MIMO Digitisation Standard

ECP 2008 DILI 538013 MIMOMIMODefinition Of Scanning Properties AndRecommendations For PhotographingMusical InstrumentsVersion 3Deliverable number D1.8Dissemination levelRestrictedDelivery date 29 August 2011StatusAuthorsDraftFrank P. Bär, Franziska Pfefferkorn (GNM)eContentplusThis project is funded under the eContentplus programme 1 ,a multiannual Community programme to make digital content in Europe more accessible, usable andexploitable.1OJ L 79, 24.3.2005, p. 1.

Based on partners’ further practical work in digitising musical instruments and in applicationof version 2 of this paper (D1.5), feedback, MIMO-born images and practical hints were continuouslycollected by WP1 lead (GNM) in order to prepare the final version 3 of the standardpaper.An external evaluation conducted by WP5 among members of ICOM-CIMCIM led to improvementsin form and content.The attached document shall be made public as soon as the English wording will be checkedby a native speaker and will be delivered as final version of Deliverable D1.8.Attached document: The MIMO digitization standard. Definition Of Scanning Properties AndRecommendations For Photographing Musical Instruments - final Version 3 (draft)2

The MIMO Digitisation StandardDefinition of scanning propertiesand recommendations for photographingmusical instrumentsfinal version 3- draft -Frank P. BärFranziska PfefferkornforNürnberg, 20113

Content:0. Introduction ....................................................................................................................... 51. General considerations on standards ................................................................................ 62. Scope ................................................................................................................................ 63. Quality control ................................................................................................................... 64. Master files, derivatives and digital preservation ................................................................ 65. Web output formats (formats for derivatives) ..................................................................... 76. Parameters for scanning existing images .......................................................................... 77. Parameters for digitising analogical audio documents ....................................................... 78. Parameters for digitising analogical video documents ....................................................... 79. Photographing ................................................................................................................... 89.1. Technical quality ..................................................................................................... 89.2. Color management ................................................................................................. 89.3. Lighting, background and mounting ........................................................................ 89.4. Distortion ................................................................................................................ 99.5. Post production ....................................................................................................... 910. Photographing musical instruments ................................................................................1010.1. Definitions of positions and views ........................................................................1010.2. The position parameter ........................................................................................1010.3. The view parameter .............................................................................................1011. Details for instruments and instrument groups ................................................................1112. Keyboard instruments .....................................................................................................1113. Woodwind instruments ...................................................................................................1914. Brass and other lip-vibrated wind instruments ................................................................2315. Free reed wind instruments ............................................................................................2716. Cane (walking-stick) instruments ....................................................................................2817. String instruments with necks, bowed or plucked ...........................................................2818. Box-shaped string instruments, plucked, struck or bowed ..............................................3319. Tube zithers....................................................................................................................3520. Harps..............................................................................................................................3521. Box-shaped mechanical instruments ..............................................................................3722. Drums.............................................................................................................................3823. Rattles ............................................................................................................................3924. Concussion idiophones (clappers, cymbals etc.) ............................................................4125. Bowed resp. friction idiophones ......................................................................................4226. Plucked idiophones ........................................................................................................4227. Mallet idiophones ...........................................................................................................4228. Struck upright or hanging idiophones .............................................................................4429. Trumps ...........................................................................................................................4430. Musical bows ..................................................................................................................4531. Instruments in anthropomorphic or zoomorphic shape ...................................................4532. Sets of musical instruments ............................................................................................4633. Parts of musical instruments ...........................................................................................4634. Instruments in bad condition ...........................................................................................4735. Miscellaneous .................................................................................................................4836. Practical hints for serial digitisation .................................................................................4937. Index ..............................................................................................................................5338. Photo credits ..................................................................................................................624

0. IntroductionThis paper is one of the outcomes of the European Community funded digitisation projectMIMO ‒ Musical Instrument Museums Online. It is largely based on practical experience ofall the members of a consortium of eleven major musical instrument museums and collectionsin Europe. The authors want to thank all the partners who contributed by images, remarksand sharing of practical hints:University of Edinburgh (UEDIN), Edinburgh, UKCoordinator (WP4 – lead), Content ProviderGermanisches Nationalmuseum (GNM), Nuremberg, DEDigitisation (WP1 – lead), Content ProviderCité de la Musique (CM), Paris, FRHarvesting (WP2 – lead), Content ProviderHorniman Museum (HML), London, UKThesaurus and Classification (WP3 – lead)Koninklijk Museum voor Midden-Afrika / Musée royal de l'Afrique centrale (RMCA), Tervuren,BEAssessment and Evaluation (WP5 – lead), Content ProviderStiftung Preußischer Kulturbesitz, Ethnologisches Museum (SPK), Berlin, DEDissemination and Awareness (WP6 – lead), Content ProviderMusik- & Teatermuseet (SMV-MTM), Stockholm, SEContent Provider, Dissemination and AwarenessMuziekinstrumentenmuseum / Musée des instruments de musique (MIM-BE), Brussels, BEThesaurus and Classification, Content ProviderUniversität Leipzig, Museum für Musikinstrumente (ULEI), Leipzig, DEContent ProviderAssociazione "Amici del Museo degli Strumenti Musicali” (AF), Florence, ITContent ProviderUniversità degli Studi di Firenze (UF), Florence, ITThesaurus and ClassificationThis final version was developed over the two years’ lifetime of the project from 1. September2009 to 31. August 2011 and has undergone permanent evaluation by the consortium as wellas by external experts through members of CIMCIM ‒ Comité international des musées etcollections d’instruments de musique ‒ a worldwide committee of the International Council ofMuseums ICOM. The authors are indebted to these specialists having studied the paper’sevaluation version and commented on it.A special thank goes to Prof. Arnold Myers, University of Edinburgh helping the authors inchecking the English wording.5

1. General considerations onstandardsTo better situate this paper in the realm ofmuseum policies, some common definitions onstandards are given:• „A technical standard is an establishednorm or requirement about technicalsystems. It is usually a formal documentthat establishes uniform engineeringor technical criteria, methods,processes and practices.“ 2• „A de facto standard is a custom, convention,product, or system that hasachieved a dominant position by publicacceptance or market forces.“ 3• „In social sciences, a voluntary standardthat is also a de facto standard, isa typical solution to a coordinationproblem. The choice of a de factostandard is the better choice for situationsin which all parties can realizemutual gains, but only by making mutuallyconsistent decisions.“ 4A standard in the frame of the MIMO-project isthus an agreement by concerned parties – theproject partners – and will be based on aslarge a number as possible of de facto standards.Recommended views describe supplementaryviews necessary for full first information aboutthe instrument and which mostly can be takenwith very few supplementary means once themandatory view is achieved, e.g. the plan viewof the back and of the side of a violin or of apiano with half-closed lid, or the birds-eye viewon the piano’s soundboard. Recommendedviews are regularly given in this standard, ifexistent as de facto standards or proved usefulby other means.Optional viewsOptional views are views which either aremade for public relation purposes, e.g. the ¾view of a violin, or which request importantsupplementary means once the mandatoryview is taken. As optional views touch therealm of artistic purposes as well, they can’t beeasily systematised and are thus consideredas beyond the scope of this paper.Technical issuesDetailed advice on lighting, fixing of instrumentsand other technical issues are not withinthe scope of this standard, but they are collectedas hints to create a pool of practicalexpertise to make photography more efficientand as safe as possible for the museum objects(see section 36).2. ScopeThis standard applied to all new photographsThis standard text concerns in its photography taken by MIMO consortium members as wellpart overall views of musical instruments, but ‒ as associated project members. This final versionis intended to be a recommendation forexcept for instruments of the violin family ‒ noimages of details. It distinguishes several levelsof obligation:strument collections. It does not concern pho-documentary photography for all musical in-• mandatorytographs taken for artistic or public relation• recommendedpurposes.• optionalThe mandatory and recommended views togetherdescribe a sufficient optical repre-In digitisation processes, an efficient quality3. Quality controlsentation of a musical instrument according to control routine must be implanted. Quality controlshould happen during or very close to thethe customs of experienced specialists likemuseum curators, however, as stated before, digitising process in order to repeat processeswithout taking in account images of details.with a minimum amount of work and time, ifnecessary. Parameters and procedures ofMandatory viewquality control should be clearly determined.The mandatory view describes the image if, forpractical reasons, one and only one view can 4. Master files, derivatives andbe taken or shown, e.g. the plan view of thefront of a violin. In choosing this view, a publicas large as possible is taken in account, evenif for some specialist purposes this view is oflesser value.Recommended views2 Wikipedia, „Technical standard“, 8.11.20103 Wikipedia, „De facto standard“, 8.11.20104 Wikipedia, „De facto standard“, 8.11.20106digital preservationA master file is the electronic document whichhas the best quality and serves for a collection’sdocumentation. Once it is created, it shallnot be altered and is subject to long-time preservationaccording to actual best practice. Animportant part of long-time preservation is theproper naming and saving of the file metadatain order to access it at any time.A derivative is a copy of the master file whichis altered to make it suitable for a special pur-

pose, e.g. low-resolution images and cut-downsound files for web-publishing. Camera metadatashall be kept within the files, if suitable.5. Web output formats (formatsfor derivatives)Images:• JPEG• 24bit colour 5 / 8bit greyscale• Length of the longest side of the image:800 pixelsAudio:• mp3 / AAC / WMA• bit rate from 128 Kb/s• preferably stereo• up to 30 s length (up to ca. +-120 s ifIPR permit)• stakeholders have to clear IPR issuesaccording to legislation in their countries• output level normalizedVideo:• File format for downloading: MPEG-2;AVI; WMV; Quicktime; mp4/H264; bitratebetween 300Kb/s and 2Mb/s• File format for streaming: ASF; WMV;Quicktime; H.264 in mp4/H.264 bitratebetween 300Kb/s and 1.2 Mb/s• Frame rate of 25 frames per second• 24-bit colour• PAL colour encoding 66. Parameters for scanning existingimagesSlides, b/w-negatives, glass negatives etc.shall be scanned in such a way that the masterfile format of the scan corresponds roughly toA4 (297x210 mm) or larger in minimum 300 dpiresolution. Prints shall be scanned in a way toobtain a master file which gives a print-outformat of the size of the original document at300 dpi minimum. The colour format is 24 bit (3x 8bit) for colour images and minimum 8 bit forgreyscale images. The recommended file formatis uncompressed TIFF. Colour profiles andsuitable metadata shall be included.7. Parameters for digitisinganalogical audio documentsThe master file format of the digitised fileshould at least correspond to so-called Compact-Disc-Qualitywith a sampling rate of5 To avoid confusion: 24bit colour is 8bit red + 8bit green +8bit blue6 These recommendations follow those made by theATHENA project.44.100 Hz, stereo and 24 bit resolution. Forarchival use, the output file format must belossless, i.e. for example WAV or AIFF. If ananalogical source is in mono, care should betaken to provide both stereo channels with thesignal. For further use it is recommended todigitise the entire analogical audio source at atime and cut short examples for derivativesseparately. Samples should be cut in a sensibleand aesthetic way, i.e. phrases should besearched which make as much musical senseas possible, and cuts should be made soft, e.g.faded in resp. out. 78. Parameters for digitisinganalogical video documentsThe recommended master file format for shortvideos and sufficient storage place is RAW AVI(uncompressed). The compressed alternativesto save storage space are MPEG-1(2,4),WMF, ASF, Apple ProRes or DV with a minimumbit rate of 3 Mb / s.The minimum size should be 720x576 pixelswith a frame rate of 25 frames per second. Inaddition, the colour format is 24 bit using PALas colour encoding system.For best preservation in an open software environment,a JPEG 2000 codec in an MXF wrappershould be considered, as soon as thiscombination is sufficiently established and thedata quantities are maniable.Before choosing one of the above mentioneddigitising methods, the provider’s entire technicalenvironment must be checked to guaranteestorage, further editing and delivery facilities. 87 For all recommendations see also: IASA TechnicalCommittee, Guidelines on the Production and Preservationof Digital Audio Objects, ed. by Kevin Bradley. Secondedition 2009. (= Standards, Recommended Practices andStrategies, IASA-TC 04). www.iasa-web.org/tc04/audiopreservation8 These recommendations combine those made by theATHENA project and JISC.7

9. Photographing9.1. Technical qualityThe quality of the photo master file is 24bitcolour at a minimum size of ca. 2.100 pixels forthe longer side, corresponding to ca. 17.8 cmat 300 dpi. However, due to technical development,a larger size is recommended. The fileformat must be lossless, e.g. uncompressedTIFF. The colour profile and suitable metadatashould be included.9.2. Color managementPrecautions for a professional colour managementshall be taken. To this purpose, avisual colour reference (target) can, but needsnot to be included, e.g:CM, E.2003.6.1Photographed under same conditions and mountedin the image (slower)layer 1 visibleboth layers visibleGNM Pl.O.3431Two-layer Tiff (slowest, more storage space)GNM, MI 968Photographed together with the object (fastest)9.3. Lighting, background andmountingLighting should be such that no important partof the instrument is blurred by shadows orreflections. The colour and structure of thematerials should be rendered as clearly andnaturally as possible. In most cases, a diffuselighting is the best point of depart. Fills, rakinglight to bring out surface structures, etc. belongcommonly to the means of professional photographers.The views of instruments describedin the following texts aim to show importantorganological details as form, proportionsand technical details rather than to give adecorative aspect.In serial digitisation, care should be taken touse one lighting and mounting scenario for asmany objects as possible to be efficient, e.g.for a series of reflecting instruments as brasswind instruments. The object should be photographedusing a neutral background, unlessthe spatial situation doesn’t permit this, e.g. fororgans. It is recommended to keep sufficientspace around the object that can be cropped inprinting. N.B.: In this paper, images are often8

cropped close to the instrument in order tosave space.The following specifications give the appearanceof the instrument in a two-dimensionalimage. In some cases, the requested view canbe obtained by different mountings, e.g. lyingon a flat surface, standing upright or beingsuspended. In mounting instruments for photographing,conservational concerns are moreimportant than speed or beauty.9.4. DistortionDistortion by photo lenses should be minimized.It is strongly recommended to usestandard lenses rather than wide angle lenses,if the spatial situation permits.9.5. Post productionHigh-quality digital photography needs a certainamount of post-production, such as developingraw data, sharpening or colour control.Other needs for post production come from thespecial situation in which the instrument isphotographed, especially when mounting, securing,or visible light-guiding devices wereused.Whichever measure is taken, it has to be keptin mind that the aim of documentary photographyis to render images which are as close aspossible to the actual perception of the object.What is common in publicity photography, e.g.correcting shapes and surfaces, isn’t in photographingmuseum objects.Some considerations for a first orientation:• Supporting devices as nylon wires orPlexiglas stands need not to be removedin post-production as long asthey are clearly distinguishable fromthe instrument itself. If ever they areremoved, retouching normally shouldbe done around the object, not within.If e.g. the removal of a nylon wirecauses a “reconstruction” of a structuredsurface it is better to keep thewire visible.• Distortion by photo-lenses, especiallywith large objects, should be correctedto give a natural aspect.• As long as the structure of a surface isvisible, it is a matter of taste andmeans how much reflection a photocan contain, and sometimes reflectionsmight be made weaker in post production,but the better choice is to have acareful lighting scenario.• The cleaning of a surface should bedone on the object and not on the image.9

In some cases, especially if the instrument’s shape depends mainly from natural forms, theview can be variable, e.g. for shell horns.Common combinations of these parameters are thus:Oblique position and half lateral viewOblique position and variable viewThe instrument’s longest axis is appearing in the photo in an oblique line from bottom left totop right. According to the details which shall be shown (e.g. keyboards), the view is more orless slightly from above. Typically, the instrument is standing or lying on a flat surface.Horizontal position and frontal viewHorizontal position and lateral viewHorizontal position and dorsal viewThe instrument’s longest axis is appearing in the photo in a horizontal line. The camera facesthe side of the instrument which is commonly considered as front side, lateral side, or backside. In most cases, the instrument is lying or standing on a flat surface.Vertical position and frontal viewVertical position and half lateral viewVertical position and lateral viewThe instrument’s longest axis is appearing in the photo in a vertical line. The camera facesthe side of the instrument which is commonly considered as front side, lateral side, or backside. The instrument is standing on a flat surface or is suspended. Usually, the photo is takenfrom a central perspective.11. Details for instruments and instrument groupsThe main goal of the specifications given hereafter is to show the most interesting organologicaldetails supposed to be of the most use for a broad bandwidth of interested people.Consequently, the representation described in most cases doesn’t show the playing positionof the instrument. This is striking e.g. for violins where the playing position can’t showimportant information like the shape, the proportions or the grain of the wood. Where theplaying position doesn’t infer with an organologically appropriate view, it is taken in account,e.g. for transverse flutes, harps or upright pianos.In the following, the different instrument types are grouped in a simple, intuitive manner,without trying to establish a new organological system. In the beginning of each chapter, instrumentsbelonging to different groups are recalled (e.g. organs = keyboard instrument andwind instrument).The position and view parameters are given for the mandatory view.12. Keyboard instrumentsNyckelharpa, see: String instruments with necksWing-shaped keyboard instruments: Oblique position and half lateralview.The instrument’s keyboard appears in an oblique line from top left to bottomright. Lids should be opened to procure a maximum of organological information (mandatory).A half-closed and/or closed lid are recommended views to show the presumed historicalplaying set-ups (pianofortes) or the furniture aspect e.g. of decorated cases. Further recommendedviews are a bird’s-eye view and, if applicable, a plans view of a painted lid. 99 It might be easier to photograph a detachable lid apart from the instrument, although this would be adetail photograph and not an overall view strictly spoken.11

mandatory recommended recommendedrecommendedHarpsichord (GNM, MIR 1073)recommendedmandatory recommended recommendedrecommendedGrand pianoforte (GNM, MIR 1102)12

mandatory recommended recommendedrecommendedBentside spinet (GNM, MINe 90)mandatory recommended recommendedrecommendedBentside pianoforte (GNM, MIR 1176)13

Regals: Oblique position and half lateral view. Regals are shown with thebellows open which is farer away from the camera, if technically possible. Ifnot, the closed view is sufficient.mandatory / recommendedRegal (GNM, MI 80)mandatory / recommendedRectangular or polygonal stringed keyboard instruments: Horizontal positionand frontal view. The keyboard is facing the camera in a horizontal linewith the lid open for the sake of more organological information (mandatory). Ahalf closed lid is recommended to show a possible historical playing setup, a closed lid toshow the furniture aspect. An oblique-half lateral view can be added to give a better idea ofthe depth of the instrument.automatic spinetsclavichordsdouble virginalseolodiconsnail pianosorphicasphysharmonicasspinetssquare pianosterpodionsvirginalswork box pianosmandatory recommended recommendedrecommendedClavichord (GNM, MI 442)14

mandatory recommended recommendedrecommendedVirginal (GNM, MIR 1086)mandatory recommended recommendedrecommendedSquare piano (GNM, MINe 171)15

Electric and electronic keyboard instruments: Horizontal positionand frontal view. The keyboard or a similar playing deviceis facing the camera in a horizontal line. For instruments with astand or larger parts above the keyboard, the image layout can be described as: Verticalposition and frontal view.mandatoryTrautonium (ULEI, 4096)mandatoryElectronic organ (CM, E.995.18.1)Upright keyboard instruments: Vertical position and frontal view.The keyboard is facing the camera in a horizontal line. The view with openkeyboard flap is mandatory. The view with closed keyboard flap and – for organsclosed doors, if existent – is recommended. For stringed instruments, a view with removedfront panels to show the construction is recommended.chamber organsclavicytheriumsgiraffe pianosharmoniconsharp pianospianinosportative organspositive organsprocession organspyramid pianosreed organsmandatory recommended recommendedUpright piano (piano console) (CM, E.2000.29.1)16

mandatory recommended recommendedGiraffe piano (SMV-MTM, M466)mandatory recommended mandatoryPhysharmonika (GNM, MIR 1027) Reed-organ (SMV-MTM, X5575)Accordions resp. hand harmonicas: oblique position and halflateral view / horizontal position and frontal view.The instrument should be positioned so that the treble keyboard isvisible. An additional view with the bass keyboard visible is recommended. Instruments withlarge bellows are photographed frontally, the bellow opened in a U-shaped manner, so thatboth playing sides are visible. Instruments with protruding descant keyboard are photographedfrontally.bandoneons concertinas aeolas hand-aeolinesmandatoryAccordion (MIM-BE, 4729)mandatoryAccordion (MIM-BE, HB160)17

Hurdy-gurdies and organ hurdy-gurdies: Oblique position and half lateralview. For hurdy-gurdies, a closed lid is mandatory, an open lid is recommended.mandatoryHurdy gurdy (GNM, MI 75)recommendedPush up piano players: Oblique position and half lateral view.A view of the front side (i. e. the side that is not facing the piano) is mandatory.The view should be slightly from above and from the left to give an idea of theinstrument's profile. If possible, one program carrier belonging to the player should be inserted(usually a perforated disc or a paper music roll), and if the player features a lid, thisshould be opened to allow a view on the sound carrier. A view with closed lid and a view ofthe back side (i.e. the side facing the piano) is recommended.mandatoryPush up piano player (ULEI, 4058)recommended18

13. Woodwind instrumentsCornetts, see: Brass or other lip-vibrated instrumentsSerpents, see: Brass or other lip-vibrated instrumentsMouth organs, see: Free reed wind instrumentsCane (walking stick) flutes, see: Cane (walking stick) instrumentsCane (walking stick) clarinets, see: Cane (walking stick) instrumentsTransverse flutes. The main tone holes are facing the camera (mandatory),the mouth-hole is on the left side. A view of a different side is recommended, ifthere are important organological details:Western traversosnose flutesflautsalbisifonosdidsesmandatoryTransverse flute with bass extension (GNM, MIR 326)recommendedStraight-form woodwind instruments, mainly end-blown: vertical positionand frontal view. “Straight-form” refers to the general extension of the instrument.Thus, bassoons and curtails are classified as “straight-form” for thispurpose. The frontal view is mandatory, the dorsal view is recommended, if there are importantorganological details.algaitasauloibassoonsbone flutesstraight bassetthornscane bassett hornscane flutescane instrumentschalumeausclarinetsclarinets d´amorecontrabassoons inbassoon-like shapecontrabassophonescsakanscurved cornettosdouble flageoletsdulciansdvojnicesstraight Englishhornsflageoletsgiorgi flutesheckelclarinasheckelphoneshichirikismayhornsmelodionsmultiple flageoletsmultiple flutesmusettesmute cornettosnaysoboe d´amoresoboespanpipespommersrackettsrecorderssarrusophonesserpentsshakuhachisshawmssonassordunsstraight bassetthornstabor-pipestarogatoswalking stick instrumentswindcap shawmszurnas19

mandatory recommended mandatory recommended mandatory recommendedClarinet(GNM, MI 336)Oboe(GNM, MI 428)Recorder(GNM, MI 138)mandatory recommended mandatory recommended recommended recommendedFlageolet(GNM, MIR 229)Double flageolet (possibility of supplementary lateral views)(GNM, MIR 235)20

mandatory recommended mandatory recommendedBassoon(GNM, MI 472)Double bassoon(GNM, MIJ 21)Curved or angular woodwind instruments: Vertical position and half lateralview. The instrument is placed in a way that the mouthpiece is in the topleft of the photo, the body directed to the right (mandatory). A half dorsal viewis recommended, if there are important organological details to show.bass clarinetsbass oboessaxophonescrumhornscontrabassoonswith severalwindingspibcornstenor cornettoscurved/angularbasset hornscurved/angularcors anglaismandatory mandatory recommendedSaxophone (CM, E.715) Basset horn (GNM, MIR 466)21

Bagpipes: horizontal position and lateral view. The bagpipe is placed in away, that the bag and, if existing, the bellows are positioned in the middle ofthe image and the pipes are loosely arranged in front of or beside the bag. Ifpossible, the pipes are in a more or less vertical position with the tone holes visible.zampognasmusettes de courdudascornemusesbocksmandatorymandatoryMusette de cour (CM, E.112) Bock (GNM, MIR 490)Pigeon whistles: Horizontal position and lateral view. The instrument isshown as it is attached on the bird, the latter thought flying to the right side. Aview on the top, showing the slits and labia, is recommendedmandatory recommended mandatory recommendedPigeon whistle (MIM-BE, 2164-11) Pigeon whistle (MIM-BE, 0710)22

14. Brass and other lip-vibrated wind instrumentsCane (walking stick) trumpet, see: Cane (walking stick) instrumentsBrass wind instruments whose bells are not directed upwards in playingposition: Horizontal position and lateral view. For brasswind-instruments,“lateral” means a view on the coil(s) or curves so that their form can be distinguished,independently from what the actual playing position is (e.g. trumpets with perinetvalves vs. trumpets with rotating valves). The side facing the camera is the one providing thelarger amount of organological information (e.g. valves, triggers). If there is no evidence forsuch a side, the instrument’s bell is directed to the right side.aida trumpetsBüchelsclavicorscornetscornophonescupid´s hornsfanfare hornsflugel hornsfog hornsFrench hornsglass trumpetsharmonicorsheliconshunting hornsinvention hornsinvention trumpetskeyed hornskeyed trumpetsKuhlo-hornsmilitary buglesnatural hornsnatural trumpetsorchester hornsposthornsRussian hornsslide trumpetstrumpet buglesSupplementary crooks belonging to instruments can be shown with the instrument. In thiscase, they should be oriented as if they were inserted. For instruments with many crooks, i.e.orchestral horns, a supplementary photo showing the crooks only should be considered.mandatory (bell facing right)mandatory (facing left, valves visible)Trumpet (UEDIN, EUCHMI 4568) Cornet (UEDIN, EUCHMI 1136)Trombones: Horizontal position and lateral view. Assembled with the slideand bell bows at right-angles, the bell facing right; photographed at ca. 45 degreesto both, the camera positioned above a point between the two slide stays.Bell over the shoulder instruments: Horizontal position and lateral view.The bell is directed to the right of the image.mandatorymandatoryTrombone (UEDIN, EUCHMI 5735) Saxhorn (ULEI, 1757)23

Horns with circular coils except post horns: Horizontal position and lateralview. The blowpipe is on a horizontal line, the side containing the moreimportant organological information is facing the camera: French horns, parforcehorns.mandatorymandatoryFrench horn (UEDIN, EUCHMI 209) Parforce horn (UEDIN, EUCHMI 3494)Posthorns: Horizontal position and lateral view. The coil is oriented downwards,blowpipe and bell pointing symmetrically upwards, the bell oriented tothe right. An orientation of the bell to the left is admitted if there are importantorganological details as finger holes to show.mandatorymandatoryPosthorn (UEDIN, EUCHMI 3052) Posthorn with finger hole (UEDIN, EUCHMI 4454)24

Brass instruments whose bells are directed upwards in playing position:Vertical position and lateral view. The bell-end of the instrument is pointingupwards. The side facing the camera is the one providing the larger amount oforganological information (e.g. valves, triggers). If there is not such a side, the instrument´scoil is on the left side:tubastenor hornsophicleidesbombardonsbarytonsbass hornssaxhornseuphoniumslursmandatory mandatory mandatorySaxhorn (MIM-BE, 2020) Bass tuba (GNM, MI 685) Tenor horn (GNM, MI 686)Shell horns: oblique position and variable view. The instrument appears inan oblique line in the photo, but the view is variable, according to the instrument’sform and special features.mandatorymandatoryShell horn (UEDIN, EUCHMI 3172) Shell horn (ULEI, 2423)25

Lip-vibrated wind instruments with finger holes: Vertical position and frontal view. Thefinger holes are facing the camera. A view of the backside is recommended, if there are fingerholes or interesting details.Treble cornettsMute cornettsTenor cornettsSerpentsBass cornetsCornettinosStraight cornetsRussian bassoonsmandatory recommended mandatory recommendedCornett (GNM, MI 119) Mute cornett (GNM, MI 121)mandatorySerpent(UEDIN, EUCHMI 4440)mandatoryRussian bassoon(GNM, MIR 49)26

Curved horns without coils: Horizontal position and lateral view. Thecamera is at a right angle with the curve. For side-blown horns, the instrumentcan be inclined in deviating from the right-angle view in order to show themouthpiece. If there are important organological details as finger holes which can be shownonly with the bell to the left, this view is admitted as mandatory.Alphornshunting hornsoliphantstransverse hornscrescentsshepherd’s hornsmandatory (bell facing right)Bockhorn (SMV-MTM, N416)(mandatory, if details on the left side)Kohorn (SMV-MTM, N13436)mandatorySide-blown horn (CM, E.140)Very large curved horns without coils can be photographed upright, the bell facing to theright. If lighting permits, the photograph can be turned by a right-angle in post-processing tomatch the specification for smaller curved horns.15. Free reed wind instrumentsHarmoniums, see: keyboard instrumentsAccordions, see: keyboard instrumentsMouth organs: Vertical position and lateralview. The calabash is oriented to the bottom,the pipes to the top. The side containing theorganological information is facing the camera. If there is nosuch a side, the mouthpiece is directed to the right:Shengs etc.Harmonicas: Oblique position and halflateralview. The instrument is shown in away that the blowing apertures and the lid arevisible.mandatoryHarmonica(UEDIN, EUCHMI 2476)mandatorySheng(CM, E.2294 )27

16. Cane (walking-stick) instrumentsCane resp. walking-stick instruments: horizontal position and frontalview. This is independent of the mode of sound production and applies toflutes, clarinets, trumpets, violins or other. A view of the back or lateral side isrecommended, if there are interesting organological details, and depending on the type ofinstrument.mandatory recommended recommended mandatory recommended mandatoryCane violin(GNM, MIR 770)Cane clarinet/flute(GNM, MIR 484)Cane trumpet(GNM, MIR 123)17. String instruments with necks, bowed or pluckedBowed zither, see: box-shaped string instrumentsBridge harps, see: harpsVinas as tube zithers, see: tube zithersLute- and violin-like instruments: Vertical position and frontal view. Asuspension of the particular object might be necessary, if the shape of thebody doesn’t allow a different fixing device (see Practical hints section). Forexamples see below.accord guitarsangelicasarpeggionesbalalaikasbandolonsbandurriasbanjosbass citternsbass guitarsbassoon violinsbent neck lutesbipanchi vinasbiwasbowed mandolasbracsbumbassescane violinscelloschitarronescitternscobzascolasciontinosconcert guitarscontrabassescontraltoscrwthsdescant lutesdomrasdouble neck guitarser husesrarsfelesflamenco guitarsgitterns28

guitars withfreerunning bassstringskacchapi vinaskinnari vinasguslesharp citternskey citternskissarskitsklarfidelnlira da braccioslyra citternslyra guitarslyrasmandolinsmandorasnyckelharpaspandurinasphilomelespipaspochettesrebabsrebecsrenaissance lutesrotassan xianssarangissazshamisenssilent violinssitarssmall bassesspike fiddlessultanasSwedish lutestamburastanburstanburstarstheorbosThuringian Forestzitherstorbanastravel violinstrumscheitstwin-neck guitarsudsukulelesVinas: lute-likeviola d´amoresviola da gambasviolasviolinswestern guitarsyue ginsInstruments of the violin family: Vertical position and frontal view. For thelateral view, the soundboard is directed to the left side. Care should be taken inlighting so that as less reflections as possible are visible on the top and theback, showing grain and wood colour as well as possible. To avoid distortion, the cameralens should be positioned at a height symmetrically between upper and lower corners. If possiblein the workflow, the camera should be raised at the height of the scroll to take extrashots of this part without distortion.mandatory recommended recommended views on scrollViolin (GNM, MI 21)29

Lute instruments: Vertical position and frontal view. The frontal view ismandatory, lateral and dorsal views are recommended. In lateral view, the orientationof the strings depends on the orientation of the pegs, i.e. the lateralpegs should be visible, if their order is asymmetrical.mandatory recommended recommended mandatory recommended recommendedSetar (SPK, IC 15351)Bipanchi vina (CM, E.796)Lute instruments with several peg-boxes: Vertical position and frontalview. In lateral view, the strings are usually oriented to the right to show detailsof the peg-boxes.mandatory recommended recommendedBass Cittern (GNM, MI 65)30

Lute instruments with supplementary gourd resonators: Vertical positionand frontal view. To show the overall volumes of the instrument, a photo inoblique position and half lateral view is recommended, the instrument restingon its two resonators.mandatory recommended recommended recommendedSitar (MIM-BE, 4028)Spike fiddles: Vertical position and frontal view.Nyckelharpas: Vertical position and frontal view. The plan view on the instrument’sstrings, the peg-box oriented to the bottom of the image, is mandatory.mandatory recommended mandatorySpike tube fiddle Endingidi (MIM-BE, 3606)Nyckelharpa(SMV-MTM, X5662)31

Compound bow (pluriarc) instruments: Vertical position and half lateralview. The oblique frontal view is mandatory, the half dorsal view is recommended.mandatoryBow lute lukombe (MIM-BE, 1927)recommendedStick zithers: Horizontalposition and lateral view.The calabash can be on eitherside or in the middle.mandatoryStick zither (RMCA, MO.0.0.36808)32

18. Box-shaped string instruments, plucked, struck or bowedSee also: keyboard instrumentsSee also: harpsOpen harps, see: harpsAngular harps, see: harpsNon trapezoid zither instruments: Oblique position and halflateral view resp. horizontal position and lateral view. Theoblique angle is only slight to show volumes and a tuning device.A supplementary bird’s eye view is recommended.aliquodiumsarpanettiautoharpsbowed melodionsbowed zithersConcert zithersdescant zithersdouble zithersdouble psalmodiconsnon-symmetrical dulcimersepinettes des Vosgesharp zithershorn zitherskanteleskeyed monochordskotoskratzzithersMittenwald zithersmonochordspedal dulcimerspsalmodiconsqanunsraft zithersresonance zithersSalzburg zitherssantursstruck zitherstransverse zitherstriple zithersvinaszithers without fingerboardsmandatorymandatorySchlagzither (ULEI, 442) Accord zither (ULEI, 4056)mandatorymandatoryBox zither Scheitholt (GNM, MIR 660) Raft zither(GNM, MINe 10 )33

mandatoryQuanun (MIM-BE, ASI000)mandatoryZheng (MIM-BE, 2011.208 )Symmetrical dulcimers, hammered or plucked: Horizontal position andfrontal view. A bird’s eye view is recommended.mandatoryHammered dulcimer (GNM, MI 249)recommendedAeolian harps conceived for uprightposition: Vertical position and fron-tal view. Depending on the type ofinstrument, other views, e.g. lateral or dorsal, can beadded as recommended views.Aeolian harps conceived for horizontalposition: Horizontal positionand frontal view. Depending on thetype of instrument, other views, e.g. lateral or dorsal,with or without lid, if present, can be added as rec-ommended views.mandatoryrecommendedAeolian harp (GNM, Inv.no MIR 738)mandatoryHorizontal aeolian harp (GNM, MIR 734)recommended34

19. Tube zithersKacchapi vina, Kinnari vina, Bipanchi vina, and all other lute-like vinas, see: string instrumentswith necksVinas: Oblique position and half lateral view. The instrument is resting onits gourds. Vertical positions with frontal, lateral and dorsal views are recommended.mandatory recommended recommended recommendedVina (MIM-BE, 0083)Whole tube zithers as valihas: Horizontal position and lateral view. Themandatory view is showing the most important organological details. For moredetails, the instrument can be photographed from four sides in executing quarterturns.mandatoryWhole tube zither Valiha (MIM-BE, 3799)recommended20. HarpsAeolian harp, see: box-shaped string instrumentsAutoharp, see: string instruments with necksNyckelharpa, see: string instruments with necksFrame harps: Vertical position and half-lateral view. The base of the harppillar is in the bottom left and the top end of the sound box is in the upper rightof the photo. A lateral view to show the proportions is recommended.hook harps pedal harps diatonic harps chromatic harps.35

mandatory mandatory recommendedChromatic harp (CM, E.983.8.1) Hook harp (GNM, MIR 231)Bridge harps: Vertical position and frontal view. The neck being (almost) ina same plane with the soundboard, the instrument is photographed like a lutelikeinstrument.mandatory recommended recommendedKora (MIM-BE, 2008.032)36

Open harps: Oblique position and half-lateral view. A supplementary lateralview showing the angle of the neck is recommended.mandatoryArched harp Kundi (MIM-BE, Inv.no 3556)recommended21. Box-shaped mechanical instrumentsmechanical pianos, see: keyboard instrumentspiano players, see: keyboard instrumentsSmall, mostly rectangular programme music instruments: Oblique positionand half-lateral view. If there is no side with very important organologicalinformation, the front-line of the instrument should be in the direction bottomleftto top-right.bird organsmusic boxesorgan clocksorganettesbarrel organsserinettesmandatorymandatorySerinette (MIM-BE, 2001.010) Music box (MIM-BE, 1946)37

22. DrumsDrums in anthropomorphic or zoomorphic shape, see: instruments in anthropomorphic orzoomorphic shapeSlit drums in non-anthropomorphic shape: Oblique position and halflateralview.Shallow frame drums: vertical position and half-lateral view. The view isobliquely on the membrane, showing at the same time the frame. A view fromthe backside is recommended, if there are important details.tambourines riqs tars bendirsmandatory mandatory recommendedSlit drum (MIM-BE, 1984.003) Riq (SPK, VII b 146)Drum instruments conceivedfor horizontal playingposition: Oblique positionand half-lateral view. One membraneis visible. A photo on the othermembrane is recommended.mandatoryrecommendedDrum played sidewards (SPK, VII c 83)All hour-glass shaped drums, with or without variable tension: Obliqueposition and half-lateral view. A lateral view, showing the profile shape, isrecommended.mandatoryHour-glass shaped drum (MIM-BE, 692)recommended38

Drums not played horizontally and friction drums: Vertical position andlateral view. The drum is standing upright on one of the two membranes resp.the bottom of the body. The camera position is obliquely from above in a way todistort the body proportions as a less as possible, but give an idea of the membrane.barrel drumsconical drumscup-shaped drumscylindric drumsdaikosfoot drumsfriction drumskettledrumslansquenet drumsrommelpotsside drumstablastsuzumisvessel drumsmandatory mandatory mandatoryDrum (ULEI, 1944) Drum (RMCA, MO.0.0.30974) Drum (RMCA, MO.1997.21.2)Long African and Asian drums (> 1,5 m): Horizontal position and lateralview. The perspective showing a membrane is mandatory. A profile viewshowing the shape is recommended.mandatoryLong African drum (MIM-BE, 323)recommended23. RattlesStrung rattles and rattles without handles: Oblique position and half lateralview. Strung rattles are typically spread out on a flat surface and photographedobliquely from above. If there is a part of the string without fixed shellsor with a device for fixing etc., this part is oriented to the top or top right of the photo. Rattleswithout any of these characteristics are shown obliquely in view showing their volume andfunction as well as possible.39

mandatory mandatory mandatoryStrung rattle(RMCA, MO.1953.74.4070)Strung rattle(RMCA, MO.0.0.6006)Strung rattle(RMCA, MO.0.0.34952)mandatory mandatory mandatoryRattle without handle(RMCA, MO.1953.74.3270)Rattle without handle(RMCA, MO.1975.30.46)Rattle without handle(RMCA, MO.1953.74.3881)Vessel rattles with handles: Vertical position and lateral view. They appearvertically with the handle oriented to the bottom of the image.mandatoryVessel rattle with handle(MIM-BE, 3209)Vessel rattle with handle (MIM-BE, 3205)Vessel rattle with handle (MIM-BE,1977.022)40

24. Concussion idiophones (clappers, cymbals etc.)Concussion idiophones as clappers, cymbals etc.: Horizontal positionand lateral view. The camera sees the objects from above at an almost rightangle, showing the more important side resp. sides. For a pair of cymbals, oneelement can show the hollow side, the other the dome. A lateral view to show the profile isrecommended.mandatoryCymbals (SPK, IC 23801)mandatoryCymbals (SPK, IC 30113 a,b)mandatory recommended mandatory recommendedCymbals (MIM-BE, 1979.009-05)Cymbals (MIM-BE, AR0019)Castanets: Horizontal position and lateral view. The cord, if still preserved,is at the top of the photo. Both shells are overlapping in an appropriate mannerto show the cavity. The photo is taken from a bird´s eye perspective. With apair of castanets, one pair of shells can be entirely open.mandatorymandatoryCastanets (SPK, VII a 6) Castanets (MIM-BE, 2010.047)41

25. Bowed resp. friction idiophonesNail violins: Horizontal position and lateral view. The side giving the mostorganological information is facing the camera. The photo is taken slightly fromabove to show the soundboard.Glass harmonicas: Horizontal position and frontal view. The photo is takenslightly from above to show the glass shells.Musical saws: Vertical position and lateral view. The cutting edge is directedto the right side of the image.mandatory mandatory mandatoryNail violin (MIM-BE, 1947) Glass harmonica (GNM, MI 408 ) Musical saw(ULEI, 5194 )26. Plucked idiophonesSansas: Oblique positionand half-lateral view. Thetongues are appearing in anascending line.Mallet instruments, played sideward: Oblique position and half-lateralview. The view is slightly from above. In choosing the camera angle, attentionshould be made to show important organological details, e.g. bars and resonamandatorySansa (RMCA, MO.1993.5.9 )27. Mallet idiophones42

tors. The side from which the instrument is played is facing the camera. If this side cannot bedeterminate, e, either side can be chosen, and it is recommended to take images of both sidesin order to make a possible later choice based on further research.xylophoneslithophonesmetalophonesvibraphonesmarimbasgambangsslentosmandatoryXylophone gambang (CM, E.1116)mandatoryMetallophone slento (CM, E.1117)Special care should be taken for instruments whose differentpitches are obtained more by differing thickness than by lengths ofthe lamellas. The oblique angle should be slight, and a horizontalview is accepted.mandatorymandatoryXylophone (RMCA, MO.0.0.31354-15) Xylophone (MIM-BE, 3854)Mallet instruments, played from the bass end: Vertical position and frontalview. The bars are appearing in horizontal lines, seen from above, the low-est pitched bar to the bottom of the image.metallophoneslithophonesstraw fiddlesglockenspielsmandatoryGlockenspiel (GNM, MIR 561)mandatoryStraw fiddle (GNM, MIR 514)43

28. Struck upright or hanging idiophonesStruck upright or hanging idiophones: Vertical position and frontal view.Appropriate side and back views are recommended.bellsgongstam-tamstrianglestubular bellsTurkish crescentsmandatory recommended recommendedGong (CM, E.2000.11.1)29. TrumpsTrumps, also called “jew’s harps”: Horizontal position and dorsal view.The end where the tongue is plucked is located on the right side of the image.The view is obliquely from above.Finger activated trumps, string activated trumps.mandatorymandatoryTrump (MIM-BE, 2008-040) Trump (MIM-BE, S 2629) Trump (MIM-BE, 2001.060)44

30. Musical bowsMusical bows held upright: Vertical positionand lateral view. The curve of the bow isdirected to the right side of the image. Theinstrument can be slightly turned (half-lateral) to show thecavity of a calabash:Berimbaus etc.Mouth-bows held horizontally or obliquely:Horizontal position and lateral view. Thecurved side is oriented to the bottom of theimage.mandatoryMouth bow (GNM, MIR 1259)mandatoryBerimbau (MIM-BE, 3085)31. Instruments in anthropomorphic or zoomorphic shapeSlit drums in anthropomorphic shape: Vertical position and frontal view.A view on the slits is mandatory. A view from a different side showing thesculptural quality of the object is recommended.Other Instruments in anthropomorphic or zoomorphic shape: Variable positions andviews. For the mandatory photo, position and view should be chosen so that the sculpturalcharacter of the instrument is stressed, if possible, also showing organological features.Recommended photos can show the playing position (if different) or organological details. Arepresentation showing the sculptural quality and, if possible, organological details is mandatory.A supplementary view showing the playing position and/or important organological detailsis recommended.mandatory recommended mandatory recommendedAnthropomorphic slit-drum (MIM-BE, 1984.008) Whistle (MIM-BE, 1838 )45

32. Sets of musical instrumentsConsistent sets of instruments: Horizontal position and frontal view. Theydisposed in playing setup, photographed from an audience (mandatory) orplayer’s (recommended) view:Gamelans, drum sets etc.mandatoryDrum set (CM, E.996.4.1)recommended33. Parts of musical instrumentsAn exception to the focus of this paper on entire musical instrument views are some importantparts being crucial for playing, but which can’t always be attributed to a certain instrument.String instrument bows: Horizontal position and lateral view. The frogresp. the holding is directed to the right, the stick to the top, the hair to the bottom.For bows of violins and the like an extra photo of the frog and the tip isrecommended.mandatoryrecommendedViolin bow (MIM-BE, 238)recommended46

Mouthpieces of brass wind instruments: Vertical position and lateralview. A view slightly from above on the cup is recommended.Beaters for percussion and hammered string instruments: Horizontalposition and lateral view. The handle end is directed to the right, the head tothe left.mandatorymandatory recommended recommended mandatoryTrumpet mouthpiece (MIM-BE) Drum beater (GNM, MIR 634A)34. Instruments in bad conditionPair of drumsticks (GNM, MIR 640A,B)Many objects in bad condition or with partial losses are nevertheless important sources forinformation about the development and variety of musical instruments. If the instrument isbroken in several parts, the parts in the photo should be arranged in a way that the imagegives an idea of its original shape and construction. As for this group of instruments and fortechnical reasons, it is not always possible to apply the definitions of view and positions inthis document, these definitions may in this case be suspended.Xylophone manza (MIM-BE, 3219) Xylophone manza (MIM-BE, 817)Clavichord (GNM, MINe 60 A)47

35. MiscellaneousVessel flutes and animal voice imitating devices, Cuckoos, duck pipes etc., vesselflutes, such as ocarinas. The position of the particular instrument as well as the view on itdepends both on form characteristics of the object and on details which should be shown. Inmost cases, an oblique position and a half lateral view is appropriate.Different idiophones: Shaken idiophones, scraped idiophones. The position of the instrumentis depending on form characteristics and special details of the object:Stamping sticks, scrape vessels, bull-roarers, ratchets.48

36. Practical hints for serial digitisationBased on the practical work with digitising, all partners of the MIMO project would like toshare their experience to make photographing processes more efficient and more reliable inaccordance with conservational aspects. In applying some of these hints, it should bechecked which of them are useful for a particular scenario.Responsibility, care and securityThe responsible person for the musical instruments to be photographed, normally the collection’scurator should supervise the entire photographing process and should ideally be presentto answer questions or take decisions. A conservator should equally be present to allowa secure handling of the instruments and to prevent them from risky operations. Instrumentsshould only be handled by trained staff and under generally accepted museum standards.Operations like dusting, suspending, fixing instruments and the use of adhesive or any otherpotentially harmful materials and procedures should only be executed by trained personneland in the case of doubt, a conservator’s advice should be asked. In photography environments,care should also be taken to avoid harmful exposure to heat, UV-rays and other environmentalinfluences as undue climatic conditions.Make sure that transporting and storing ways and devices comply to common law in order toavoid accidents and legal pursuit.OrganisationAs musical instruments present a great variety of shapes, sizes, materials, weights and surfacestructures, photographing them on a high-quality level in a serial process in an efficientprocedure in compliance with conservational needs is a challenge. The procedure has thusto be thoroughly organised.If the particular budget allows enough staff, each of them should be responsible for definiteassignments in order to work efficiently together: taking minutes, positioning and returningmusical instruments, fetching not yet photographed items, naming and checking images etc.For proceeding fast, it is essential to group beforehand instruments with similar characteristics,as determined by photographic needs. Some of the respective parameters mightthus not correspond to common organological practice, where others do:• size (e.g. group square pianos in descending length)• type (e.g. instruments of the violin family)• suspension type (instruments standing alone, as most clarinets vs. instruments needinga security fixing, as bassoons)• surface reflectance (polished brass instruments vs. terra cotta darabukkas)• place on the photoset (on the floor vs. on a table)• colour (ebony and lighter background vs. ivory and darker background)Every change of one of these parameters may necessitate a time-consuming change of thelighting, lenses, camera position or the presentation environment of the instruments.Precise checklists with instruments per photo session are an efficient means to know whathas to be fetched and what has already been photographed. Photographed items should beregistered and can be marked us such, e.g. by loosely tying a cotton thread around them oradd a paper label. For being sure about marking methods, a conservator’s advice should beasked.To avoid confusion in putting back instruments in showcases and storing facilities, it is usefulto take a snapshot of the particular situation.Instruments should be prepared in advance by checking their condition or dusting them beforegoing to the photoset. The transport ways between collection resp. reserve and photoset49

should be as short as possible to save time and to minimize transporting risks and harshclimatic changes. If space permits, makeshift studios can be set up in the reserves.Photographing instruments in a publicly accessible space in a museum can be a good publicityaction. But before doing this, make sure to work in the most professional and secure environmentto give a positive example on how to document and handle musical instruments.PhotographingAs said in the introduction, no technical advice shall be given here to professional photographers,seen that they know their profession. However, some organizational hints might beuseful to facilitate museum management in serial digitization.File naming for images on the photo set should imperatively use the object’s inventory numberas most reliable identifier, adding, if necessary, suffixes etc. if different views of an instrumentare taken. It goes without saying that the technical metadata should always be preservedduring saving, naming, post-processing etc.A quality check of the images is indispensible; best is to do it immediately after the image istaken, this might slightly slow down a particular photo session, but keeps from having to fetchand prepare an item a second time. Checking should not be left to the photographer alone,but should be executed by trained museum staff in taking in using the photographer’s technicalexpertise.The object should not fill the entire image surface. Space should be let around for cropping,and rulers, inventory numbers, logos, color charts possibly taken and their respective shadowsshould not disturb this space.Presenting instruments on the photo setPlease note: In the following, all advices concerning the presentation of instruments on thephoto set should be checked before using them and applied by trained and reliable staff. If amethod seems too risky, it is better to search for a different means to obtain a similar result.Neither the authors nor the members of the MIMO project having procured these advices cantake any responsibility for damages occurred elsewhere in applying them.To secure e.g. wind instruments photographed standing upright, aflexible wire covered by a smooth material can be passed throughthe photo table. An appropriate squeezing device makes thelength adjustable. Another way is to have holes of different diametersdrilled in a plank between photo table and background paper,in which smoothed wooden rods of different lengths and diameterscan be inserted. Whatever method is used, the wire or rod shouldbe black to be less apparent in the finger holes. Inserting somethingin a woodwind instrument’s bore should always be done withextreme caution and only if necessary.Security suspensions, e.g. for bassoons standing upright, can befixed and adjusted in a quick flexible manner in fixing nylon wiresto a transversal suspending bar by winding these wires two tothree times around a portion of the bar equipped with double adhesivetape. Touching the adhesive surface with gloves should beavoided, and the adhesive force of the tape should be checkedfrequently to replace it in time. A surplus length of the wire can beattached to another portion of double adhesive tape fixed at a different point of the bar.Flexible, adjustable wire seenfrom underneath the photo tablephoto ULEIA quick and secure suspension method for stringed instruments with necks and pegs (lutes,violins etc.) consists in fixing a sling of nylon-wire to a bar. Fixing several wires in different50

Plexiglas background device, here for trumpets. The black stripe in the backgroundretaining unwished reflections doesn’t appear in the final visual field. Theinstrument is secured from slipping away on the inclined surface by a nylon wirefixed on the black clamp on top of the Plexiglas sheet.photo GNMTo position violins and other such instruments, which don’t stand upright for photographingon their own, set them in a Plexiglas ring, in a water glass or in a double-T-form Plexiglasstand with smoothed edges.Plexiglass-standall photos GNM52

Beatbox: oblique / half lateralBeganna: vertical / frontalBell: vertical / frontalBell harp: vertical / frontalBendir: vertical / half lateralBengala: vertical / frontalBerimbau: vertical / half lateralBersag horn: horizontal / lateralBianqing: horizontal / frontalBianzhong: vertical / frontalBilangdao: vertical / frontalBimbonifono: vertical / lateralBin: oblique / half lateralBiniou: vertical / half lateralBird instrument: oblique / half lateralBissex: vertical / frontalBiwa: vertical / frontalBladder pipe: vertical / half lateralBo: horizontal / lateralBoard zither: oblique / half lateralBoatswain's call: horizontal / lateralBodhran: vertical / half lateralBokongo: vertical / lateralBolange: oblique / half lateralBolon: vertical / frontalBombarde: vertical / frontalBombardon: vertical / lateralBonang: oblique / half lateralBongos: vertical / frontalBouhe: vertical / half lateralBouzouki: vertical / frontalBow: horizontal / lateralBowed zither: oblique / half lateralBowl lyre: vertical / frontalBozhong: vertical / frontalBronze drum: vertical / frontalBuccin: horizontal / lateralBuccina: vertical / lateralBuche des Flandres: oblique / half lateralBuchla: horizontal / frontalBucium: horizontal / lateralBugle: horizontal / lateralBuhai: vertical / frontalBullroarer: oblique / half lateralBumbass: vertical / frontalBuruw: horizontal / lateralBuzuq: vertical / frontalCCabinet pianoforte: vertical / frontalCabrette: vertical / half lateralCajon: vertical / half lateralCaledonica: vertical / frontalCane flute: vertical / frontalCane oboe: vertical / frontalCane violin: vertical / frontalCanh: vertical / frontalCap ke: vertical / frontalCarillon: vertical / frontalCarnyx: vertical / half lateralCastanets: horizontal / lateralCavaquinho: vertical / frontalCecilium: vertical / frontalCelesta: horizontal / frontalCelestina: vertical / frontalCencerro: vertical / frontalCeterone: vertical / frontalChabara: horizontal / lateralChalmei: vertical / half lateralChalumeau: vertical / frontalChalumeau double: vertical / frontalChamber organ: vertical / frontalChanggo: vertical / frontalChap: horizontal / lateralCharango: vertical / frontalChekker: horizontal / frontalChi: horizontal / frontalChiboni: vertical / half lateralChime bar: horizontal / frontalChing: vertical / frontalChipendani: vertical / lateralChirawatta: vertical / frontalChirimia: vertical / frontalChitarra battente: vertical / frontalChitende: vertical / lateralChizeze: vertical / frontalChogur: vertical / frontalChoke cymbal: horizontal / lateralChromatic harp: vertical / half lateralChum choe: horizontal / lateralChwago: vertical / frontalCikara: vertical / frontalCimbasso: vertical / lateralCitole: vertical / frontalCittern: vertical / frontalClappers: oblique / half lateralClaquebois: horizontal / frontalClaquoir: vertical / half lateralClarinet: vertical / frontalClarinette d'amour: vertical / frontalClarsach: vertical / half lateralClavecin brisé: oblique / half lateralClavecin oculaire: oblique / half lateralClaves: oblique / half lateralClavichord: horizontal / frontalClavicor: horizontal / lateralClavicytherium: vertical / frontalClaviharpe: vertical / frontalClavi-lame: horizontal / frontalClavioline: horizontal / frontalClaviorgan: vertical / frontalCoach horn: horizontal / lateralCobza: vertical / frontalColascione: vertical / frontalComponium: vertical / frontalConcertina: oblique / half lateralConch-shell trumpet: oblique / half lateralCong: vertical / frontalCongas: vertical / frontalConical drum: vertical / frontalConsole piano: horizontal / frontalContrabass bugle: horizontal / lateralContrabass ophicleid: vertical / lateralContrabass saxhorn: vertical / lateralContrabass sordun: vertical / frontalContrabass tuba: vertical / lateralContralto saxhorn: vertical / lateralContrebasse à anche: vertical / lateralCornamusa: vertical / frontalCornet: horizontal / lateralCornett: vertical / frontalCornettino: vertical / frontalCornopean: horizontal / lateralCornophone: vertical / lateralCornu: vertical / lateral54

Courtaut: vertical / frontalCowbells: vertical / frontalCrash cymbal: horizontal / lateralCrotal: horizontal / frontalCrumhorn: vertical / half lateralCrwth: vertical / frontalCrystal Baschet: oblique / half lateralCuckoo (in recorder-like shape): vertical / frontalCumbus: vertical / frontalCura kaval: vertical / frontalCurtal: vertical / frontalCylindrical drum: vertical / frontalCymbals: horizontal / lateralCymbalum: oblique / half lateralDDaf: vertical / half lateralDagu: vertical / frontalDaire: vertical / half lateralDaluo: vertical / frontalDamaha: vertical / frontalDamaru: oblique / half lateralDamau: vertical / frontalDan buau: oblique / half lateralDan cong chien: vertical / frontalDan day: vertical / frontalDan gao: vertical / frontalDan moi: horizontal / dorsalDan nguyet: vertical / frontalDan nhi: vertical / frontalDan tam: vertical / frontalDan tinh: vertical / frontalDan tranh: oblique / half lateralDan t'rung: oblique / half lateralDan ty ba: vertical / frontalDan xen: vertical / frontalDaph: vertical / half lateralDarabukka: vertical / frontalDavul: oblique / half lateralDecacord: vertical / frontalDef: vertical / half lateralDescant recorder: vertical / frontalDessus de musette: vertical / frontalDhak: oblique / half lateralDhimay: oblique / half lateralDhol: oblique / half lateralDholak: oblique / half lateralDi: horizontal / frontalDiatonic accordion: oblique / half lateralDiatonic harp: vertical / half lateralDibu: vertical / frontalDibu dimbwa: vertical / frontalDibu dimbwa: vertical / frontalDibu dinganga: vertical / frontalDidjeridu: vertical / frontalDigital harpsichord: horizontal / frontalDigital pianoforte: horizontal / frontalDilruba: vertical / frontalDinh nam: vertical / lateralDiple: vertical / frontalDital harp: vertical / frontalDjaouak: vertical / frontalDjembe: vertical / frontalDjouak: vertical / frontalDobatsu: horizontal / lateralDobro: vertical / frontalDolzaina: vertical / frontalDombra: vertical / frontalDomo: oblique / half lateralDongxiao: vertical / frontalDonno: oblique / half lateralDoppioni: vertical / frontalDora: vertical / frontalDotara: vertical / frontalDouble bass: vertical / frontalDouble bassoon: vertical / frontalDouble clarinet: vertical / frontalDouble flageolet: vertical / frontalDouble flute: vertical / frontalDouble horn: horizontal / lateralDouble psaltery: horizontal / frontalDouble zither: oblique / half lateralDril-bu: vertical / frontalDrum, played vertically: vertical / frontalDuct flute: vertical / frontalDuduk: vertical / frontalDudy: vertical / half lateralDuff: vertical / half lateralDulali: vertical / frontalDulcian: vertical / frontalDulcimer: oblique / half lateralDumbelek: vertical / frontalDung-chen: horizontal / lateralDung-dkar: oblique / half lateralDuplex: horizontal / lateralDutar: vertical / frontalDvojnice: vertical / frontalEEcho cornet: horizontal / lateralEkatantri vina: vertical / frontalEkinimba: vertical / frontalEkole: oblique / half lateralEkonting: vertical / frontalEktara: vertical / frontalElectric bass guitar: vertical / frontalElectric guitar: vertical / frontalElectric harpsichord: horizontal / frontalElectric organ: horizontal / frontalElectric piano: horizontal / frontalElectric violin: vertical / frontalElectronic organ: horizontal / frontalEmbilta: vertical / frontalEmbuchi: horizontal / lateralEnanga: oblique / half lateralEnd blown flute: vertical / frontalEndingidi: vertical / frontalEngalabi: vertical / frontalEnglish guitar: vertical / frontalEnglish horn: vertical / frontalEnkwanzi: vertical / frontalEnnanga: oblique / half lateralEpinette des Vosges: oblique / half lateralEraqyeh: vertical / frontalErhu: vertical / frontalErxian: vertical / frontalEsraj: vertical / frontalEunuch flute: vertical / frontalEuphonicon: horizontal / frontalEuphonium: vertical / lateralExperimental violin: vertical / frontalFFairground organ: vertical / frontalFaluo: oblique / half lateral55

Fanfare trumpet: horizontal / lateralFenghuangqin: oblique / half lateralFiddle: vertical / frontalFife: horizontal / frontalFlageolet: vertical / frontalFlexatone: oblique / half lateralFlicorno soprano: horizontal / lateralFlicorno, played upright: vertical / lateralFlugelhorn: horizontal / lateralFluier: vertical / frontalFlute (transverse): horizontal / frontalFlûte à bec colonne: vertical / frontalFlûte d'accord: vertical / frontalFlûte d'amour: horizontal / frontalFlûte harmonique: vertical / frontalFlûte Vermeulen: vertical / frontalFlûtet: vertical / frontalFodrahi: vertical / frontalFonic: vertical / frontalFrame drum: vertical / half lateralFriction drum: vertical / frontalFrula: vertical / frontalFue: horizontal / frontalFujara: vertical / frontalFurulya: vertical / frontalGGa: vertical / frontalGadulka: vertical / frontalGaita: vertical / half lateralGajde: vertical / half lateralGakudaiko: vertical / frontalGaloubet: vertical / frontalGambang: oblique / half lateralGambus: vertical / frontalGamelan: horizontal / frontalGanga: vertical / half lateralGarawung: vertical / frontalGardon: vertical / frontalGasba: vertical / frontalGaza: vertical / frontalGekkin: vertical / frontalGeling: vertical / frontalGemshorn: vertical / half lateralGendang: oblique / half lateralGender: oblique / half lateralGhanta: vertical / frontalGhayta: vertical / frontalGheteh: vertical / frontalGhichak: vertical / frontalGhugha: vertical / frontalGibeemba: vertical / frontalGiorgi flute: vertical / frontalGiraffe piano: vertical / frontalGittern: vertical / frontalGlass glockenspiel: horizontal / frontalGlasschord: horizontal / frontalGlaw ng yao: vertical / frontalGlockenspiel: horizontal / frontalGmebaphone: horizontal / frontalGmebogosse: horizontal / frontalGo: vertical / frontalGoblet drum: vertical / frontalGong: vertical / frontalGong ageng: vertical / frontalGopiyantra: vertical / frontalGora: vertical / lateralGralla: vertical / frontalGrand fortepiano: oblique / half lateralGreat bass clarinet: vertical / half lateralGreat bass shawm: vertical / frontalGrossbass recorder: vertical / frontalGuan: vertical / frontalGuinbri: vertical / frontalGuiro: oblique / half lateralGuitar: vertical / frontalGuitarron: vertical / frontalGusle: vertical / frontalHHajhuj: vertical / frontalHandbell: vertical / frontalHansho: vertical / frontalHardanger fiddle: vertical / frontalHarmonica: oblique / half lateralHarmonichord: oblique / half lateralHarmoni-cor: horizontal / lateralHarmonieflute: vertical / frontalHarmonium: vertical / frontalHarp: vertical / half lateralHarp guitar: vertical / frontalHarp lute: vertical / frontalHarp lyre: vertical / frontalHarpsichord: oblique / half lateralHarpsichord-piano: oblique / half lateralHautbois de Poitou: vertical / frontalHawaiian guitar: vertical / frontalHeckelphone: vertical / frontalHelicon: horizontal / lateralHeliophon: horizontal / frontalHichiriki: vertical / frontalHigh treble shawm: vertical / frontalHigh treble viol: vertical / frontalHit-hat mounted jingles: vertical / frontalHityogiri: vertical / frontalHnè: vertical / frontalHoddu: vertical / frontalHommel: oblique / half lateralHoragai: oblique / half lateralHorn: horizontal / lateralHourglass drum: vertical / frontalHuagu: vertical / frontalHuaigu: vertical / half lateralHuangnigu: vertical / frontalHuchet: horizontal / lateralHudko: vertical / frontalHunting horn: horizontal / lateralHuqin: vertical / frontalHurdy-gurdy: oblique / half lateralHuruk: vertical / frontalIIfambu: horizontal / frontalIkembe: oblique / half lateralIlimba: oblique / half lateralImzad: vertical / frontalInanga: oblique / half lateralInsimbi: oblique / half lateralInventionshorn: horizontal / lateralIrish harp: vertical / half lateralIrregular violin: vertical / frontal56

JJaltarang: vertical / frontalJarana: vertical / frontalJengglong: vertical / frontalJew's harp: horizontal / dorsalJinghu: vertical / frontalJingle: oblique / half lateralKKa: vertical / frontalKabaro: vertical / frontalKaburu: vertical / frontalKacapi: oblique / half lateralKacchapi vina: vertical / frontalKagurabue: horizontal / frontalKahala: horizontal / lateralKakko: oblique / half lateralKalangu: vertical / frontalKalimba: oblique / half lateralKamaica: vertical / frontalKamanche: vertical / frontalKambre: vertical / frontalKani: vertical / frontalKanjira: vertical / half lateralKantele: oblique / half lateralKara: vertical / frontalKara: vertical / frontalKarna: horizontal / lateralKartal: horizontal / lateralKasar: vertical / frontalKasat: horizontal / lateralKasso: vertical / frontalKaval: vertical / frontalKayagum: oblique / half lateralKazoo: horizontal / lateralKementses: vertical / frontalKempul: vertical / frontalKen: vertical / frontalKen bau: vertical / frontalKen be: vertical / lateralKen doi: vertical / frontalKen meo: horizontal / lateralKen mot: vertical / frontalKena: vertical / frontalKendang: oblique / half lateralKenong: vertical / frontalKenyen: oblique / half lateralKettledrum: vertical / frontalKetuk: vertical / frontalKeyed bugle: horizontal / lateralKeyed trumpet: horizontal / lateralKhaen: vertical / lateralKhalam: vertical / frontalKhanjari: vertical / half lateralKhartal: horizontal / lateralKhlui: vertical / frontalKhluy: vertical / frontalKhol: oblique / half lateralKhong mong: vertical / frontalKhuur: vertical / frontalKiangl: vertical / frontalKidi: vertical / frontalKili: vertical / frontalKin: oblique / half lateralKinanda: oblique / half lateralKinnari vina: vertical / frontalKiringi: oblique / half lateralKisaanj: oblique / half lateralKisfejes citera: oblique / half lateralKissar: vertical / frontalKit: vertical / frontalKkwaenggwari: vertical / frontalKokyu: vertical / frontalKomabue: horizontal / frontalKomun'go: horizontal / frontalKomuz: vertical / frontalKopuz: vertical / frontalKora: vertical / frontalKori: oblique / half lateralKoto: oblique / half lateralKotsuzumi: vertical / frontalKrajappi: vertical / frontalKrar: vertical / frontalKudu: vertical / frontalKundi: oblique / half lateralKundye: vertical / frontalKyi-waing: vertical / frontalKyi-zi: vertical / frontalLLaba: horizontal / lateralLamellaphone: oblique / half lateralLaunedddas: vertical / frontalLegwegwe: vertical / frontalLigombo: oblique / half lateralLikembe: oblique / half lateralLimonaire: vertical / frontalLira: vertical / frontalLira da braccio: vertical / frontalLira organizzata: oblique / half lateralLirone: vertical / frontalLithophone: vertical / frontalLituus: vertical / lateralLongdi: horizontal / frontalLu: vertical / frontalLudaya: horizontal / frontalLukombe: oblique / half lateralLuo: vertical / frontalLuogu: vertical / half lateralLur: vertical / lateralLutar: vertical / frontalLute: vertical / frontalLute-guitar: vertical / frontalLute-harpsichord: oblique / half lateralLutheal: oblique / half lateralLyra: vertical / frontalLyra glockenspiel: vertical / frontalLyre: vertical / frontalLyre guitar: vertical / frontalLyre piano: vertical / frontalLyre-bandurria: vertical / frontalMMachete: vertical / frontalMadaku: oblique / half lateralMadimba: oblique / half lateralMadiumba: oblique / half lateralMalakat: horizontal / lateralMamokhorong: vertical / frontalMandole: vertical / frontalMandolin: vertical / frontalMandoloncelle: vertical / frontalMandolone: vertical / frontalMandore: vertical / frontal57

Mandore: vertical / frontalManjira: horizontal / frontalManza: horizontal / lateralMaracas: vertical / frontalMarimba: oblique / half lateralMarimba: horizontal / frontalMasenqo: vertical / frontalMasul: vertical / frontalMattauphone: oblique / half lateralMazhar: vertical / half lateralMbejn: vertical / frontalMbila: oblique / half lateralMbira: oblique / half lateralMbombu: vertical / frontalMechanical clock: vertical / frontalMechanical harpsichord: oblique / half lateralMechanical organ: vertical / frontalMechanical pianoforte: oblique / half lateralMellophone: horizontal / lateralMellotron: horizontal / frontalMelodeon: oblique / half lateralMelodica: vertical / frontalMelophone: oblique / half lateralMendzan: oblique / half lateralMetallophone: oblique / half lateralMidi instrument: horizontal / frontalMi-gyaung: oblique / half lateralMijwiz: vertical / frontalMilanese mandolin: vertical / frontalMirliton: oblique / half lateralMishiba: vertical / frontalMizmar: vertical / frontalModeku: oblique / half lateralMokita: vertical / frontalMokkin: oblique / half lateralMokugyo: vertical / frontalMonochord: oblique / half lateralMouth bow: vertical / lateralMouth organ: vertical / lateralMrdanga: oblique / half lateralMukhavina: vertical / frontalMukupiela: vertical / frontalMurali: horizontal / frontalMurcang: horizontal / dorsalMusette: vertical / frontalMusette: vertical / half lateralMusical bow: vertical / lateralMusical bowl: vertical / frontalMusical box: vertical / half lateralMusical glasses: horizontal / frontalMusical saw: vertical / lateralMute cornett: vertical / frontalMuyu: oblique / half lateralMvet: horizontal / lateralMwanzi: vertical / frontalMyonga: oblique / half lateralNNafir: horizontal / lateralNagara: vertical / frontalNagasvaram:9.3.5 vertical / frontalNail violin: horizontal / frontalNakers: vertical / frontalNangara: vertical / frontalNaqqara: vertical / frontalNarsiga: horizontal / lateralNatural cornet: horizontal / lateralNatural trumpet: horizontal / lateralNaturhorn: horizontal / lateralNay: vertical / frontalNdere: vertical / frontalNdingidi: vertical / frontalNdjembo: oblique / half lateralNdongo: vertical / frontalNeapolitan mandolin: vertical / frontalNedomu: oblique / half lateralNembongo: horizontal / lateralNeocor: vertical / lateralNey-e anban: vertical / half lateralNgoma: vertical / frontalNgombi: oblique / half lateralNgonge: vertical / frontalNguru: vertical / frontalNkoko: vertical / frontalNkoni: vertical / frontalNokan: horizontal / frontalNonga: vertical / frontalNorthumbrian pipe: vertical / half lateralNose flute: horizontal / frontalNotched flute: vertical / frontalNupur: vertical / frontalNyastaranga: vertical / frontalNyckelharpa: vertical / frontalNyo: vertical / frontalOOboe: vertical / frontalOboe da caccia: vertical / half lateralOboe d'amore: vertical / frontalOcarina: horizontal / lateralOctavin: vertical / half lateralOctobass: vertical / frontalOdaiko: oblique / half lateralOliphant: horizontal / lateralOmbi: oblique / half lateralOmnitonic horn: horizontal / lateralOndes Martenot: horizontal / frontalOndioline: horizontal / frontalOne-string fiddle: vertical / frontalOphicleide: vertical / lateralOphimonocleide: vertical / lateralOrchestrion: vertical / frontalOrgan: vertical / frontalOrganistrum: oblique / half lateralOrpharion: vertical / frontalOrpharion: vertical / frontalOrpheon: oblique / half lateralOrphica: horizontal / frontalOtsuzumi: oblique / half lateralO-zi: vertical / frontalPPaiban: vertical / frontalPaixiao: vertical / frontalPakhavaj: oblique / half lateralPandeiro: vertical / half lateralPanduri: vertical / frontalPangi: horizontal / lateralPanpipe: vertical / frontalPara: oblique / half lateralPenny whistle: vertical / frontalPenorcon: vertical / frontalPercussion stick: horizontal / lateralPercussion tubes: vertical / frontal58

Phagotus: vertical / frontalPhorminx: vertical / frontalPi: vertical / frontalPi phat: horizontal / frontalPianet: horizontal / frontalPianino: vertical / frontalPiano à pédalier: oblique / half lateralPiano organise: vertical / frontalPiano table: horizontal / frontalPianoforte: oblique / half lateralPiano-guitar: vertical / frontalPiano-harp: vertical / frontalPianola: horizontal / frontalPicco pipe: vertical / frontalPiccolo flute: horizontal / frontalPifano: horizontal / frontalPiffaro: vertical / frontalPinak: vertical / lateralPipa: vertical / frontalP'iri: vertical / frontalPitu: vertical / frontalPiva: vertical / half lateralPlayer piano: horizontal / frontalPluriarc: oblique / half lateralPoikilorgue: horizontal / frontalPolyphon: oblique / half lateralPopgun: oblique / half lateralPortable harpsichord: oblique / half lateralPortative organ: vertical / frontalPortuguese guitar: vertical / frontalPositive organ: vertical / frontalPost horn: horizontal / lateralPsaltery, asymmetrical: oblique / half lateralPsaltery, symmetrical: horizontal / frontalPuk: vertical / half lateralPungi: vertical / frontalPu-ti-pu: vertical / frontalPuutoorino: vertical / frontalPyramid pianoforte: vertical / frontalPyrophone: vertical / frontalQQanun: oblique / half lateralQarqab: horizontal / frontalQasaba: vertical / frontalQin: oblique / half lateralQing: vertical / frontalQobuz: vertical / frontalQoshnai: vertical / frontalQuinticlave: vertical / lateralQuinton: vertical / frontalQuwaytara: vertical / frontalRRabab: vertical / frontalRababa: vertical / frontalRabel: vertical / frontalRacket: vertical / frontalRaft zither: horizontal / frontalRammana: vertical / half lateralRanat: oblique / half lateralRatchet: horizontal / lateralRattle with handle: vertical / frontalRattle without handle: oblique / half lateralRavanhattha: vertical / frontalRebec: vertical / frontalRecorder: vertical / frontalReed horn: horizontal / lateralReed organ: horizontal / frontalReedpipe: vertical / frontalRegal: oblique / half lateralRgya-gling: vertical / frontalRiqq: vertical / half lateralRkang-gling: horizontal / lateralRnga: vertical / half lateralRol-mo: horizontal / lateralRondador: vertical / frontalRothophone: vertical / half lateralRozhok: vertical / frontalRuan: vertical / frontalRussian bassoon: vertical / frontalRuudga: vertical / frontalRyuteki: horizontal / frontalSSackbut: horizontal / frontalSackbut: horizontal / lateralSaenghwang: vertical / lateralSahnai: vertical / frontalSajat: horizontal / lateralSakara: vertical / half lateralSalpinx: vertical / frontalSaluang: vertical / frontalSampler: horizontal / frontalSanasel: vertical / frontalSanfona: oblique / half lateralSanj: horizontal / frontalSankh: oblique / half lateralSanshin: vertical / frontalSantur: oblique / half lateralSanxian: vertical / frontalSanza: oblique / half lateralSao: horizontal / frontalSaradiya vina: vertical / frontalSarangi: vertical / frontalSarasvati vina: vertical / frontalSarinda: vertical / frontalSarod: vertical / frontalSaron barung: oblique / half lateralSaron demung: oblique / half lateralSaron panerus: oblique / half lateralSarong: vertical / frontalSarrusphone: vertical / lateralSarunai: vertical / frontalSatara: vertical / frontalSaung-gauk: oblique / half lateralSaxhorn: vertical / lateralSaxophone: vertical / half lateralSaxotromba: vertical / lateralSaz: vertical / frontalSbub-chal: horizontal / lateralSchreyerpfeife: horizontal / frontalScraped stick: vertical / frontalScraped vessel: horizontal / lateralScraper: vertical / lateralSe: oblique / half lateralSekere: vertical / frontalSeljefloyte: horizontal / frontalSerpent: vertical / frontalSerpent Forveille: vertical / frontalSerpentcleide: vertical / frontalSesheh: vertical / frontalSetar: vertical / frontalSgar dham: vertical / frontalSgra-snyan: vertical / frontal59

38. Photo credits• GNM: © Germanisches Nationalmuseum, Nürnberg. All photos Günther Kühnel, except:inv.nos. MI 75, MI 138, MIR 490; MI 408: Monika Runge; inv.no. Pl.O.3431:Georg Janßen.• ULEI: All photos: © Museum für Musikinstrumente der Universität Leipzig, exceptinv.nos. 4058 and 2423: © Museum für Musikinstrumente der Universität Leipzig,photo: Marion Wenzel.• SPK: © Stiftung Preußischer Kulturbesitz, Ethnologisches Museum, Berlin, photos:Verena Höhn (Inv.nos. I C 23801, VII b 146: SPK), Susanna Schulz (Inv.no. I C15351, VII a 6), Andreas Richter (Inv.nos. I C 30113 a,b and VII c 83).• UEDIN: © University of Edinburgh, Edinburgh.• CM: © Cité de la Musique, Paris. Inv.nos. E.112, E.715, E.983.8, E.2000.11.1,E.2000.29.1, E.2003.6.1, E.2294: photo Jean-Marc Anglès; inv.nos. E.140, E.796,E.995.18.1, E.996.4.1, E.1116, E.1117: photo Claude Germain.• RMCA: © Koninklijk Museum voor Midden-Afrika / Musée royal de l'Afrique centrale,Tervuren.• SMV-MTM: © Musik- & Teatermuseet, Stockholm.• MIM-BE: © Muziekinstrumentenmuseum / Musée des instruments de musique, Brussels:all photos: Simon Eagan, except inv.no. 2020: Anne Deknock.• AF: © Associazione "Amici del Museo degli Strumenti Musicali”, Florence.62