Author: Jim-o
Date: 2007-05-15 16:59
The Fibonacci concept may apply better to the bore of the instrument, especially since it is not a simple or ideal cone with straight sides. Take the spiral of a seashell and extrapolate, or even unwind the shell into a straight tube. Now ask yourself at what point the dimensions and ratios begin to fit the bore of an oboe and the numbers.
Also, the sonic length of a cone-shaped tube seems to extend beyond where the apex is cut off at the reed well of the instrument. There's a woodwind book on this that is heavy on theory. So, is the reed clipped at that focal point? If so, then "Pull your reed out," could be a recipe for either heaven or disaster.
One other thing, and this may be a new thread. Wouldn't it be useful to think of oboe sound and reeds in terms of the air column within the instrument and reed? I believe that is how physicists would do it. Sound is a compression wave with compressions and rarefactions. It is not transverse. Most of the discussions I read seem to treat them as transverse. You are not actually blowing the sound out of the barrel like a blunderbuss. Well, in my case. . .
But, anyway you are mostly just setting up a harmonic pattern in air that's already there, and adding a little of your own in doing so, while tuning the oscillations by venting or sealing the column from escape at different points. Geesh, that sentence should be taken out and shot. Maybe this whole post, too.
What do you think? (Shoot it with express load?)
J
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