I fear there is a natural tendency to think of the rose as the hole that
"lets the sound out", but I think this is a case where intuitive physics
lets us down. The size of the opening affects the natural resonant
frequency of the body, with a smaller opening giving a lower frequency.
But I invite all you proper physicists out there to explain why!
A more complex issue, but one which is related in that it also involves
a mismatch between intuitive physics and the real thing: many people
seem to believe that the lute soundboard should be flexible to "allow it
to vibrate", and that the more flexible it is the better the bass
response. In fact I think - please contradict me if I'm wrong - that
the frequencies which we are interested in are far too high to be aided
by a floppy soundboard, which is more likely to have a damping effect.
As far as I can see, a relatively rigid soundboard is going to produce a
more sustained sound. The most important factor is the mass, which must
be kept as small as possible so it can be activated by a small input of
energy - hence the rather thin soundboards (supported by many bars to
retain sufficient rigidity) required by lutes.
Martin
On 23/11/2014 16:07, BENJAMIN NARVEY wrote:
Dear All,
Just wondering if any of you (especially the makers out there) have
thoughts about the projection of single versus triple roses.
I have had many lutes/theorboes with both single and triple roses over
the years, and I have always felt that triple roses helped make more
sound, and that single roses made possibly more focussed, but more
"woody", interior, sounds. Perhaps I am wrong?A
All thoughts welcome.
All best,
And thanks,
Benjamin
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