Very enlightening information, Monty.
During this fasinating discussion I was thinking how it realtes to
stringed instruments, where the type and quality of material have a
major impact upon sound quality.
Here is my theory, FWIW:
The sound board of a stringed instrument is just that - it must be able
to vibrate in order to generate sound waves. It is the same, in theroy,
as a speaker cone. Flexibility, tensel strength, thickness, regidity,
and density (along with other things, I'm sure) all factor into how
efficiently it converts mechanical vibration of the strings into sound
waves. The soundbox, on the other hand should be a good sound
reflector; any vibration of this structure absorbs energy rather than
amplifying or projecting it. However, it's this vibration (along with
that of the soundboard and strings) that adds unique tonal colorations
to the instruments.
In wind blown instruments, the purpose of the body of the instrument is
to set up the resonances in a column of blown air. Again, vibrations in
the body of the flute steal energy away from the air column. Apparently
Monty's experiments have proven that the degree of vibration in a flute
body has an insignifcant impact on the tonal coloration.
BUT - the inspiring experience of a vibrating shak between ones fingers
is hard to deny. It is as if a second, and much stronger energy - prana
or Qi if you will - is awakened in the flute by passioned blowing.
I dount if this issue will ever be resolved to everyone's agreement!
Cheers,
Brian
"Monty H. Levenson" wrote:
>
> Hi Reid, Zachary, et al.
>
> Great discussion. Glad to see I'm not the only one losing sleep over
> these issues.
>
> My own experience as a shakuhachi maker totally corroborates Coltman's
> and Jakeway's conclusions:
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