Exploring the Directivity of the Lute, Lavta, and Oud Plucked String Instruments

Malafis Y, Pierroutsakou PM, Bakogiannis K, Andreopoulou A. Exploring the Directivity of the Lute, Lavta, and Oud Plucked String Instruments. In: Express Paper. Audio Engineering Society; 2024. Paper 285. Available from: https://aes.org/publications/elibrary-page/?id=22753

@inproceedings{Malafis2024_22753,
  author = {Malafis, Yannis and Pierroutsakou, Pinelopi-Maria and Bakogiannis, Konstantinos and Andreopoulou, Areti},
  title = {{Exploring the Directivity of the Lute, Lavta, and Oud Plucked String Instruments}},
  note = {Paper 285},
  year = {2024},
  month = sep,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=22753}
}

TY  - CPAPER
TI  - Exploring the Directivity of the Lute, Lavta, and Oud Plucked String Instruments
AU  - Malafis, Yannis
AU  - Pierroutsakou, Pinelopi-Maria
AU  - Bakogiannis, Konstantinos
AU  - Andreopoulou, Areti
M1  - Paper 285
PY  - 2024
DA  - 2024/09/27
UR  - https://aes.org/publications/elibrary-page/?id=22753
PB  - Audio Engineering Society
LA  - en
AB  - This study investigates the spherical directivity and radiation patterns of the Lute, Lavta, and Oud, pear-shaped traditional plucked-string instruments from the Middle East, Turkey, Greece, and the surrounding areas, providing insights into the acoustic qualities of their propagated sound in a three-dimensional space. Data was recorded in an acoustically controlled environment with a 29-microphone array, using multiple instruments of each type, performed by several professional musicians. Directivity is investigated in terms of sound projection and radiation patterns. Instruments were categorized according to string material. The analysis revealed that all instruments, regardless of their variations in geometry and material, exhibit similar radiation patterns across all frequency bands, justifying their intuitive classification within the “Lute family”. Nevertheless, variations in sound projection across all directions are evident between instrument types, which can be attributed to differences in construction details and string material. The impact of the musician’s body on directivity is also observed. Practical implications of this study include the development of guidelines for the proper recording of these instruments, as well as the simulation of their directivity properties for use in spatial auralizations and acoustic simulations with direct applications in extended reality environments and remote collaborative music performances.
ER  -