Brightness and Brilliance

In discussing sound concept, it is fundamental to note that the properties of “brightness” (more “highs” in the sound than “mids” or “lows”), and “brilliance” (presence or clarity) are usually opposites. A bright instrument generally sounds better up close, because the body of sound, with fewer low-frequency components, has a shorter wavelength. The shorter the wavelength, the closer one can be to the source of sound and still hear the full spectrum of sound being produced. This is why light, bright instruments often sound better in smaller rooms.

In the same way that a sound that is too bright will not project well in certain situations, a sound that is too “dark” or lacks clarity and brilliance often sounds dull, and does not project well in other situations.

Note: Many players using a heavier model Monette instrument for the first time play the instrument so far off center (because this is how they are accustomed to playing) that they sound stuffy and dull on it. The more resonant the player, the more he or she will sound good on instruments that are more resonant. It is not a coincidence that most of our top clients use AJNA, SHAKTI, and RAJA Monette instruments (the heaviest instruments we offer).

A brilliant, resonant sound is usually most desirable in acoustic performance. This is a sound that has both high and low components and in which the overtones are harmonically related to the fundamental in the spectrum being produced. An harmonic relationship between the fundamental and overtones in one’s sound creates a resonance that can be felt as well as heard by the listener. This type of sound usually has the potential to make a more lasting musical impression on the audience.

Most of the best players we have worked with have talked about wanting as much “rub” or “burr” or “energy” in their sounds as possible. This quality gives their sound clarity, presence, and projection.

Resultant Tones

This same resonant, brilliant quality can also be heard between two instruments that are played in tune together, producing resultant tones with one another. Resultant tones are tones that are produced as the sum and difference of tones produced by mechanical means, such as from two or more instruments or voices.

When Monette instruments are played together in a section, players repeatedly report to us that they experience much stronger resultant tones than when they use non-Monette instruments. Whether the harmonically related overtones come from just one single sound source (one player) or from a section of players, resultant tones and brilliance make for a more complex and interesting sound that is a direct indicator of the resonance of the player, the equipment, and performance hall. More brilliance and resonance mean more impact on the audience and an easier, more effortless performance.

For more information on resultant tones, please refer to “A Study of Musical Intonation” by Chris Leuba, available from the author at 4800 NE 70th, Seattle, Washington 98115, and “Improving Intonation” by Gerald B. Webster, available from Best Press, 11405 SE 18th Circle, Vancouver, Washington 98664 or at Mike Thompson Music <http://www.thompsonmusic.com>

Scientific Documentation

In his doctoral document, Dr. Frank Hanson compared the tone quality of a sample Monette instrument with that of the most popular brand of mass produced instrument.

Dr. Hanson generated three-dimensional “landscape” plots of the spectrum produced by both instruments at various dynamic levels and through the register of the instruments, showing the frequency and amplitude of sound spectrum generated by each instrument as a function of time. This experiment shows not only the harmonic structure of sound produced, but the amount of time it takes for the spectrum to stabilize, directly indicating the speed and stability of response.

Among his conclusions:

“There are generally more harmonics present in tones on the Monette trumpet than for the same tones with the ‘Brand X’ instrument.”

“The Monette trumpet tends to be richer in high frequency energy than the ‘Brand X.’”

“It is clear that the amplitude of the spectral components of Monette trumpet tones tends to be greater than for the same tones performed on the ‘Brand X’ trumpet. This is true at each of the dynamic levels tested in the current study.”

“Amplitude for Monette tones is generally greater than for ‘Brand X’ tones. This was evident even though tones were played on both instruments at what was judged to be the same dynamic level.”

“The single dominant harmonic of a Monette trumpet tone is generally stronger than any harmonic present in the same tone of the ‘Brand X’ trumpet.”

“The risetime for each of the harmonics to reach peak amplitude during the tones is shorter for the Monette than for the ‘Brand X’. These peaks not only occur more rapidly on the Monette, but they also occur almost simultaneously—within .15 seconds or less for the tones examined.”

This is just a small sample of Dr. Hanson’s published results. When translated into layman’s terminology, we believe his test results show that Monette trumpets provide a more complex sound, and a sound that is more powerful and consistent than the other brand tested. The results also show that the response time on the Monette (depending on the notes being played) is two to three times faster than on the “Brand X” instrument.

For more information, please refer to Dr. Hanson’s full paper: “Trumpet Timbre: A Comparative Investigation of Two Brands of Professional C Trumpets,” by Frank E. Hanson III, DMA, Ohio State University, 1988. This document is available from UMI Dissertation Services: http://www.umi.com/hp/Support/DServices/find/

Demonstration: Resonance and the Stroboconn Tuner

For a simple, practical demonstration of the increased resonance of Monette equipment, simply play any note into a Stroboconn tuner (the original model with all 12 “windows”). As you hold the tone, watch how many more windows are activated—and notice the increased intensity of the activation—when using Monette equipment. A strong fundamental with strong, harmonically related overtones produces the kind of complex, brilliant sound that we believe is most desirable in performance.

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