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Journal articles on the topic 'Guitare – Vibrations'

Author: Grafiati

Published: 29 March 2025

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1

Ray, Tony, Jasmin Kaljun, and 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, no. 18 (September 14, 2021): 5281. http://dx.doi.org/10.3390/ma14185281.

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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.

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2

Chen, I.-Hsin, Yu-Ting Tsai, and Zi-Wei Zheng. "Application of one-dimensional convolutional neural network in guitar factory quality inspection." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A143. http://dx.doi.org/10.1121/10.0023063.

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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.

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3

Longo, Giacomo, Sebastian Gonzalez, Jon Dewitt Enriquez Dalisay, Thomas Nania, and Fabio Antonacci. "Influence of thickness profile and bracing pattern in the radiation patterns of archtop guitars." Journal of the Acoustical Society of America 157, no. 2 (February 1, 2025): 1141–50. https://doi.org/10.1121/10.0035805.

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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.

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4

Burgos-Pintos, Álvaro, Francisco Fernández-Zacarías, Pedro F. Mayuet, Ricardo Hernández-Molina, and Lucía Rodríguez-Parada. "An Analysis of the Displacements in 3D-Printed PLA Acoustic Guitars." Polymers 16, no. 15 (July 24, 2024): 2108. http://dx.doi.org/10.3390/polym16152108.

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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.

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5

Su, Kuan-Cheng, Tsung-Yu Hsieh, Wei-Chih Lin, Fu-Li Hsiao, Tatyana Ryzhkova, and Chii-Chang Chen. "A Three-Dimensional Method for Analysis of the Body Mode of Classical Guitars Using a Laser Displacement Sensor." Sensors 24, no. 16 (August 9, 2024): 5147. http://dx.doi.org/10.3390/s24165147.

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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.

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6

Rau, Mark, and 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, no. 3_Supplement (March 1, 2024): A60. http://dx.doi.org/10.1121/10.0026800.

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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.

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7

Torres, Jesús Alejandro, and Reydezel Torres-Martínez. "Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements." Archives of Acoustics 40, no. 3 (September 1, 2015): 351–58. http://dx.doi.org/10.1515/aoa-2015-0038.

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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.

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8

Burgos Pintos, Álvaro, Pedro Francisco Mayuet, María Alonso Gracía, and Lucía Rodríguez-Parada. "Methodology for the Acoustic Analysis of Acoustic Guitar Top Plates Designs by Additive Manufacturing." Key Engineering Materials 956 (September 29, 2023): 71–79. http://dx.doi.org/10.4028/p-3l0hgi.

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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.

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9

Anderson, M. B., and R. G. Beausoleil. "Classical guitar intonation and compensation: The well-tempered guitar." Journal of the Acoustical Society of America 156, no. 1 (July 1, 2024): 683–705. http://dx.doi.org/10.1121/10.0026483.

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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.

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10

Askenfelt, Anders, and Erik V. Jansson. "On Vibration Sensation and Finger Touch in Stringed Instrument Playing." Music Perception 9, no. 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.

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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.

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11

Kusumaningtyas, Indraswari, and Subagio Subagio. "Indonesian Wood as Material for Acoustic Guitars and Violins." Wood Research Journal 3, no. 1 (August 27, 2017): 11–17. http://dx.doi.org/10.51850/wrj.2012.3.1.11-17.

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Traditionally, acoustic guitars and violins are made from European woods. Spruce is most preferred for the top plate (soundboard), whereas maple, sycamore and rosewood are often used for the back plate. However, these woods are not easily available in Indonesia. In this paper, we present a study on the suitability of a selection of Indonesian woods, namely acacia, mahogany, pine, sengon and sonokembang, as materials for acoustic guitars and violins. The most important acoustical properties for selecting materials for musical instruments, i.e. the speed of sound, the sound radiation coefficient and the damping factor, were investigated. Furthermore, the performance of pine and mahogany were tested by making them into a violin and a guitar. The vibration frequency spectrum and the damping factor of the top plate were measured. The results show that the acoustical characteristics of mahogany are very close to those of maple and still quite close to those of Indian rosewood, which makes it a very suitable local material for back plates. Pine has quite similar acoustical characteristics to spruce. Although its sound radiation coefficient is slightly lower, its aesthetic appeal and workability makes pine a suitable alternative for top plates. However, instruments with pine top plates exhibit different tonal colour compared to instruments with spruce top plates, due to some differences in the vibration frequency spectrum. Furthermore, the generally higher damping factors of pine and mahogany compared to those of the European woods should be taken into account, because they affect the sustain-time of the generated sound.

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12

Kemp, Jonathan A. "The acoustical behavior of a bass guitar bridge with no saddles." PLOS ONE 18, no. 10 (October 25, 2023): e0292515. http://dx.doi.org/10.1371/journal.pone.0292515.

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The acoustics of a bass guitar bridge without saddles was tested experimentally and the results contextualised. Conclusions were obtained demonstrating that the bridge without saddles (where knot around the ball end of the string forms part of the sounding length) produced no measurable reduction in sustain and may increase the sustain for lower pitched strings, in comparison to a conventional bridge featuring saddles. The bridge without saddles showed a reduction in string inharmonicity, and produced a splitting of the frequency peaks associated within the resonances of the string. This peak splitting is explained as being due to differences in the frequency of vibrations parallel to and perpendicular to the body. Since the loop of core wire strongly resists vibration perpendicular to the body but vibrates freely as part of the sounding length for vibration parallel to the body, the relative length of the loop of core wire with respect to the sounding length of the string determines the fractional difference in frequency. The perceptual quality of the sound is similar to the beating due to multiple strings per note (as in piano) and to electronic chorus effects.

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13

Rau, Mark, and Gary Scavone. "Measuring body vibrations of stringed instruments." Journal of the Acoustical Society of America 156, no. 4_Supplement (October 1, 2024): A92. https://doi.org/10.1121/10.0035215.

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Measurements of stringed instruments are used to interpret their vibrational characteristics, notably the input admittance and mode shapes. This talk will demonstrate methods to capture, process, and analyze stringed instrument measurements, focusing on surface vibrations. First, methods of suspending and isolating the instruments are discussed. Next, excitation methods, including the impact hammer and shaker, are demonstrated. Sensors will then be presented to measure the resulting surface vibrations, including accelerometers and laser Doppler vibrometers. Methods to view the mode shapes, including the roving hammer and scanning vibrometer measurements will be discussed. Finally, once the measurements are collected, techniques to post-process and analyze them with mode fitting will be discussed. This presentation will include video demonstrations of the previously mentioned measurement methods as applied to guitars, violins, and other stringed instruments. Best practices and the pros and cons of each method will be discussed.

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14

Jun, Zhang, Tao Juan, Cheng Zhang, Zhang Teng, and Chen Chao. "Analysis of Chord Vibration Based on Finite Element." Advanced Materials Research 482-484 (February 2012): 461–65. http://dx.doi.org/10.4028/www.scientific.net/amr.482-484.461.

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The chord vibration frequency analysis is carried out based on the theory of vibration of continuous systems. The finite element software is used to analyze frequencies of different chords, which is compared with the theoretical frequency. The relevant conclusions demonstrate that studies on guitar chords’ sound quality and intonation using proposed finite element method are doable and necessary. It has certain directive significance in guitar production process.

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15

Perov, Polievkt, Walter Johnson, and Nataliia Perova-Mello. "The physics of guitar string vibrations." American Journal of Physics 84, no. 1 (January 2016): 38–43. http://dx.doi.org/10.1119/1.4935088.

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16

HAYASHI, Hirotsugu. "505 Frictional Vibration and Sound Vibration of Guitar." Proceedings of Conference of Kanto Branch 2001.7 (2001): 163–64. http://dx.doi.org/10.1299/jsmekanto.2001.7.163.

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17

Yudasaka, Takuto, Gary Scavone, and Kenta Ishizaka. "Influences of electric guitar pickup magnetic force on string vibrations." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A196. http://dx.doi.org/10.1121/10.0027283.

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The design of a magnetic pickup has a significant impact on the tone of an electric guitar. In particular, the magnetic force from the pickup can influence the string vibrations and cause a beating effect, depending on the strength of the magnetic force and the amplitude of the string vibrations. To understand this behavior, we performed experiments and simulations. We measured and modeled the transversal string restoring force at various displacements from the magnetic pickup in directions both parallel and perpendicular to the guitar body. We observed that the magnetic force distribution is asymmetric in the perpendicular direction but symmetric in the parallel direction, which distorts the frequency of vibrations in opposite ways for the two directions and causes a resultant beating. This effect increases with larger string amplitudes or greater magnetic force and also varies over the duration of a plucked tone.

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18

Lewis, Wanda Jadwiga, James Raphael Smith, Wanda J. Lewis, and James R. Smith. "The Effect of String Tension Variation on the Perceived Pitch of a Classical Guitar." Exchanges: The Interdisciplinary Research Journal 2, no. 1 (September 20, 2014): 53–81. http://dx.doi.org/10.31273/eirj.v2i1.101.

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Actual motion of a vibrating guitar string is a superposition of many possible shapes (modes) in which it could vibrate. Each of these modes has a corresponding frequency, and the lowest frequency is associated with a shape idealised as a single wave, referred to as the fundamental mode. The other contributing modes, each with their own progressively higher frequency, are referred to as overtones, or harmonics. By attaching a string to a medium (a soundboard) capable of a response to the vibrating string, sound waves are generated. The sound heard is dominated by the fundamental mode, ‘coloured’ by contributions from the overtones, as explained by the classical theory of vibration. The classical theory, however, assumes that the string tension remains constant during vibration, and this cannot be strictly true; when considering just the fundamental mode, string tension will reach two maximum changes, as it oscillates up and down. These changes, occurring twice during the fundamental period match the frequency of the octave higher, 1st overtone. It is therefore plausible to think that the changing tension effect, through increased force on the bridge and, therefore, greater soundboard deflection, could be amplifying the colouring effect of (at least) the 1st overtone.In this paper, we examine the possible influence of string tension variation on tonal response of a classical guitar. We use a perturbation model based on the classical result for a string in general vibration in conjunction with a novel method of assessment of plucking force that incorporates the engineering concept of geometric stiffness, to assess the magnitude of the normal force exerted by the string on the bridge. The results of our model show that the effect of tension variation is significantly smaller than that due to the installed initial static tension, and affects predominantly the force contribution arising from the fundamental mode. We, therefore, conclude that string tension variation does not contribute significantly to tonal response. Photo credit: By Biblola (Own work) [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

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19

Brooke, Matthew, and Bernard Richardson. "Mechanical vibrations and radiation fields of guitars." Journal of the Acoustical Society of America 94, no. 3 (September 1993): 1806. http://dx.doi.org/10.1121/1.407873.

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20

Morisaki, Ryoma, Osamu Terashima, and Toshiro Miyajima. "On the performance sound design of a stringed instrument by the control of the stiffness and mass of the component part." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 3 (August 1, 2021): 3562–70. http://dx.doi.org/10.3397/in-2021-2453.

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This study investigates the difference of performance sounds of an electric guitar with a metal pickguard. The sounds of the open strings of the guitar are measured, showing that the damping time becomes shorter than that obtained with a commonly used plastic pickguard. Further, it was also found that the sounds of the 1 and 2 strings were distinct and those of the other strings were slightly suppressed when the metal pickguard was used. Therefore, the metal pickguard is effective in making sharp, clear, and distinct sounds. We changed the material of the pickguard from plastic to copper. In the experiments, simultaneous measurements of the vibrational acceleration of the peg, pickguard, and output voltage of the guitar with a constant plucking force of the strings were performed. It was found that the profile of the RMS value of the vibrational acceleration of the pickguard changed when the copper pickguard was used. Moreover, the vibrational modes of copper the pickguard were different than the others. In conclusion, it was determined that the sound quality is affected by the vibrational characteristics; thus, it can be adjusted by varying the means by which the pickguard is attached to the guitar body.

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21

Boullosa, Ricardo R. "Vibration measurements in the classical guitar." Applied Acoustics 63, no. 3 (March 2002): 311–22. http://dx.doi.org/10.1016/s0003-682x(01)00037-8.

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22

Murray, Chris J., and Scott B. Whitfield. "Inharmonicity in plucked guitar strings." American Journal of Physics 90, no. 7 (July 2022): 487–93. http://dx.doi.org/10.1119/5.0064373.

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We have considered the vibration of various types of pinned guitar strings and have investigated the deviation of the partials from integer multiples of the string's fundamental vibration frequency. We measured the inharmonicity parameter B and compared it to a direct calculation based on a model equation. We generally found very good agreement between the two determinations of B for monofilament strings, but perhaps not surprisingly, we find rather poor agreement for wound strings. Furthermore, we show that the methodology used to carry out this experiment can easily serve as the basis for an upper division physics laboratory on physical acoustics including a more thorough investigation of the classical wave equation in a real-world application.

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23

Watson, Eric T., and Thomas D. Rossing. "Modes of vibration and directivity of guitars." Journal of the Acoustical Society of America 99, no. 4 (April 1996): 2503–29. http://dx.doi.org/10.1121/1.415677.

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24

Stanciu, Mariana D., Sorin Vlase, and Marin Marin. "Vibration Analysis of a Guitar considered as a Symmetrical Mechanical System." Symmetry 11, no. 6 (May 28, 2019): 727. http://dx.doi.org/10.3390/sym11060727.

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This paper aimed to use the symmetry that exists to the body of a guitar to ease the analysis behavior to vibrations. Symmetries can produce interesting properties when studying the dynamic and steady-state response of such systems. These properties can, in some cases, considerably decrease the effort made for dynamic analysis at the design stage. For a real guitar, these properties are used to determine the eigenvalues and eigenvectors. Finite element method (FEM) is used for a numerical modeling and to prove the theoretically determined properties in this case. In this paper, different types of guitar plates related to symmetrical reinforcement patterns were studied in terms of modal analysis performed using finite element analysis (FEA). The dynamic response differs in terms of amplitude, eigenvalues, modal shapes in accordance with number and pattern of stiffening bars. In this study, the symmetrical and asymmetric modes of modal analysis were highlighted in the case of constructive symmetrical structures.

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25

Lozano, Juan, Eric T. Watson, and Thomas D. Rossing. "Vibrational modes of a baritone guitar." Journal of the Acoustical Society of America 83, S1 (May 1988): S13. http://dx.doi.org/10.1121/1.2025211.

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26

YAMADA, Norifumi, Yoshio INOUE, and Kyoko SHIBATA. "510 Modelling and vibration analysis of guitar." Proceedings of Conference of Chugoku-Shikoku Branch 2015.53 (2015): _510–1_—_510–3_. http://dx.doi.org/10.1299/jsmecs.2015.53._510-1_.

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27

Richardson, Bernard E. "Structural vibrations and sound radiation fields of classical guitars." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2539. http://dx.doi.org/10.1121/1.4788438.

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28

Aguilar, Horacio Munguía, Rigoberto Franco Maldonado, and Luis Barba Navarro. "Using an electric guitar pickup to analyze bar vibrations." Physics Education 54, no. 2 (February 4, 2019): 025018. http://dx.doi.org/10.1088/1361-6552/aae662.

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29

Soupios, Charles C. "String vibration enhancer for guitar-type musical instruments." Journal of the Acoustical Society of America 100, no. 2 (1996): 693. http://dx.doi.org/10.1121/1.416228.

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30

Lynch, John J. "Vibrating Guitar Strings Activity using website data." Physics Teacher 44, no. 3 (March 2006): 191. http://dx.doi.org/10.1119/1.2173335.

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31

Burgos-Pintos, Álvaro, Francisco Fernández-Zacarías, Pedro F. Mayuet, Ricardo Hernández-Molina, and Lucía Rodríguez-Parada. "Influence of 3D Printing Direction in PLA Acoustic Guitars on Vibration Response." Polymers 15, no. 24 (December 14, 2023): 4710. http://dx.doi.org/10.3390/polym15244710.

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The design of musical instruments is a discipline that is still carried out in an artisanal way, with limitations and high costs. With the additive manufacturing technique, it is possible to obtain results for the generation of not only electrical but also acoustic instruments. However, it is necessary to generate a procedure to evaluate the influence of the process on the final result of the acoustics obtained. This study focuses on investigating the relationship between the construction of acoustic guitars and their final sound. The reinforcement structures at the top of the instrument are analysed, as well as how this design affects the vibratory behaviour of the top in the first five vibratory modes. Specifically, this article presents a procedure for the design of customised acoustic guitars using additive manufacturing through parametrisation and a vibrational analysis of the designed tops using finite element (FEA) and experimental physical tests, in order to develop a methodology for the study of stringed instruments. As a result, an 11% increase in the high-frequency response was achieved with a printing direction of +45°, and a reduction in the high-frequency response with ±45°. In addition, at high frequencies, a relative error of 5% was achieved with respect to the simulation. This work fulfils an identified need to study the manufacture of acoustic guitars using polylactic acid (PLA), and to be able to offer the musician a customised instrument. This represents a breakthrough in the use of this manufacturing technology, extending its relationship with product design.

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32

Russell, Daniel A., Wesley S. Haveman, Willis Broden, and N. Pontus Weibull. "Effect of body shape on vibration of electric guitars." Journal of the Acoustical Society of America 113, no. 4 (April 2003): 2316. http://dx.doi.org/10.1121/1.4780761.

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33

Kodama, Hidekazu, Yoshinobu Yasuno, Tomoya Miyata, Kunio Hiyama, Katsunori Suzuki, Hiroshi Koike, and Seiichiro Lida. "Piezo-electret vibration sensors designed for acoustic-electric guitars." IEEE Transactions on Dielectrics and Electrical Insulation 27, no. 5 (October 2020): 1675–82. http://dx.doi.org/10.1109/tdei.2020.008669.

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34

Torres, Jesús Alejandro. "Guitar Sounds: From Wood Vibrations to a Mini Power Plant." Acoustics Today 18, no. 3 (2022): 58. http://dx.doi.org/10.1121/at.2022.18.3.58.

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35

Greenberg, James B. "Good Vibrations, Strings Attached: The Political Ecology of the Guitar." Sociology and Anthropology 4, no. 5 (May 2016): 431–38. http://dx.doi.org/10.13189/sa.2016.040514.

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Shepherd, Micah R., Stephen A. Hambric, and Dennis B. Wess. "Modeling the free vibrations of an acoustic guitar top plate." Journal of the Acoustical Society of America 134, no. 5 (November 2013): 4243. http://dx.doi.org/10.1121/1.4831604.

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Gunawan, Caroline, Helena Margaretha, Lina Cahyadi, and Petrus Widjaja. "PEMODELAN FREKUENSI DAN SIMULASI GETARAN SENAR GITAR BASS LISTRIK DAN GITAR AKUSTIK [FREQUENCY MODELING AND VIBRATION SIMULATION OF ELECTRIC BASS AND ACOUSTIC GUITAR STRINGS]." FaST - Jurnal Sains dan Teknologi (Journal of Science and Technology) 7, no. 2 (November 30, 2023): 173. http://dx.doi.org/10.19166/jstfast.v7i2.7594.

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<p><em>Mathematical equations can represent numerous real-world scenarios, a process known as mathematical modelling. Within this paper, we undertake modelling two musical instruments, specifically the electric bass guitar and the acoustic guitar. Our approach uses partial differential equations (PDEs) to represent these instruments accurately. By establishing the initial condition, we derive the final solution and simulate the frequency using parameters obtained from this solution alongside a frequency formula. The PDE for the electric bass guitar is of non-homogeneous second order, while the PDE for the acoustic guitar is of homogeneous fourth order. The simulation outcomes demonstrate that a lower vibration frequency for the electric bass guitar corresponds to a decreased string density, given a fixed tension. Similarly, this correlation holds for the acoustic guitar. With fixed string tension and Young's Modulus, a lower string density leads to a higher frequency and reduced inertia. Additionally, we provide graphical representations of the analytical solutions for both PDEs. </em></p><p><em><br /></em><strong>Bahasa Indonesia Abstract</strong>:</p><p>Persamaan matematika dapat memodelkan banyak situasi dalam dunia nyata. Proses ini disebut pemodelan matematika. Salah satu contoh yang dapat dimodelkan adalah frekuensi alat musik (gitar bass listrik dan gitar akustik). Kedua alat musik tersebut dimodelkan frekuensinya dengan persamaan diferensial parsial (PDP). Solusi akhir akan diperoleh berdasarkan kondisi awal. Simulasi frekuensi dilakukan berdasarkan parameter yang ditemukan dari solusi akhir dan rumus frekuensi. PDP untuk gitar bass listrik adalah orde dua non-homogen, dan PDP untuk gitar akustik adalah orde empat homogen. Hasil simulasi menunjukkan bahwa untuk gitar bass dengan tegangan tertentu, senar dengan densitas rendah menghasilkan frekuensi getaran yang lebih rendah. Hasil yang konsisten juga ditunjukkan untuk gitar akustik. Pada tegangan senar dan Modulus Young yang diberikan, senar dengan densitas rendah menghasilkan frekuensi yang lebih tinggi dan inersia yang lebih rendah. Beberapa grafik solusi analitik dari kedua PDP tersebut juga ditampilkan dalam artikel ini.</p>

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Wallen, Samuel P. "Don’t say “modal analysis:” A backdoor introduction to vibrations via programming and numerical methods." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A208. http://dx.doi.org/10.1121/10.0027326.

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As an undergraduate degree requirement, The Walker Department of Mechanical Engineering at the University of Texas at Austin teaches a lower-division, introductory course on computer programming and numerical methods. The enrollment consists primarily of second-year mechanical engineering (ME) students, approximately half of whom enter the course with no prior programming experience. Due to its relatively early position in the ME curriculum, the course presents the unique challenge of teaching students to apply numerical methods to ME-relevant problems, with little background about the physics involved or the contexts in which they are likely to occur in practice. This talk presents an end-of-term project in which students use two numerical methods discussed earlier in the course, singular value decomposition and Runge-Kutta methods, to construct, simulate, and benchmark a reduced-order, dynamic model of a vibrating guitar string. In addition to reinforcing course outcomes associated with programming, mathematics, and data visualization, this project provides an introduction to acoustics, vibration, and modal analysis at a level that belies its position in the overall curriculum.

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KATO, Atsushi, Hiroshi OKAMURA, Junichi KANAZAWA, Shinya MANABE, and Kengo OZAWA. "332 Study on the vibration characteristic of a classic guitar." Proceedings of the Dynamics & Design Conference 2005 (2005): _332–1_—_332–5_. http://dx.doi.org/10.1299/jsmedmc.2005._332-1_.

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Chai, Jian, Bin Guo, Shuyu Liu, and Xiaomin Xiong. "Detection of coupled vibration modes of a guitar resonance box." Review of Scientific Instruments 90, no. 3 (March 2019): 036105. http://dx.doi.org/10.1063/1.5054678.

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Isvan, Osman K. "Polyphonic guitar pickup for sensing string vibrations in two mutually perpendicular planes." Journal of the Acoustical Society of America 112, no. 6 (2002): 2521. http://dx.doi.org/10.1121/1.1536513.

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Kostek, Bozena, Piotr Szczuko, Jozef Kotus, Maciej Szczodrak, and Andrzej Czyzewski. "Vibration analysis of acoustic guitar string employing high-speed video cameras." Journal of the Acoustical Society of America 139, no. 4 (April 2016): 2204. http://dx.doi.org/10.1121/1.4950573.

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Wei, Yukai, Hao Zhu, Haotian Jiang, Quanxin Luo, Shan Lin, Junqing Li, Yu Zhang, and Bibo Zhao. "Playing melodies on a single string by exciting harmonics using the Lorentz force." American Journal of Physics 92, no. 3 (March 1, 2024): 176–82. http://dx.doi.org/10.1119/5.0152828.

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We show how a single metal guitar string of fixed length can produce a musical scale. The string is placed near a permanent magnet, and by applying an AC to the string at the frequency of the desired musical note, the Lorentz force creates vibrations in the string at that frequency. The tension of the string is set so that its harmonics correspond to the desired notes. A one-octave scale can be approximated by using these harmonic frequencies, allowing several melodies to be played using our non-contact monochord. This project could be adopted for demonstration or laboratory projects.

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SHIOHATA, Koki, and Mari SUZUKI. "Study on Vibrational characteristics for Sound board model of guitar." Proceedings of Ibaraki District Conference 2003 (2003): 253–54. http://dx.doi.org/10.1299/jsmeibaraki.2003.253.

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Tagg, Randall, John Carlson, Masoud Asadi-Zeydabadi, Brad Busley, Katie Law-Balding, and Mattea Juengel. "Guitars, Keyboards, Strobes, and Motors — From Vibrational Motion to Active Research." Physics Teacher 51, no. 1 (January 2013): 35–37. http://dx.doi.org/10.1119/1.4772036.

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Cotton, David. "Tones tines and tings." Journal of the Acoustical Society of America 156, no. 4_Supplement (October 1, 2024): A68. https://doi.org/10.1121/10.0035142.

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This session will be full of ideas and demonstrations that focus on aspects of sound waves in the curriculum and beyond, e.g., how to turn a tuning fork and a magnet into a model guitar pick up! These ideas tell a story based on the development and usage of oscillation and vibration in music and communication. Includes many more ideas using lab equipment and some musical instruments. This presentation has been developed in memory of Anthony Waterhouse, supported by the Fellowship scheme offered annually through the Institute of Physics UK.

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INOUE, Yosiho, Kyoko SHIBATA, Toshuhiro MATSUZAWA, and kenji ASANO. "536 Free Vibration Analysis for Guitar Considering Coupling of Strings and Body." Proceedings of the Dynamics & Design Conference 2010 (2010): _536–1_—_536–6_. http://dx.doi.org/10.1299/jsmedmc.2010._536-1_.

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SUZUKI, Yuta, Naoki ITOH, Toru YAMAZAKI, Hiroki NAKAMURA, Toshimitsu TANAKA, and Yoshiaki ITOH. "Correlation between vibration energy propagation characteristics and coupling method of electric guitar." Proceedings of the Dynamics & Design Conference 2016 (2016): 341. http://dx.doi.org/10.1299/jsmedmc.2016.341.

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Clinton, Johnson, and Kiran P. Wani. "Extracting Vibration Characteristics and Performing Sound Synthesis of Acoustic Guitar to Analyze Inharmonicity." Open Journal of Acoustics 10, no. 03 (2020): 41–50. http://dx.doi.org/10.4236/oja.2020.103003.

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Iwanaga, Naoaki, Nobuyuki OKUBO, and Takeshi TOI. "10412 Vibration and Acoustic Analysis of Acoustic Guitar in Consideration of Transient Sound." Proceedings of Conference of Kanto Branch 2015.21 (2015): _10412–1_—_10412–2_. http://dx.doi.org/10.1299/jsmekanto.2015.21._10412-1_.

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