The bowerbird long admired by nature lovers for its quirky charms, one of which is building its bower with gaily coloured bits & pieces has been under study by researchers from the Universities of Edinburgh and St Andrew who are now studying the wild bird, to better understand its talent for mimicking the calls of other birds.

It may shed light on how and why birds learn to mimic other species helping future research into why the behaviour developed in birds. It may also explain why wild birds can pick up sounds like phones ringing and other repetitive noises.

Scientists studied male spotted bowerbirds in an Australian national park and found that they learn distinctive sounds by copying the species they are impersonating, rather than from other bowerbirds nearby. Recordings of the calls showed that birds living near each other had a similar repertoire of mimicry.

The birds' impersonations of two other species in the area - butcherbirds and kites - revealed slight variations between each bowerbird's versions of the calls. The differences show that the birds are copying the original species and not each other.

Some 20% of songbirds copy the sounds of other species. Some mimicry has a known purpose, as when cuckoo chicks dupe other species into feeding them. However, in many cases scientists do not know why mimicry happens or how it evolved. It might be to attract mates, to avoid being hunted, or birds may learn the wrong songs by accident.

Laura Kelley (right) of the University of Edinburgh's School of Biological Sciences, who led the study, said: "We know that lots of birds are gifted impersonators and copy the sounds of other birds, animals and people. However, less is known about why birds do this, or how this skill developed. Our discovery that mimics learn directly from other species is important and opens lots of doors for further research into why songbirds developed this ability."

The research, published in the journal Biology Letters, was funded by the Natural Environment Research Council.

SOUND MATURING DEVICE FOR STRINGS
When accomplished musician and engineer Agapitus (Augi) Lye (left) purchased a new cello, he lacked the time necessary to adequately play-in the instrument. Using his knowledge of acoustical physics and his engineering background, he developed a tool which would virtually eliminate the years of play required for his instrument’s tone to mature.

Surprised by improvements that occurred in such a short time through  ambitious studyof acoustical physics, advanced signal processing and industrial engineering, practiced musician engineer Lye, (left) Ryan Frankel with an army background in signal processing and  Hans Yeakel an industrial engineer  (right) together formed ToneRite.

Signature was the first commercially available product in early 2007.  This product took Augi's original design and took the next step in the required signal processing and mechanical engineering to make portable, home-use play-in devices a reality. 

By working with Luthiers around the globe ToneRite was able to learn and fine tune what would be required for every day use of their product as well as garnering crucial feedback.  The Signature worked as an instrument warm-up product and was small and light enough to take practically anywhere.

Tonerite (right for Ukelele $149) was designed to last a lifetime being run continuously and is so efficient at transferring energy to an instrument that it runs nearly silent.  Obviously, any noise generated is unused vibrationally energy and shows an inefficiency in the system. 

In mid-2008 ToneRite Inc launched their second play-in product, the ToneRite Luthier model.  This incorporated all new electronics as well as signal processing capability. The outer mold of the device was significantly improved for stability and versitility. Lessons and drawbacks learned from Signature were fixed and a new ToneRite born. 

"An initial ToneRite treatment of 72 hours is recommended and this will be the first step in achieving your instruments top potential. Subsequent treatments will be required to maintain and further develop your instrument. The ToneRite," the site points out, "is not designed to make a poor instrument great, it is simply designed to bring out the best in an instrument. Your instrument will retain its individual character but will be better balanced with more tone and playability.

Whether its bowerbirds or stringed instruements, the aim is to be the best, whether that means borrowing or buying, bird and luthier seem in agreement.