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Sonorant Acoustics. March 20, 2013. On the Horizon. Today: acoustics of sonorants Friday: more sonorant and stop acoustics plus an introduction to the motor theory of perception. Extremes. Not all music stays within a couple of octaves of middle C. Check this out: - PowerPoint PPT Presentation
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Sonorant Acoustics
March 20, 2013
On the Horizon• Today: acoustics of sonorants
• Friday: more sonorant and stop acoustics
• plus an introduction to the motor theory of perception
Extremes• Not all music stays within a couple of octaves of middle C.
• Check this out:
• Source: “Der Rache Hölle kocht in meinem Herze”, from Die Zauberflöte, by Mozart.
• Sung by: Sumi Jo
• This particular piece of music contains an F6 note
• The frequency of F6 is 1397 Hz.
• (Most sopranos can’t sing this high.)
Implications• Are there any potential problems with singing this high?
• F1 (the first formant frequency) of most vowels is generally below 1000 Hz--even for females
• There are no harmonics below 1000 Hz for the vocal tract “filter” to amplify
• a problem with the sound source
• It’s apparently impossible for singers to make F1-based vowel distinctions when they sing this high.
• But they have a trick up their sleeve...
Singer’s Formant• Discovered by Johan Sundberg (1970)
• another Swedish phonetician
• Classically trained vocalists typically have a high frequency resonance around 3000 Hz when they sing.
• This enables them to be heard over the din of the orchestra
• It also provides them with higher-frequency resonances for high-pitched notes
• Check out the F6 spectrum.
How do they do it?
• Evidently, singers form a short (~3 cm), narrow tube near their glottis by making a constriction with their epiglottis
• This short tube resonates at around 3000 Hz
• Check out the video evidence.
more info at: http://www.ncvs.org/ncvs/tutorials/voiceprod/tutorial/singer.html
Overtone Singing• F0 stays the same (on a “drone”), while singer shapes the vocal tract so that individual harmonics (“overtones”) resonate.
• What kind of voice quality would be conducive to this?
Vowels and Sonorants• So far, we’ve talked a lot about the acoustics of vowels:
• Source: periodic openings and closings of the vocal folds.
• Filter: characteristic resonant frequencies of the vocal tract (above the glottis)
• Today, we’ll talk about the acoustics of sonorants:
• Nasals
• Laterals
• Approximants
• The source/filter characteristics of sonorants are similar to vowels… with a few interesting complications.
Damping• One interesting acoustic property exhibited by (some) sonorants is damping.
• Recall that resonance occurs when:
• a sound wave travels through an object
• that sound wave is reflected...
• ...and reinforced, on a periodic basis
• The periodic reinforcement sets up alternating patterns of high and low air pressure
• = a standing wave
Resonance in a closed tube
t
i
m
e
Damping, schematized• In a closed tube:
• With only one pressure pulse from the loudspeaker, the wave will eventually dampen and die out.
• Why?
• The walls of the tube absorb some of the acoustic energy, with each reflection of the standing wave.
Damping Comparison• A heavily damped wave wil die out more quickly...
• Than a lightly damped wave:
Damping Factors• The amount of damping in a tube is a function of:
• The volume of the tube
• The surface area of the tube
• The material of which the tube is made
• More volume, more surface area = more damping
• Think about the resonant characteristics of:
• a Home Depot
• a post-modern restaurant
• a movie theater
• an anechoic chamber
An Anechoic Chamber
Resonance and Recording• Remember: any room will reverberate at its characteristic resonant frequencies
• Hence: high quality sound recordings need to be made in specially designed rooms which damp any reverberation
• Examples:
• Classroom recording (29 dB signal-to-noise ratio)
• “Soundproof” booth (44 dB SNR)
• Anechoic chamber (90 dB SNR)
Spectrograms
classroom
“soundproof” booth
Spectrograms
anechoic chamber
Inside Your Nose• In nasals, air flows through the nasal cavities.
• The resonating “filter” of nasal sounds therefore has:
• increased volume
• increased surface area
• increased damping
• Note:
• the exact size and shape of the nasal cavities varies wildly from speaker to speaker.
Nasal Variability• Measurements based on MRI data (Dang et al., 1994)
Damping Effects, part 1
[m] [m]
• Damping by the nasal cavities decreases the overall amplitude of the sound coming out through the nose.
Damping Effects, part 2• How might the power spectrum of an undamped wave:
• Compare to that of a damped wave?
• A: Undamped waves have only one component;
• Damped waves have a broader range of components.
100 Hz sinewave
90 Hz sinewave
110 Hz sinewave
+
+
Here’s Why
The Result
90 Hz +
100 Hz +
110 Hz
• If the 90 Hz and 110 Hz components have less amplitude than the 100 Hz wave, there will be less damping:
Damping Spectra
light
medium
Damping Spectra
heavy
• Damping increases the bandwidth of the resonating filter.
• Bandwidth = the range of frequencies over which a filter will respond at .707 of its maximum output.
• Nasal formants will have a larger bandwidth than vowel formants.
Bandwidth in Spectrograms
The formants in nasals have increased bandwidth, in comparison to the formants in vowels.
F3 of [m] F3 of
Nasal Formants• The values of formant frequencies for nasal stops can be calculated according to the same formula that we used for to calculate formant frequencies for an open tube.
• fn = (2n - 1) * c
4L
• The simplest case: uvular nasal .
• The length of the tube is a combination of:
• distance from glottis to uvula (9 cm)
• distance from uvula to nares (12.5 cm)
• An average tube length (for adult males): 21.5 cm
The Math
12.5 cm
9 cm
fn = (2n - 1) * c
4L
L = 21.5 cm
c = 35000 cm/sec
F1 = 35000
86
= 407 Hz
F2 = 1221 Hz
F3 = 2035 Hz
The Real Thing• Check out Peter’s production of an uvular nasal in Praat.
• And also Dustin’s neutral vowel!
• Note: the higher formants are low in amplitude
• Some reasons why:
• Overall damping
• “Nostril-rounding” reduces intensity
• Resonance is lost in the side passages of the sinuses.
• Nasal stops with fronter places of articulation also have anti-formants.
Anti-Formants• For nasal stops, the occlusion in the mouth creates a side cavity.
• This side cavity resonates at particular frequencies.
• These resonances absorb acoustic energy in the system.
• They form anti-formants
Anti-Formant Math• Anti-formant resonances are based on the length of the vocal tract tube.
• For [m], this length is about 8 cm. 8 cm
• fn = (2n - 1) * c
4LL = 8 cm
AF1 = 35000 / 4*8 = 1094 Hz
AF2 = 3281 Hz
etc.
Spectral Signatures• In a spectrogram, acoustic energy lowers--or drops out completely--at the anti-formant frequencies.
anti-formants