revealing that clarinet, oboe, and bassoon quasistatic behavior relies on similar working principles. Differences in the experimental results are interpreted in terms of pressure recovery due to the conical diffuser role of the downstream part of double-reed mouthpieces (the staple).

The harmonic balance method (HBM) was originally developed for finding periodic solutions of electronical and mechanical systems under a periodic force, but has later been adapted to self-sustained musical instruments. Unlike time-domain methods, this frequency-domain method does not capture transients and so is not adapted for sound synthesis. However, its independence of time makes it very useful for studying every periodic solution of the model, whether stable or unstable without care of initial conditions. A computer program for solving general problems involving nonlinearly coupled exciter and resonator, Harmbal , has been developed based on the HBM. The method as well as convergence improvements and continuations facilities are thorougly presented and discussed in the present paper. Application of the method is demonstrated on various problems related to a common model of the clarinet: a reed modelled as a simple spring with and without mass and damping, a nonlinear coupling and a cubic simplification of it, and a cylindrical bore with or without dissipation and dispersion as well as a bore formed as a stepped cone.

cote interne IRCAM: Helie99b; National audience; In this paper, we deal with the inversion of a physical model of a trumpet, i.e. how should the model be controled in order to obtain a given sound. It is shown that this problem is ill-posed since an infinity of inputs can produce the same sound. Then, a criterion based on the slowness of the musician's gestures compared to the sound signal evolution is used: this leads to a physically pertinent solution. Finally, we present some simulation results.

International audience; Generally, subjective opinions and decisions are made when judging the quality of musical instruments. In an attempt to become more objective, this research presents methods to numerically and experimentally create maps, over a range of control parameters, that describe instrument behavior for a variety of different sounds features or “quality markers” (playing regime, intonation, loudness, etc.). The behavior of instruments is highly dependent on the control parameters that are adjusted by the musician. Observing this behavior as a function of one control parameter (e.g., blowing pressure) can hide diversity of the overall behavior. An isovalue quality marker can be obtained for a multitude of control parameter combinations. Using multidimensional maps, where quality markers are a function of two or more control parameters, can solve this problem. Numerically: in two dimensions, a regular discretization on a subspace of control parameters can be implemented while conserving a reasonable calculation time. However, in higher dimensions (if, for example, aside from the blowing pressure and the lip force, we vary the reed parameters), it is necessary to use auto-adaptive sampling methods. Experimentally: the use of an artificial mouth allows us to maintain control conditions while creating these maps. We can also use an instrumented mouthpiece: this allows us to measure simultaneously and instantly these control parameters and create the maps “on the fly.”