The influence of reed curvature on the tone quality of lingual organ pipes

Abstract

Given certain design constraints, such as the type of stop being voiced and the desired tone quality, reed voicers must use consummate skill to curve each tongue so as to produce the best and most stable tone, as well as maintaining a consistent tone quality across an entire rank of pipes. The curvature given to a reed tongue influences not only the harmonic structure of the steady‐state sound, but also the attack. Two fundamentally different types of curvature are typically employed, the chorus reed (trompette) curve (which yields a bright sound) and the smooth‐toned curve employed for solo reeds such as the clarinet. This study investigated the effect of reed curvature on the vibration and tone of reed tongues of both types. Two F2 pipes (a trompette and a clarinet) were constructed and voiced with 6 different tongues each to produce a variety of tones. The reed’s vibration was measured under typical conditions by laser vibrometer; the pressure waves in the boot and in the shallot were measured by means of one‐eighth inch microphones and the emitted sound was recorded at the egress. By performing various measurements simultaneously, phase differences were also determined.