• Journal of Korea Multimedia Society
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• v.14 no.11
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• pp.1507-1515
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• 2011

As the first step in research for sound synthesis of Pyungjong, timbre was analyzed by FFT analysis. There was no significant difference in the pitch of scale between modern Pyungjong and western twelve-tone equal temperament scale. The timbre of Pyunjong chagnes over time. When striking Pyunjong, the noises to be generated across all frequencies will disappear in a short period of time, and a unique partial only is left. Then it disappear from the partial of high frequency components in order, and two partials remain at release time. At this time, the beating is occurring by the frequency of the remaining partial. Pyungjong used in this study is relatively a recently manufactured Pyungjong, and for original sound synthesis of Pyungjong, a study of ancient Pyungjong's timbre should be additionally conducted later.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.299-307
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• 2020

Since 1964, research and improvement projects on Gugak instruments have been carried out to modernize, standardize, and scientificize them, but their inherent problems of Gugak instruments have failed to produce significant results. It seems that one of the main reasons for this is that the study of instrumental acoustics on Korean traditional instruments was not preceded. In Gugak orchestra, Sogeum used in concertos and solo music is a musical instrument that plays the similar role in Western orchestras due to its clear tone and high sound range. In this paper, the sound colors of Sogeum and flute, which sound similar, were analyzed through the their harmonics distribution and sound structures of the instruments. This showed that the overall tone was richer and softer than Sogeum, and that the tones of the two instruments sounded similar due to the similar composition of harmonics. In the future, it is hoped that musical instrument acoustical researches on various Gugak instruments will continue to help popularize and globalize Gugak instruments.

• Journal of Broadcast Engineering
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• v.21 no.6
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• pp.889-898
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• 2016

Virtual Bass System (VBS) is widely used to extend the lower frequency limit of small loudspeakers, which generates harmonics of a fundamental frequency. The perceptual quality of the VBS is highly dependent on the harmonic weighting strategy. There have been several weighting methods, including exponential attenuation and timbre matching. However, it is essential to match phases between harmonics in the original signal and generate harmonics to precisely convey the weighting strategy. This paper shows the limitations of the previous harmonic weighting schemes and proposes a new harmonic weighting scheme. The proposed weighting scheme proposes phase matching between the original and generated harmonics and varies the slope of the attenuation weighting dynamically according to the missing fundamental frequency. Objective and subjective tests show that the proposed harmonic weighting scheme provides more natural and effective bass perception in a limited situation than the conventional schemes, which implies that the phase matching is essential for the high quality bass enhancement.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.219-227
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• 2019

In this paper, we proactively looked at the structure and characteristics of each instrument in order to compare and analyze the sound colors of the western violin, chinese erhu and korean haegeum, which are representative bow string instruments. Also, many performers have simply been unable to fully explain how the violin is rich in pitch and the haegeum has a unique tone. Also, many performers thinks that violin sounds rich just because it has many overtones and have been unable to fully explain how haegeum makes unique tone. While previous research data show that most instruments are studied and published by analyzing their own frequencies or related cases of acoustic studies, this study provides a visual look how the harmonics composition, which determines musical instruments' timbres, consists of and suggests data specifically by analyzing each sound pressure of integer multiple overtones so that the structure of instruments' unique timbre can be understood. Based on this, we hope that it will be of considerable help to the development of virtual musical instruments of korean traditional instruments, which are relatively small compared to western virtual instruments, by reproducing instrument sounds through the synthesizers in the future.

• Journal of Korea Multimedia Society
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• v.9 no.10
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• pp.1354-1360
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• 2006

Daegeum is the only Korean musical instrument that uses cheong The characteristics of cheong have to be considered first for the sound synthesis of daegeum. This study analyzes the changes of partials in accordance with the vibration of cheong. It shows that amplitudes differ at the partials after about the seventh partial. The study also found that, unlike the case of partials, the vibration of cheong has nothing to do with noise. We expect that this study results can be applied to the sound synthesis of daegeum.

• Journal of Korea Multimedia Society
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• v.9 no.7
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• pp.801-807
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• 2006

This study analyzed the timbral characteristics of Pliri by basis step for the sound synthesis for Piri, Korean traditional musical Instrument. By analyzing this material, we can find out three characteristics about the study of the spectrum analysis for the sound synthesis of Piri. First, compared the timbral characteristics of Piri with Oboe through the spectrum analysis, Second, analyzed the timbral characteristics by the sound occurrence process through the time zone analysis of the attack part of the sound started. Finally, analyzed the special characteristics of the vibrato that is important role of musical instrument performance. As a result, the timbral characteristics of Piri is that the volume of the high harmonics was appeared to be high unlike the general classical instrument and the noise quantity rapidly decreased in the sound attack part but the volume value of harmonics increased. And also vibrato that is performance technique is changed pitch and amplitude at the same time by contrast with the general classical instrument. Thus, the timbral characteristic of Piri by the harmonics and the timbre change by the attack part which is sound occurrence process and the change of the pitch and amplitude in the vibrato is characteristic that represented unique quality of Piri. We expect that this achievement can be applied to sound synthesis.

• Proceeding of EDISON Challenge
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• 2016.03a
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• pp.381-383
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• 2016

본 연구에서는 기존의 피아노와 다른 음색을 갖는 피아노를 기획하고자 하였다. 이를 위해서 피아노 현의 1/2지점, 1/3지점, 1/17지점을 타격했을 때의 배음의 구성을 EDISON의 pianostring 프로그램을 통해 분석하였다. 440Hz의 진동수를 갖는 A4음을 기음으로 하여 각 지점을 타격했을때의 음을 합성하였다. 또한 기음과 첫 두 배음으로 구성된 화음을 합성하였다. 음색을 분석하기 위해 설문조사를 통해 7개의 항목에 대해 평가하였다. 결과적으로 망치의 타격 지점을 변화시킴으로서 원하는 음색을 얻을 수 있을 것이라 기대한다. 일례로 1/2지점을 타격할 때 단일음과 화음의 음색 차이가 확연하게 드러나 효과적인 감정표현을 할 수 있을 것으로 예상된다.

• The Journal of the Acoustical Society of Korea
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• v.40 no.5
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• pp.473-478
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• 2021

Vibrato corresponds to a modulation of frequency and is one of the most frequently used techniques to enrich vocal and musical instrument sounds. Whereas the fundamental frequency trajectories of vibrato tones are generally modeled as a sinusoid, they are sometimes observed to be non-sinusoidal. In this paper, we propose a method to analyze the characteristics of non-sinusoidal fundamental frequency trajectories of vibrato sounds. The proposed method performs Fast Fourier Transform (FFT)-based harmonic analysis on the frequency trajectory, analyzes vibrato parameters, and calculates a sinusoid purity factor. We applied the proposed method to flute, viola, and saxophone vibrato tones, whose results showed the effectiveness of the proposed method.

• Korean Journal of Environment and Ecology
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• v.28 no.3
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• pp.273-280
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• 2014

This study examined whether Dybowski's brown frogs(Rana dybowskii) in noisy highway roadsides had different mating calls from those in natural sites. We selected four study sites: two rice paddy sites in Youngdong Highway roadside and two nearby natural counterparts. Frog calls were recorded between 18:30 and 20:00 on February 24, February 27, and March 14, 2014. Frog calls in the natural sites had fundamental frequency approximately at 700 Hz with two to four apparent harmonics, while frog calls in the highway sites had higher fundamental frequency with up to seven apparent harmonics. Analysis of variance (ANOVA) shows that a roadside site that are directly exposed to highway noise had statistically higher frog calling frequency than other study sites. However, the higher calling frequency was not found in another roadside site that differed in elevation from the highway and was buffered by forests. These results indicate that male frogs in a noisy highway roadside called females with a higher pitch and more apparent harmonics to avoid being masked by highway noise. These results also suggest that there is a threshold noise level that interrupts frog's mating behavior and it is needed to maintain highway roadside noise to this threshold level.

• The Journal of the Acoustical Society of Korea
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• v.34 no.4
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• pp.328-334
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• 2015

This paper describes an acoustic analysis of a Jing, Korean percussion instrument, according to different drive point and blow strength, and this analysis is focused on the softening and beat phenomena. Three kinds of blow strength (very strong, strong, and weak) and three locations of drive point (center, up, and right) are applied, and the spectrogram function built in Matlab is utilized to analyzing the softening and beat of target sounds. The stronger blow you drive to the center of the Jing, the more clearly softening is observed. Frequency shifting is increased proportionally to the blow strength and frequency and it is stand out on the harmonics in contrast with that of other partials. Beat of the Jing can be classified into the early beat and late beat. The beats by the outside driven Jing are distributed in wider frequency band than the beats by the center driven Jing. In addition, it is observed that the early beat is affected by few specific partials developed around harmonics for the center driven Jing.