Inhaltsverzeichnis
Auswahl der wissenschaftlichen Literatur zum Thema „Guitare – Vibrations“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Guitare – Vibrations" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Guitare – Vibrations"
1
Ray, Tony, Jasmin Kaljun und Aleš Straže. „Comparison of the Vibration Damping of the Wood Species Used for the Body of an Electric Guitar on the Vibration Response of Open-Strings“. Materials 14, Nr. 18 (14.09.2021): 5281. http://dx.doi.org/10.3390/ma14185281.
Der volle Inhalt der QuelleAnnotation:
Research show that the vibrations of the strings and the radiated sound of the solid body electric guitar depend on the vibrational behavior of its structure in addition to the extended electronic chain. In this regard, most studies focused on the vibro-mechanical properties of the neck of the electric guitar and neglected the coupling of the vibrating strings with the neck and the solid body of the instrument. Therefore, the aim of the study was to understand how the material properties of the solid body could affect the stiffness and vibration damping of the whole instrument when comparing ash (Fraxinus excelsior L.) and walnut (Juglans regia L.) wood. In the electric guitar with identical components, higher modal frequencies were confirmed in the structure of the instrument when the solid body was made of the stiffer ash wood. The use of ash wood for the solid body of the instrument due to coupling effect resulted in a beneficial reduction in the vibration damping of the neck of the guitar. The positive effect of the low damping of the solid body of the electric guitar made of ash wood was also confirmed in the vibration of the open strings. In the specific case of free-free vibration mode, the decay time was longer for higher harmonics of the E2, A2 and D3 strings.
2
Chen, I.-Hsin, Yu-Ting Tsai und Zi-Wei Zheng. „Application of one-dimensional convolutional neural network in guitar factory quality inspection“. Journal of the Acoustical Society of America 154, Nr. 4_supplement (01.10.2023): A143. http://dx.doi.org/10.1121/10.0023063.
Der volle Inhalt der QuelleAnnotation:
After the completion of guitar manufacturing, it is necessary to conduct quality testing and final adjustments to ensure that the guitar meets the factory standards. This stage often requires the involvement of professional musicians. In this project, a supervised learning approach is employed, where guitar vibration signals are inputted and correspond to the output sound quality. Multiple test subjects perform guitar strumming, and the guitars are adjusted to simulate various abnormal conditions for experimental comparison. By classifying the differences in energy and frequency, different guitar factory standards are identified, and the stability of guitar quality is explored. For data analysis, a one-dimensional convolutional neural network (1D CNN) is used as the base model, analyzing the Mel-frequency cepstral coefficients to identify elements of stable guitar quality and tonal characteristics. The research results show that the model can predict variations due to factors, such as environmental temperature, humidity, and worn-out strings, ensuring objective and consistent analysis of each guitar's factory quality. This innovative technology eliminates the need for traditional labor-intensive inspection procedures, enabling the traditional luthier industry to utilize automated methods for rapid factory testing.
3
Longo, Giacomo, Sebastian Gonzalez, Jon Dewitt Enriquez Dalisay, Thomas Nania und Fabio Antonacci. „Influence of thickness profile and bracing pattern in the radiation patterns of archtop guitars“. Journal of the Acoustical Society of America 157, Nr. 2 (01.02.2025): 1141–50. https://doi.org/10.1121/10.0035805.
Der volle Inhalt der QuelleAnnotation:
In this study, we investigate the influence of the thickness profile of the top plate and bracing pattern on the vibrational and acoustic properties of archtop guitars through finite element simulations. Starting from a laser scan of a real archtop guitar, we develop a fully parametric three-dimensional model of the guitar body. The thickness profile is parametrically controlled by adjusting the lower surface while maintaining the fixed upper surface. Both geometric and numerical modeling techniques are used to analyze the mechanical behavior of the guitar, including modal analysis, and acoustic behavior, focusing on sound intensity, and directivity. Our simulations reveal that variations in the thickness profile significantly affect the modal response and sound radiation patterns. In particular, we highlight the relationship between the vibrational modes and radiation patterns, demonstrating that changes in thickness lead to shifts in eigenfrequencies and variations in radiated sound pressure levels. The models and simulation code are made openly available to facilitate further research in the acoustics of archtop guitars.
4
Burgos-Pintos, Álvaro, Francisco Fernández-Zacarías, Pedro F. Mayuet, Ricardo Hernández-Molina und Lucía Rodríguez-Parada. „An Analysis of the Displacements in 3D-Printed PLA Acoustic Guitars“. Polymers 16, Nr. 15 (24.07.2024): 2108. http://dx.doi.org/10.3390/polym16152108.
Der volle Inhalt der QuelleAnnotation:
This study focuses on the analysis of the displacements generated in 3D-printed acoustic guitar tops. Specifically, the influence of 3D printing direction parameters on the vibrational behavior of a guitar top designed for polylactic acid (PLA) by analyzing five points of the top surface at a reduced scale. For this purpose, finite element tests and laboratory experiments have been carried out to support the study. After analyzing the results, it can be affirmed that the vibrational response in reduced-scale top plates can be modified and controlled by varying the printing direction angle in additive manufacturing, providing relevant information about the displacement in the vibrational response of PLA acoustic guitars. Furthermore, this work shows that the behavior of a specific acoustic guitar design can be characterized according to a specific need.
5
Su, Kuan-Cheng, Tsung-Yu Hsieh, Wei-Chih Lin, Fu-Li Hsiao, Tatyana Ryzhkova und Chii-Chang Chen. „A Three-Dimensional Method for Analysis of the Body Mode of Classical Guitars Using a Laser Displacement Sensor“. Sensors 24, Nr. 16 (09.08.2024): 5147. http://dx.doi.org/10.3390/s24165147.
Der volle Inhalt der QuelleAnnotation:
In classical guitar acoustic spectra, the lowest frequency body mode’s amplitude often significantly surpasses that of the string overtones. However, the characteristics of the body mode have not been systematically utilized to quantitatively represent the timbre of classical guitars. In this study, we propose a quantitative method for describing the body mode, which can effectively differentiate the timbre of classical guitars. Our approach involves three key parameters presented in a three-dimensional space, as follows: the frequency and quality factors of the body mode, along with the amplitude ratio of the plucked string note to the body mode in the soundboard’s vibration spectrum. This representation allows for the visualization, quantitative comparison, and classification of the body mode note and damping properties across classical guitars. The differences in body mode among guitars can be analyzed quantitatively using Euclidean distance.
6
Rau, Mark, und Gary Scavone. „A comparison of various steel-string acoustic guitars’ modal response with relation to typical playing styles“. Journal of the Acoustical Society of America 155, Nr. 3_Supplement (01.03.2024): A60. http://dx.doi.org/10.1121/10.0026800.
Der volle Inhalt der QuelleAnnotation:
Steel-string acoustic guitars are built with large variations in geometry and materials, leading to different-sounding instruments. Musicians will have preferences for geometries or woods depending on certain musical styles or personal preferences regarding tonal characteristics. For example, dreadnought-style guitars with either mahogany or rosewood back and sides and a spruce top are overwhelmingly preferred for bluegrass music. This work presents the beginnings of a project to collect measurements from a vast and varied collection of guitars attempting to span the ranges of guitar woods and geometries. Vibration and acoustic measurements of the instruments are captured and modal analysis is performed to extract the modal frequencies, damping ratios, and amplitudes of the prominent modes. The modal characteristics among them are compared to better understand the most prominent differences with an attempt to learn why certain geometries or woods are preferred for specific genres of music and playing styles. The dataset is continuing to grow and currently includes measurements of twenty different guitars.
7
Torres, Jesús Alejandro, und Reydezel Torres-Martínez. „Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements“. Archives of Acoustics 40, Nr. 3 (01.09.2015): 351–58. http://dx.doi.org/10.1515/aoa-2015-0038.
Der volle Inhalt der QuelleAnnotation:
AbstractThe feasibility of substituting the types of wood usually employed in the making of guitars and violins was analyzed, but without comparing the properties of involved materials as it is often reported; in this work, the vibrational behavior of twelve guitars and three violins built with alternative types of woods was compared to data of classical instruments available in the literature. In the guitars here measured, the back plate and ribs were not made from traditional woods; while in the violins, only the top plate was made from an alternative type of wood. The results showed that changing the wood of back plate and ribs does not radically affect the typical mobility of a guitar; however, the expected mobility for a violin was not clearly obtained substituting the wood of the top plate. Thus it seems feasible to substitute the wood of back plate and ribs in guitars without causing dramatic changes in their performance; in contrast, a change of the wood type for top plate in violins seems inadvisable unless the design of the top plate is modified to compensate the differences between the woods.
8
Burgos Pintos, Álvaro, Pedro Francisco Mayuet, María Alonso Gracía und Lucía Rodríguez-Parada. „Methodology for the Acoustic Analysis of Acoustic Guitar Top Plates Designs by Additive Manufacturing“. Key Engineering Materials 956 (29.09.2023): 71–79. http://dx.doi.org/10.4028/p-3l0hgi.
Der volle Inhalt der QuelleAnnotation:
Nowadays, tools such as Additive Manufacturing (AM) contribute directly to an increase in the value of Industrial Design through the development of new products focused on customization. Specifically, the acoustic guitar is a good example of this, because it is a complex product to study due to the great variety of possible designs depending on the materials and the way they are obtained, which has repercussions on the final sound of the instrument. Due to the above, this paper develops a methodology for the study of the acoustic response depending on the design of an acoustic guitar using AM with Polylactic Acid (PLA) material. The methodology is divided into two types of tests: an acoustic test to capture the frequencies emitted by transmitting a sweep of frequencies across the audible spectrum to the soundboard, and another to visualize the vibrational patterns at five specific harmonic frequencies of the guitar by analyzing the movement of the soundboard and the influence of the bracing. This second test includes the PLA designed top with a reinforcement structure in its soundboard and a case in order to compare this design with a wooden guitar of the same size whose top has no reinforcement at all. From the tests carried out, it can be seen that the acoustics recorded by a top made of PLA can provide a good acoustic response compared to a wooden guitar, giving the possibility to create customized guitars according to the musician's tastes.
9
Anderson, M. B., und R. G. Beausoleil. „Classical guitar intonation and compensation: The well-tempered guitar“. Journal of the Acoustical Society of America 156, Nr. 1 (01.07.2024): 683–705. http://dx.doi.org/10.1121/10.0026483.
Der volle Inhalt der QuelleAnnotation:
An intuitive model of classical guitar intonation is presented that includes the effects of the resonant length of the fretted string, linear mass density, tension, and bending stiffness. An expression is derived for the vibration frequencies of a stiff string using asymmetric boundary conditions at the saddle and the fret. Based on logarithmic frequency differences (“cents”) that decouple these physical effects, Taylor series expansions are introduced that exhibit clearly the origins of frequency deviations of fretted notes from the corresponding 12-tone equal temperament (12-TET) values. A simple in situ technique is demonstrated for measurement of the changes in frequency of open strings arising from small adjustments in length, and a simple procedure is proposed that any interested guitarist can use to estimate the corresponding frequency shifts due to tension and bending stiffness for their own guitars and string sets. Based on these results, a least-squares fit method is employed to select values of saddle and nut setbacks that map fretted frequencies—for a particular string set and guitar—almost perfectly onto their 12-TET targets. A general approach to tempering an “off-the-shelf” guitar is shown to further reduce the tonal errors inherent in any fretted musical instrument.
10
Askenfelt, Anders, und Erik V. Jansson. „On Vibration Sensation and Finger Touch in Stringed Instrument Playing“. Music Perception 9, Nr. 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.
Der volle Inhalt der QuelleAnnotation:
The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.
Dissertationen zum Thema "Guitare – Vibrations"
1
Paté, Arthur. „Lutherie de la guitare électrique solid body : aspects mécaniques et perceptifs“. Thesis, Paris 6, 2014. http://www.theses.fr/2014PA066461/document.
Der volle Inhalt der QuelleAnnotation:
Le son d'une guitare électrique solid body provient principalement du système électroacoustique rayonnant le signal de vibration de la corde. L'essentiel des travaux antérieurs s'est ainsi focalisé sur les amplificateurs, pédales d'effet, pickups, etc. Cependant, la vibration des cordes reste à l'origine du son. La modélisation du couplage entre la corde et la structure de la guitare permet de montrer l'influence de cette dernière sur le son de l'instrument. Nous vérifions ce que revendiquent certains luthiers et musiciens : la qualité de la fabrication mécanique de l'instrument joue bien un rôle important dans le son. La modification des éléments de lutherie permet une modification de la structure, donc du son. Une collaboration avec des luthiers nous a permis d'étudier des éléments de lutherie d'une manière raisonnée et réaliste. Les études mécaniques des guitares permettent de dégager une caractérisation des éléments de lutherie par l'analyse modale expérimentale. Une analyse psycholinguistique du discours des guitaristes électriques professionnels s'inscrivant dans une démarche de cognition située montre que ceux-ci sont sensibles aux éléments de lutherie. La notion d'élément de lutherie est élargie à deux nouveaux objets : l'évolution du comportement vibratoire au cours de la construction, et la variabilité de fabrication en fin de chaîne de production industrielle. En effet, l'histoire de la guitare électrique solid body contraste avec celle de la plupart des autres instruments de musique : sa conception est originellement pensée pour une production de masse. L'analyse vibro-acoustique et l'appréciation de l'instrument par les musiciens doivent en tenir compteThe sound of the solid body electric guitar comes mostly from the electro-acoustic system radiating the string vibration signal. Most of the previous studies have therefore been focusing on the amplifiers, effect pedals, pickups, etc. However, the string remains the origin of the sound. A model of the coupling between the string and the structure of the guitar shows that the structure has an influence on the sound. We check here what some luthiers and musicians affirm: the quality of the lutherie really matters for the sound.Modifications of the lutherie parameters alter the structure, hence the sound. A collaboration with luthiers allowed us to study some lutherie parameters in a reasonable and realistic way. A mechanical characterisation of the lutherie parameters is possible through experimental modal analysis. On the perception side, a situated cognitive approach is used together with a psycholinguistical analysis of the professional electric guitar players' verbalisations. It is shown that the players are sensitive to the lutherie parameters.The concept of lutherie parameter is extended to two new objects: the evolution of the vibratory behaviour of the guitars during the production process, and the variability at the end of the industrial production chain. As a matter of fact, the history of the solid body electric guitar contrasts with that of most of the other musical instruments. The solid body electric guitar was originally thought to be mass-produced. The vibro-acoustic analysis, and the musicians' judgements may take it into account
2
Giro, Yvan. „De l'usage du prototypage virtuel pour le choix de matériaux alternatifs en facture instrumentale : le cas de la guitare acoustique“. Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUS625.pdf.
Der volle Inhalt der QuelleAnnotation:
Certaines espèces de bois utilisées pour la fabrication d'instruments de musique sont en déclin ou proviennent d'écosystèmes menacés. En conséquence, ces espèces sont soumises à des restrictions qui amènent le secteur de la facture instrumentale à envisager puis à identifier des solutions alternatives, telles que l'usage de bois non-tropicaux ou de matériaux composites. Dans ce contexte, le prototypage virtuel des instruments peut permettre d'anticiper les conséquences de l'usage de matériaux alternatifs et faciliter les décisions de conception. L'objectif de cette thèse est de proposer une approche allant en ce sens et de l'appliquer au cas de la guitare acoustique. En particulier, l'étude porte sur la modélisation numérique de la réponse dynamique d'une table d'harmonie de guitare acoustique dans le but de déterminer l'influence de ses paramètres matériaux et géométriques. Dans une première partie, des éléments de contexte concernant la guitare acoustique et les matériaux employés pour sa fabrication sont présentés. L'évolution de la facture de l'instrument à travers son histoire et la diversité observée vis-à-vis de différents aspects de sa conception sont évoquées. Les spécificités de l'épicéa couramment employé pour la fabrication de la table d'harmonie sont également présentées, comme base de réflexion. Dans la deuxième partie de l'étude, un modèle numérique de la table d'harmonie de la guitare est réalisé. Les propriétés de ses matériaux constitutifs sont d'abord caractérisées expérimentalement dans le cas de l'épicéa et de composites à base de fibres de lin et à structure sandwich, et identifiées via un modèle aux éléments finis et une méthode de recalage. Puis un modèle de la table d'harmonie est employé pour prédire ses modes vibratoires, qui sont comparés à des résultats expérimentaux. Enfin, les cordes de l'instrument sont modélisées et couplées au modèle de table d'harmonie à l'aide de la formulation Udwadia-Kalaba. Cette méthode de sous-structuration dynamique est employée pour synthétiser des signaux de pincement de cordes grâce auxquels le rôle des paramètres de la table d'harmonie sur le son produit peut être évalué. La troisième partie exploite les résultats obtenus dans un contexte de facture instrumentale. Le modèle numérique de la table d'harmonie est employé pour évaluer l'importance de ses différents paramètres sur les caractéristiques dynamiques de la guitare, via une étude de sensibilité. Pour conclure l'étude, l'optimisation géométrique d'une table d'harmonie composite est réalisée afin de minimiser l'écart de ses fréquences de résonance à celles d'une table d'harmonie de référence en épicéa. Les paramètres d'ajustement employés sont ceux dont l'analyse de sensibilité a permis de vérifier l'importance sur la dynamique de la table. La qualité de l'optimum atteint est évaluée par la comparaison de signaux de pincement de cordes synthétisésSome species of wood used to make musical instruments are in decline or come from threatened ecosystems. As a result, these species are subject to restrictions that are leading the instrument-making sector to consider and then identify alternative solutions, such as the use of non-tropical woods or composite materials. In this context, virtual prototyping of instruments can help anticipate the consequences of using alternative materials and facilitate design decisions. The aim of this thesis is to propose an approach that goes in this direction and to apply it to the case of the acoustic guitar. In particular, the study focuses on the numerical modelling of the dynamic response of an acoustic guitar soundboard in order to determine the influence of its material and geometric parameters. In the first part, background information on the acoustic guitar and the materials used in its manufacture is presented. The evolution of the construction of the instrument throughout its history and the diversity observed with regard to different aspects of its design are discussed. The specific characteristics of the spruce commonly used to make the soundboard are also presented, as a basis for reflection. In the second part of the study, a numerical model of the guitar soundboard is developed. The properties of its constituent materials are first characterized experimentally in the case of spruce and sandwich-structured flax fibre composites, and identified using a finite element model and a fitting method. A model of the soundboard is then used to predict its vibratory modes, which are compared with experimental results. Finally, the strings of the instrument are modelled and coupled to the soundboard model using the Udwadia-Kalaba formulation. This dynamic substructuring method is used to synthesize string plucking signals, by means of which the role of the soundboard parameters on the sound produced can be evaluated.The third part exploits the results obtained in an instrument-making context. The numerical model of the soundboard is used to evaluate the importance of its various parameters on the dynamic characteristics of the guitar, via a sensitivity study. To conclude the study, the geometric optimization of a composite soundboard is carried out to minimize the deviation of its eigenfrequencies from those of a reference spruce soundboard. The adjustment parameters used are those whose importance on the dynamics of the soundboard has been verified by sensitivity analysis. The quality of the optimum achieved is assessed by comparing synthesized string plucking signals
3
Issanchou, Clara. „Vibrations non linéaires de cordes avec contact unilatéral. Application aux instruments de musique“. Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066122/document.
Der volle Inhalt der QuelleAnnotation:
Les contacts entre une corde vibrante et un obstacle unilatéral interviennent dans de nombreux instruments de musique tels que la tampoura, le sitar ou encore la basse électrique. Ils introduisent une forte non-linéarité dans le mouvement de la corde, qui se traduit notamment par d'importants transferts d'énergie. Dans ce manuscrit, une étude à la fois numérique et expérimentale du contact corde/obstacle est proposée. Trois types de schémas conservatifs sont développés. Ils s'appuient sur une description modale de la corde, ce qui permet un ajustement des fréquences propres et amortissements pour chaque mode. De plus, deux modèles de contact et frottement sont considérés, l'un régularisant et l'autre non. Des comparaisons à la solution analytique dans le cas d'un obstacle ponctuel sont menées et permettent une première validation des modèles. Des protocoles expérimentaux sont ensuite mis en place pour l'étude d'une corde isolée en présence d'un obstacle ponctuel, puis dans le cas d'une corde installée sur une basse électrique, munie ou non de frettes. Une forte concordance des signaux expérimentaux et numériques est observée sur des temps longs, montrant la capacité des modèles à rendre compte des éléments principaux observés expérimentalement. Enfin, une étude paramétrique est conduite dans le cas d'une basse munie de frettes, montrant l'influence de paramètres tels que la position de pincement de la corde et le réglage des frettes sur le son produit. Ces ajustements sont directement liés à des problématiques récurrentes et centrales rencontrées par les musiciens et les luthiersCollisions between a vibrating string and a unilateral obstacle arise in a number of instruments such as tanpuras, sitars and electric basses. Contacts introduce a strong nonlinearity in the string motion, resulting in energy transfers. In this document, a numerical and experimental study of string/obstacle contacts is investigated. Three conservative numerical schemes are developed. They rely on a modal description of the string, so that a fine tuning of eigenfrequencies and damping parameters is possible for each mode. Moreover, contact and friction models are numerically treated either with a penalty approach or with a nonsmooth contact dynamics method. In the case of a point obstacle, comparisons to an analytical solution constitute a first validation of models. Experiments are then carried out in the case of an isolated string vibrating against a point obstacle, as well as in the case of a string vibrating against the neck of a fretted or fretless electric bass on which the string is installed. A good agreement is observed between numerical and experimental signals over long durations, showing the ability of models to take into account the essential physical features experimentally observed. Finally, a parametric study is led on a fretted electric bass, showing the influence of parameters such as the plucking position and the fretboard profile on the resulting sound. These adjustements are directly related to common and central issues met by guitar makers and players
4
Orelli, Paiva Guilherme. „Vibroacoustic Characterization and Sound Synthesis of the Viola Caipira“. Thesis, Le Mans, 2017. http://www.theses.fr/2017LEMA1045/document.
Der volle Inhalt der QuelleAnnotation:
La viola caipira est un type de guitare brésilienne largement utilisée dans la musique populaire. Elle comprend dix cordes métalliques organisées en cinq paires, accordées à l'unisson ou à l'octave. Le travail de thèse porte sur l'analyse des spécificités des sons musicaux produits par cet instrument, peu étudié dans la littérature.L'analyse des mouvements des cordes pincées au moyen d'une caméra rapide montre l'importance des vibrations par sympathie qui donnent lieu à un halo sonore, constituant une signature perceptive importante. Ces mesures révèlent également l'existence de chocs entre cordes, qui ont des conséquences très clairement audibles. Les mobilités vibratoires au chevalet sont par ailleurs mesurées au moyen de la méthode du fil brisé, simple de mise en oeuvre et peu couteuse dans la mesure où elle évite l'utilisation d'un capteur d'effort. Associée à une analyse modale haute résolution (méthode ESPRIT), ces mesures permettent de déterminer les déformées modales aux points de couplage corde/caisse et donc de caractériser l'instrument.Une modélisation physique, basées une approche modale, est réalisée à des fins de synthèse sonore. Elle prend en compte les mouvements des cordes selon 2 polarisations, les couplages avec la caisse ainsi que les collisions entre cordes. Ce modèle est qualifié de modèle hybride car il combine une approche analytique pour décrire les vibrations des cordes et des données expérimentales décrivant la caisse.Les simulations dans le domaine temporel rendent compte des principales caractéristiques identifiées de la viola caipiraThe viola caipira is a type of Brazilian guitar widely used in popular music. It consists of ten metallic strings arranged in five pairs, tuned in unison or octave. The thesis work focuses on the analysis of the specificities of musical sounds produced by this instrument, which has been little studied in the literature.The analysis of the motions of plucked strings using a high speed camera shows the existance of sympathetic vibrations, which results in a sound halo, constituting an important perceptive feature. These measurements also reveal the existence of shocks between strings, which lead to very clearly audible consequences. Bridges mobilities are also measured using the wire-breaking method, which is simple to use and inexpensive since it does not require the use of a force sensor. Combined with a high-resolution modal analysis (ESPRIT method), these measurements enable to determine the modal shapes at the string/body coupling points and thus to characterize the instrument.A physical modelling, based on a modal approach, is carried out for sound synthesis purposes. It takes into account the strings motions according to 2 polarizations, the couplings with the body and the collisions between strings. This model is called a hybrid model because it combines an analytical approach to describe the vibrations of strings and experimental data describing the body. Simulations in the time domain reveal the main characteristics of the viola caipira
5
David, Bertrand. „Caractérisations acoustiques de structures vibrantespar mise en atmosphère raréfiée.Méthodes d'estimation relatives aux fréquences et amortissements des modes propres.Applications en acoustique musicale“. Phd thesis, Université Pierre et Marie Curie - Paris VI, 1999. http://tel.archives-ouvertes.fr/tel-00011508.
Der volle Inhalt der QuelleAnnotation:
Nous proposons une méthode expérimentale destinée à caractériser l'interaction structure-fluide léger, lorsque les vibrations sont en régime linéaire. Cette méthode s'appuie sur la comparaison entre les fréquences et facteurs d'amortissement des modes propres mesurés lorsque la structure vibre dans l'air et ces mêmes paramètres modaux mesurés en atmosphère raréfiée.Deux méthodes ---non paramétrique et paramétrique--- de traitement du signal sont mises en oeuvre afin de traiter automatiquement un grand nombre de modes. Leur performances d'estimation sont évaluées avec soin, donnant ainsi l'accès aux incertitudes, essentiel pour effectuer des comparaisons valides sur les paramètres
modaux. La méthode paramétrique s'avère nécessaire pour estimer les partiels à composantes exponentielles complexes multiples, dont les fréquences sont trop proches pour être séparables par l'analyse de Fourier.
L'étude de plaques métalliques minces en vibration libre constitue une validation de la méthode expérimentale : l'impédance acoustique, le facteur de rayonnement et
d'autres grandeurs acoustiques déduites de la mesure pour chaque mode de vibration sont cohérentes avec le comportement vibroacoustique attendu. Les rendements acoustiques observés pour une plaque en acier sont de l'ordre de 10% pour les fréquences modales inférieures à la fréquence de coïncidence et supérieurs à 50% pour les fréquences supérieures à celle-ci. Pour la guitare, nous proposons un modèle simple qui décrit le
couplage corde-chevalet en terme d'admittance au chevalet et qui permet d'expliquer pourquoi certains partiels de la vibration de corde présentent des amortissements plus forts dans le vide. Le rendement acoustique de la guitare varie entre 15 et 60% sur
la gamme de fréquence 80-2500 Hz. Enfin, les méthodes de traitement ont permis d'évaluer l'effet acoustique de la restauration du carillon de Perpignan : une tenue
des notes de 15 à 25% supérieure en moyenne après restauration.
6
Richardson, Stephen Jon. „Acoustical parameters for the classical guitar“. Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390804.
Der volle Inhalt der Quelle
7
Ромбовський, Михайло Юрійович, Михаил Юрьевич Ромбовский, Mykhailo Yuriiovych Rombovskyi und С. М. Мальченков. „Колебания на основе музыкального инструмента - гитары“. Thesis, Издательство СумГУ, 2011. http://essuir.sumdu.edu.ua/handle/123456789/14035.
Der volle Inhalt der Quelle
8
Paiva, Guilherme Orelli 1987. „Análise modal vibroacústica da caixa de ressonância de uma viola caipira“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/263227.
Der volle Inhalt der QuelleAnnotation:
Orientador: José Maria Campos dos SantosDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica
Made available in DSpace on 2018-08-22T11:33:43Z (GMT). No. of bitstreams: 1 Paiva_GuilhermeOrelli_M.pdf: 4245499 bytes, checksum: dbf4eaee15fa8956c837eb4d59464baf (MD5) Previous issue date: 2013
Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos
Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed
Mestrado
Mecanica dos Sólidos e Projeto Mecanico
Mestre em Engenharia Mecânica
9
Jeřábek, Vojtěch. „Systém automatického ladění pro sedmistrunné kytary“. Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2017. http://www.nusl.cz/ntk/nusl-318192.
Der volle Inhalt der QuelleAnnotation:
The thesis describes a realization of the automatic self tuning system for sevenstring guitars. There are comparisons of commercial and uncommercial solutions for six-string guitars. There is also evaluation of useful parts for seven-string guitars. Thesis contains a description of a requirements for individual parts and a control software with respect on real guitar properties and used computing algorithm. In the second part of thesis, there is a description of final system design and its realisation including the control software. This is also related with testing of the entire system.
10
Werneck, Nicolau Leal. „Analise da distorção musical de guitarras eletricas“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259107.
Der volle Inhalt der QuelleAnnotation:
Orientador: Furio DamianiDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Eletrica e de Computação
Made available in DSpace on 2018-08-11T03:06:29Z (GMT). No. of bitstreams: 1 Werneck_NicolauLeal_M.pdf: 1556046 bytes, checksum: 677310006250588d7e6a0fb0eedfc170 (MD5) Previous issue date: 2007
Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico
Resumo: Existem diversos problemas ligados à análise de sinais musicais que podem se beneficiar de um conhecimento mais detalhado da estrutura dos sinais gerados pelos diferentes instrumentos. Entre eles se destaca a compressão de sinais baseada em áudio estruturado, onde o codificador determina a partir de um sinal parâmetros para reproduzí-lo com um sintetizador inspirado em modelos físicos dos instrumentos. Para realizar este tipo de análise e síntese é necessário conhecermos as características físicas dos instrumentos e dos sinais produzidos. Este conhecimento é ainda útil para auxiliar no desenvolvimento de instrumentos e outros equipamentos utilizados por músicos para obter o timbre desejado. Esta dissertação apresenta experimentos realizados com uma guitarra elétrica para revelar a dinâmica não-linear de suas cordas e seu filtro linear associado, comparação de sinais gravados com resultados esperados por modelos matemáticos da forma de onda, e ainda uma proposta de uma potencial técnica para a medição de parâmetros para um modelo matemático de um circuito de distorção musical, além de uma maneira de se mapear um par destes parâmetros para um espaço de maior significado psicoacústico
Mestrado
Eletrônica, Microeletrônica e Optoeletrônica
Mestre em Engenharia Elétrica
Bücher zum Thema "Guitare – Vibrations"
1
French, Richard Mark. Technology of the Guitar. Boston, MA: Springer US, 2012.
Den vollen Inhalt der Quelle finden
2
French, Richard Mark. Technology of the Guitar. Springer, 2012.
Den vollen Inhalt der Quelle finden
3
French, Richard Mark. Technology of the Guitar. Springer, 2014.
Den vollen Inhalt der Quelle finden
5
French, Richard Mark. Engineering the Guitar: Theory and Practice. Springer, 2008.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Guitare – Vibrations"
1
Terashima, Osamu, Taisei Ito, Hiroyuki Yamada, Shota Mizukami, Ryoma Morisaki und Toshiro Miyajima. „Experimental Study on the Effects of Pickguard Material on the Sound Quality of Electric Guitars“. In Vibration Engineering for a Sustainable Future, 91–97. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-48153-7_12.
Der volle Inhalt der Quelle
2
Okubo, Nobuyuki, Naoaki Iwanaga und Takeshi Toi. „Vibration and Acoustic Analysis of Acoustic Guitar in Consideration of Transient Sound“. In Rotating Machinery, Hybrid Test Methods, Vibro-Acoustics & Laser Vibrometry, Volume 8, 177–86. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30084-9_17.
Der volle Inhalt der Quelle
3
Lähdeoja, Otso. „GUITARE AUGMENTÉE : ANALYSE DU DÉVELOPPEMENT D’INSTRUMENTS HYBRIDES, APPUYÉE PAR DEUX ÉTUDES DE CAS“. In Quand la guitare [s']électrise!, 115–40. Sorbonne Université Presses, 2022. http://dx.doi.org/10.70551/cwmw4761.
Der volle Inhalt der QuelleAnnotation:
Partant d’une analyse de la guitare électrique en tant qu’instrument augmenté, nous présentons une suite de recherches sur l’augmentation de la guitare électrique et acoustique, effectuées par l’auteur durant les cinq dernières années. En premier lieu, nous abordons le contrôle des effets de la guitare électrique par une série de travaux sur des capteurs attachés à la guitare et opérables par l’instrumentiste. De nouveaux couplages geste-son sont ainsi créés dans la relation instrumentale, permettant d’introduire le contrôle de traitement du signal dans le vocabulaire gestuel de la guitare. Dans un second temps, nous présentons la stratégie d’extraction de données liées au geste à partir du signal capté sur la guitare en hexaphonie. Des analyses du signal effectuées dans les domaines temporel et spectral offrent un ensemble de descripteurs qui peuvent être employés pour le contrôle de traitements du signal. Le troisième moment de l’exposé traite de l’augmentation de la guitare acoustique (cordes nylon et acier) par l’introduction de l’acoustique active. Par acoustique active, nous entendons des vibrations induites dans le corps de la guitare par des actuateurs acoustiques. Le son acoustique de la guitare peut ainsi être doublé par des sons électroniques, et une boucle de « captation – traitement – actualisation » peut être instaurée sur l’instrument. Une guitare hybride – électroacoustique – est ainsi créée, permettant de travailler sur une esthétique de « musique de chambre électronique » : une musique mixte sans haut-parleurs traditionnels, où les sons électroniques émanent des instruments acoustiques.
4
Paté, Arthur. „APPROCHE DE LA GUITARE ÉLECTRIQUE SOLID BODY PAR L’ACOUSTIQUE“. In Quand la guitare [s']électrise!, 99–113. Sorbonne Université Presses, 2022. http://dx.doi.org/10.70551/lwts4713.
Der volle Inhalt der QuelleAnnotation:
Le son perçu d’une guitare électrique solid body provient principalement du système électroacoustique rayonnant le signal de vibration des cordes. L’essentiel des travaux antérieurs en acoustique et traitement du signal audio s’est ainsi focalisé sur les amplificateurs, pédales d’effet, pickups, etc. Cependant, la vibration des cordes reste bel et bien à l’origine du son. L’article s’attache à démontrer que le son de la guitare électrique est conditionné par la qualité de la fabrication mécanique de l’instrument, même si celui-ci est dit électroacoustique. Par couplage mécanique, les propriétés vibratoires de la structure, déterminées par les éléments de lutherie (bois, géométrie, etc.), influencent la vibration des cordes, donc le son résultant. Un premier corpus de guitares (pertinentes des points de vue à la fois organologique, économique et musicologique), dont un seul élément de lutherie a été volontairement rendu variant, a été étudié via des approches mécanique (analyse vibratoire) et perceptive (analyse linguistique des entretiens en situation de jeu). Les onze résultats permettent d’expliquer certaines différences sonores et montrent que les musiciens sont capables d’identifier la variation d’un élément de lutherie. Constatant que des guitares voulues identiques peuvent présenter des caractéristiques contrastées, on peut s’intéresser au processus de fabrication lui-même. Ainsi deux autres corpus ont été utilisés pour étudier l’évolution du comportement vibratoire au cours de la construction et analyser la variabilité inter-instrument en fin de chaîne de production industrielle, montrant le savoir-faire des luthiers pour minimiser la variabilité et l’importance du choix des matériaux. En conclusion, nous montrons que les éléments de lutherie de la guitare électrique peuvent participer au son de l’instrument: les musiciens y sont sensibles et certains descripteurs vibratoires en rendent compte.
5
Acheson, David. „Good Vibrations“. In 1089 and All That, 93–102. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198516231.003.0010.
Der volle Inhalt der QuelleAnnotation:
Abstract I play a bit of jazz guitar in my spare time, and my great hero is Django Reinhardt. Django was a Belgian gypsy, and made his name as a jazz guitar genius in the late 1930s with the Quintette du Hot Club de France, pictured above. (Django is second from the right.) Despite losing the use of two fingers in a caravan fire, he had a devastating guitar technique, and was famous for blisteringly fast solos.
6
Berg, Christopher. „Slurs“. In The Classical Guitar Companion, 106–27. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0005.
Der volle Inhalt der QuelleAnnotation:
Explanations of slur technique, known also as ligado, in guitar methods tend to be limited. This chapter looks at what Matteo Carcassi and Ferdinando Carulli called “vibration” or “´écho” slurs, which allow players to keep slurs aligned with strong and weak beats. Other composers, such as Felix Horetsky and Mauro Giuliani, indicated slurs that occur across beats as left-hand fingers slur all notes on a string within a position, regardless of the metric divisions. Music in this chapter explores both of these idiomatic techniques. The chapter concludes with an in-depth look at advanced slur technique by examining the relationship between where the left-hand fingertip contacts the string and the path the left-hand finger must take after the slur. Included are original diagrams and original exercises.
7
Steiner, Erich. „Partial differential equations“. In The Chemistry Maths Book. Oxford University Press, 2008. http://dx.doi.org/10.1093/hesc/9780199205356.003.0014.
Der volle Inhalt der QuelleAnnotation:
This chapter focuses on partial differential equations, which are equations that contains partial derivatives. It shows different examples that demonstrate a number of important principles in the solution of partial differential equations. The chapter describes the general solutions as well as the method of separation of variables. It particularly looks at the time-independent Schrödinger equation for the particle in a rectangular box, and in a circular box, and for the hydrogen atom. Furthermore, it discusses how the one-dimensional wave equation is applied to the vibrations of an elastic string, such as a guitar string. The chapter also introduces the phenomenon of degeneracy.
8
Stewart, Ian. „Faggot’s fretful fiasco“. In Music and Mathematics, 61–76. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198511878.003.0005.
Der volle Inhalt der QuelleAnnotation:
Abstract If you look at a guitar, mandolin, or lute—any stringed instrument with frets—you’ll see that the frets get closer and closer together as the note gets higher. This is a nuisance for the player, because there’s less room to fit the fingers in and because the distances you move your finger to get higher notes is not proportional to that for lower ones. But there’s a good reason why the frets have to be spaced the way they are: the notes won’t sound right otherwise. This is a consequence of the physics of vibrating strings.
9
Johnson, George. „Explanatory Writing“. In A Field Guide for Science Writers. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195174991.003.0026.
Der volle Inhalt der QuelleAnnotation:
I remember with some precision when I began believing that there is nothing so complex that a reasonably intelligent person cannot comprehend it. It was a summer day, when I was 15 or 16, and my best friend, Ron Light, and I decided that we wanted to understand how a guitar amplifier works. We both played in a mediocre I96os-era garage band. While Ron went on to become a fairly accomplished guitarist, I was slowly learning that any talent I had didn't lie within the realm of music. Already the aspiring little scientist, I was able to learn enough of the logic of basic harmony theory to execute the mindlessly simple algorithms called bass riffs, and if pressed I could even fire off a bass solo, the dread of concertgoers everywhere. But my approach to the performance was purely intellectual. I didn't have rhythm, or maybe soul. Poring over the symbols on the circuit diagram of Ron's Fender Deluxe Reverb amplifier seemed infinitely more interesting than trying to read music. I wanted to know what that impressively convoluted blueprint really meant, how electricity flowing through the labyrinth of wires and components could cause the tiny vibration of a guitar string to be multiplied so many times that it rocked the walls of the living room, inciting the neighbors to call the police. This was still the era of the vacuum tube, before those glowing glass envelopes were replaced by coldly efficient transistors and microchips. Electronics was pretty simple to understand. I had already learned some basics from The Boys' Second Book of Radio and Electronics and the guide for the Boy Scout electricity merit badge (the colorful embroidered patch was decorated with a human fist clutching zigzag lightning bolts). In a typical circuit, there were resistors that, true to their calling, resisted electricity, pinching the flow of electrons. There were capacitors, also aptly named, that stored electrical charges. There were tightly wound coils of copper wire called inductors that would hold energy in the form of electromagnetic fields. Finally, there were the vacuum tubes themselves, mysterious pockets of illuminated nothingness inside of which the actual amplification took place.
Konferenzberichte zum Thema "Guitare – Vibrations"
1
RICHARDSON, BE, und M. BROOKE. „MODES OF VIBRATION AND RADIATION FIELDS OF GUITARS“. In Acoustics '93. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20474.
Der volle Inhalt der Quelle
2
Esposito, Enrico, Claudio Santolini und Lorenzo Scalise. „Axe work II: vibro-acoustical study of solid-body electric guitars“. In Fifth International Conference on Vibration Measurements by Laser Techniques, herausgegeben von Enrico P. Tomasini. SPIE, 2002. http://dx.doi.org/10.1117/12.468185.
Der volle Inhalt der Quelle
3
Czajkowska, Marzena. „Analysis of classical guitars' vibrational behavior based on scanning laser vibrometer measurements“. In 10TH INTERNATIONAL CONFERENCE ON VIBRATION MEASUREMENTS BY LASER AND NONCONTACT TECHNIQUES - AIVELA 2012. AIP, 2012. http://dx.doi.org/10.1063/1.4730575.
Der volle Inhalt der Quelle
4
Lucas, Crisron Rudolf, und Franz de Leon. „Effects of changing material properties on vibration modes of guitar body“. In 2017 7th IEEE International Conference on Control System, Computing and Engineering (ICCSCE). IEEE, 2017. http://dx.doi.org/10.1109/iccsce.2017.8284394.
Der volle Inhalt der Quelle
5
BELDING, MATTHEW, ALI ENSHAEIAN und PIERVINCENZO RIZZO. „PREDICTING AXIAL STRESS IN CONTINUOUS WELDED RAILS USING MACHINE LEARNING“. In Structural Health Monitoring 2023. Destech Publications, Inc., 2023. http://dx.doi.org/10.12783/shm2023/37067.
Der volle Inhalt der QuelleAnnotation:
Buckling is a major contributor to derailments on continuous welded rails (CWRs) and is caused by extreme compression due to high temperatures. Thus, the determination of the axial stress is necessary to gauge when buckling may occur. As many techniques are often invasive, this study focuses on the latest advancements of an ongoing noninvasive technique based on the use of low-frequency vibrations using machine learning (ML). Based on the theory seen in guitar strings, the relationship between the frequency of vibration and tension/compression is used to associate spectral features to axial stress. This in turn enables the determination of the rail neutral temperature (RNT), which is the point at which the net longitudinal force is zero. As the RNT is not only a function of the stress but also varying boundary conditions associated with the ballast, fasteners, and ties, the RNT can change frequently over time. This stresses the need for a system that is also flexible to this variability. In order to capture some of this, field data was captured twice in Pueblo Colorado using several accelerometers where vibrations were induced with an instrumented hammer. Both a wood-tie and concrete-tie rail section were experimented on with the latter having a 5o curve. The accelerometers consisted of both wired and wireless sensors, with the wireless counterpart being used to prove the replacement of the wired in the second field test. Using the power spectral densities (PSDs) associated with the lateral and vertical direction as input to an artificial neural network (ANN), the RNTs were predicted and compared to those determined by an independent third party. Our predictions showed very good agreement with the RNT captured by conventional strain-gage rosettes. In this paper, an analysis of our two field tests as well as the impact of boundary conditions data on ML predictions is explored.
6
Kusumaningtyas, Indraswari, Tiko Rizki Sanjaya und Rizaldin Andwir. „Vibration simulation of guitar top plates from spruce and petung bamboo at subsequent production stages“. In DISRUPTIVE INNOVATION IN MECHANICAL ENGINEERING FOR INDUSTRY COMPETITIVENESS: Proceedings of the 3rd International Conference on Mechanical Engineering (ICOME 2017). Author(s), 2018. http://dx.doi.org/10.1063/1.5046249.
Der volle Inhalt der Quelle
7
Patil, Kiran, Javad Baqersad, Daniel Ludwigsen und Yaomin Dong. „Extracting vibration characteristics of a guitar using finite element, modal analysis, and digital image correlation techniques“. In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000465.
Der volle Inhalt der Quelle
8
Shoureshi, Rahmat A., und Mark Bell. „Analytical and Experimental Analysis of a Neural-Based Hybrid Vibration Control for Cable-Stayed Bridges“. In ASME 1996 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/imece1996-0919.
Der volle Inhalt der QuelleAnnotation:
Abstract Intelligent civil engineering structures which posses the capability to resist catastrophic seismic activities and high load degradation are of great interest to the scientific community and to the population at large. This research focuses on vibration reduction in large civil engineering structures using intelligent control techniques and multiple low power actuation devices. Electromagnetic shakers and hydromechanical adaptive filters are utilized as actuation devices. A complex, nonlinear civil engineering structure is considered, mathematically modeled, analyzed, and retrofitted with these actuators for experimental purposes.. A 1/150 scale model of the existing cable-stayed bridge was constructed from aluminum, steel, high tensile strength piano wire, and guitar machine heads (to facilitate cable tensioning) and is mounted on a rectangular steel base. The prototype has a standard cable-stayed bridge design with dual A-frame towers and a fan-type cable arrangement. It has an overall length of 10.5 feet and a tower height of approximately 1.5 feet. It is the goal of this paper to present intelligent control schemes that utilize a fixed controller design for disturbance rejection and uses intelligent adaptive controller to handle small plant perturbations. An adaptive control strategy that encompasses vibration reduction, system identification, hybrid actuation (i.e. the use of active, semi-active, and passive actuators in a single control system), and combined feedforward / feedback control is sought. Intelligent methods of system identification and disturbance prediction are also incorporated. Experimental results obtained from the experimental prototype are presented.
9
Giordano, Marcello, und Marcelo M. Wanderley. „Measuring the haptic behavior of an acoustic guitar as perceived by the player by means of a vibrating actuator“. In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799098.
Der volle Inhalt der Quelle
10
Kitto, Kathleen L. „Using Violin “Engineering” to Create Innovative Lecture Demonstrations to Actively Engage Materials Science Students“. In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84945.
Der volle Inhalt der QuelleAnnotation:
An introductory Materials Engineering course can be challenging for students since in that course it is often the first time where students must integrate their knowledge of mathematics, chemistry and physics to solve a wide variety of complex and, at times, abstract problems. Finding new methods to teach the course content in order to more actively engage students is equally challenging for instructors. Two years ago, students at Western Washington University began to study part of the course content in materials engineering within the less abstract framework of acoustic/materials signatures of stringed musical instruments (particularly, violin “engineering”). Students can be actively engaged in this subject by posing a rather simple question. Why does a violin or guitar sound the way it does? Trying to answer that very question with materials science (and geometry) in class is a new way instructors may use in their course to more actively engage their students in materials science. This paper describes the use of violin “engineering” to create innovative lecture demonstrations and presentations illustrating acoustic and materials signatures as course supplements for any basic materials engineering course. These demonstrations require only the use of a laptop computer, the academic version of the Adobe Audition® software package (or equivalent), an inexpensive condenser type microphone, an inexpensive student stringed instrument (violin or guitar), and aluminum and wood vibrating plates. The paper gives the exact specifications for the various components needed to create these new lecture and/or lab demonstrations. The approach is innovative in that it takes a fundamental (and expensive) methodology normally used in the acoustic research of violins and other stringed instruments and translates it into a format that is not only affordable, but has also shown promise in our materials course to be a practical tool to actively engage students in materials science. Initial assessment data shows that the students are indeed more engaged in the course and there is measurable improvement in classical test question scores. Also, many students in the class have chosen to complete their research papers required for the class in these subjects; others have volunteered to work on undergraduate research projects investigating the materials signature of stringed instruments and new materials for such instruments. Geometry to create flat vibrating plates, including the top plate of a violin, is also given in the paper (the “violin.dxf” or “violin.igs” file is available upon request). A lengthy reference section is included so that additional demonstrations can be created by other instructors to satisfy their local materials engineering course needs.