A comparison of fractional-sized to full-sized cellos

Thomas E. Blanford, Micah R. Shepherd, Trevor W. Jerome
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Abstract

Fractional-sized cellos (3/4, 1/2, etc.) are designed for the same musical playing range as a full-sized (4/4) cello but with scaled proportions for players for whom a full-sized cello is too large. The strings are adjusted in order to compensate for the shorter string length of the smaller instruments and obtain the correct tuning. The cello body vibration, which is strongly coupled to the internal air cavity, would not be expected to scale in the same manner as the strings. This causes the bridge impedance seen by the strings on the fractional-sized cellos to differ from the bridge impedance seen by the strings on a full-sized cello. In this paper, the physical dimensions of a 1/2 and 3/4 cello are compared with a full cello. Drive point measurements are also compared to illustrate how the strings couple differently with the body of each size cello. The fractional-sized cellos are found to exhibit a slightly different sound due to the bridge impedance mismatch.Fractional-sized cellos (3/4, 1/2, etc.) are designed for the same musical playing range as a full-sized (4/4) cello but with scaled proportions for players for whom a full-sized cello is too large. The strings are adjusted in order to compensate for the shorter string length of the smaller instruments and obtain the correct tuning. The cello body vibration, which is strongly coupled to the internal air cavity, would not be expected to scale in the same manner as the strings. This causes the bridge impedance seen by the strings on the fractional-sized cellos to differ from the bridge impedance seen by the strings on a full-sized cello. In this paper, the physical dimensions of a 1/2 and 3/4 cello are compared with a full cello. Drive point measurements are also compared to illustrate how the strings couple differently with the body of each size cello. The fractional-sized cellos are found to exhibit a slightly different sound due to the bridge impedance mismatch.
分数尺寸大提琴与全尺寸大提琴的比较
分数尺寸大提琴(3/4,1/2等)是为与全尺寸大提琴(4/4)相同的音乐演奏范围而设计的,但是对于那些全尺寸大提琴太大的演奏者来说,它的比例是缩放的。调整琴弦是为了补偿较小乐器的较短的琴弦长度,从而获得正确的调音。大提琴本体的振动与内部的空腔紧密相连,不能像琴弦那样有同样的音阶。这导致小尺寸大提琴上的琴弦所看到的桥阻抗与全尺寸大提琴上的琴弦所看到的桥阻抗不同。本文将1/2大提琴和3/4大提琴的物理尺寸与全大提琴进行了比较。驱动点测量也比较,以说明如何弦夫妇不同的身体,每个尺寸的大提琴。由于桥阻抗不匹配,分数尺寸的大提琴表现出略微不同的声音。分数尺寸大提琴(3/4,1/2等)是为与全尺寸大提琴(4/4)相同的音乐演奏范围而设计的,但是对于那些全尺寸大提琴太大的演奏者来说,它的比例是缩放的。调整琴弦是为了补偿较小乐器的较短的琴弦长度,从而获得正确的调音。大提琴本体的振动与内部的空腔紧密相连,不能像琴弦那样有同样的音阶。这导致小尺寸大提琴上的琴弦所看到的桥阻抗与全尺寸大提琴上的琴弦所看到的桥阻抗不同。本文将1/2大提琴和3/4大提琴的物理尺寸与全大提琴进行了比较。驱动点测量也比较,以说明如何弦夫妇不同的身体,每个尺寸的大提琴。由于桥阻抗不匹配,分数尺寸的大提琴表现出略微不同的声音。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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