Model-based evidence of the dominance of the guitar brace design over material and climatic variability for dynamic behaviors

Viala, Romain; Placet, Vincent; Cogan, Scott

doi:10.1016/j.apacoust.2021.108275

Cited by 13 publications

(10 citation statements)

References 23 publications

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“…In both sets, constraints were set in such a way that the total mass of the plates would not allow variations beyond ±5% with respect to the experimentally measured value. As a second set of constraints, the material parameter values were not allowed to exceed bounds taken from literature 4,48,50,51 . The best solution with respect to the objective function evaluated for the first 24 modes of the algorithm was used for the geometry optimisation.…”

Section: Materials Parameter Identificationmentioning

confidence: 99%

“…These simplified approaches allow us to obtain the values for the eigenfrequencies of the system in 1/1000th of the time compared to traditional FEM simulations without significant loss of accuracy, allowing us to perform optimisations in a reasonable time 6,8 . The traditional approach has been used in a variety of musical instruments, from the kantele 9 to the viola da gamba 10 , with numerous studies focusing on string instruments [4][5][6][7][8][11][12][13][14][15][16][17] .…”

Section: Introductionmentioning

confidence: 99%

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Model-predicted geometry variations to compensate material variability in the design of classical guitars

Brauchler

González

Vierneisel

et al. 2022

Preprint

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Musical instrument making is often considered a mysterious form of art, its secrets still escaping scientific quantification. There is not yet a formula to make a good instrument, so historical examples are regarded as the pinnacle of the craft. This is the case of Stradivari’s violins or Torres guitars that serve as both models and examples to follow. Geometric copies of these instruments are still the preferred way of building new ones, yet reliably making acoustic copies of them remains elusive. One reason for this is that the variability of the wood used for instruments makes for a significant source of uncertainty -- no two pieces of wood are the same. In this article, using state-of-the-art methodologies, we show a method for matching the vibrational response of two guitar top plates made with slightly different materials. To validate our method, we build two guitar soundboards: one serving as a reference and the second acting as a copy to which we apply model-predicted geometry variations. The results are twofold. Firstly, we can experimentally validate the predictive capabilities of our numerical model regarding geometry changes. Secondly, we can significantly reduce the deviation between the two plates by these precisely predicted geometry variations. Although applied to guitars here, the methodology can be extended to other instruments, e.g. violins, in a similar fashion. The implications of such a methodology for the craft could be far-reaching by turning instrument-making more into a science than artistic craftsmanship and paving the way to accurately copy historical instruments of a high value.

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Section: Materials Parameter Identificationmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Model-predicted geometry variations to compensate material variability in the design of classical guitars

Brauchler

González

Vierneisel

et al. 2022

Preprint

View full text Add to dashboard Cite

show abstract

“…This sound result is observed in the family of instruments created by MONAD, which generates a series of violins, as well as cellos with organic geometries, whose sounds are completely different from traditional versions. The aim of this creation is to demonstrate the possibility of broadening the sound spectrum of the instruments, generating complex and changing geometries depending on the aesthetics of the instrument [ 25 , 26 ].…”

Section: Introductionmentioning

confidence: 99%

Influence of 3D Printing Direction in PLA Acoustic Guitars on Vibration Response

Burgos-Pintos,

Fernández-Zacarías,

Mayuet

et al. 2023

Polymers

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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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“…Global warming has already altered the habitat of trees 2 , 3 , and tone-wood (the particular kind of spruce used for the soundboard of musical instruments) is bound to become more and more scarcely available. Recent research has clearly shown that the design of a guitar is much more important for the sound than environmental and material variability 4 . What this research lacks, however, is a concrete methodology of how to compensate for those material variations by adjusting the design.…”

Section: Introductionmentioning

confidence: 99%

“…These simplified approaches allow us to obtain the values for the eigenfrequencies of the system in 1/1000th of the time compared to traditional FEM simulations without significant loss of accuracy, allowing us to perform optimisations in a reasonable time 6 , 8 . The traditional approach has been used in a variety of musical instruments, from the kantele 9 to the viola da gamba 10 , with numerous studies focusing on string instruments 4 – 8 , 11 – 20 .…”

Section: Introductionmentioning

confidence: 99%

Model-predicted geometry variations to compensate material variability in the design of classical guitars

Brauchler,

Gonzalez,

Vierneisel

et al. 2023

Sci Rep

View full text Add to dashboard Cite

Musical instrument making is often considered a mysterious form of art, its secrets still escaping scientific quantification. There is not yet a formula to make a good instrument, so historical examples are regarded as the pinnacle of the craft. This is the case of Stradivari’s violins or Torres guitars that serve as both models and examples to follow. Geometric copies of these instruments are still the preferred way of building new ones, yet reliably making acoustic copies of them remains elusive. One reason for this is that the variability of the wood used for instruments makes for a significant source of uncertainty—no two pieces of wood are the same. In this article, using state-of-the-art methodologies, we show a method for matching the vibrational response of two guitar top plates made with slightly different materials. To validate our method, we build two guitar soundboards: one serving as a reference and the second acting as a copy to which we apply model-predicted geometry variations. The results are twofold. Firstly, we can experimentally validate the predictive capabilities of our numerical model regarding geometry changes. Secondly, we can significantly reduce the deviation between the two plates by these precisely predicted geometry variations. Although applied to guitars here, the methodology can be extended to other instruments, e.g. violins, in a similar fashion. The implications of such a methodology for the craft could be far-reaching by turning instrument-making more into a science than artistic craftsmanship and paving the way to accurately copy historical instruments of a high value.

show abstract

Model-based evidence of the dominance of the guitar brace design over material and climatic variability for dynamic behaviors

Cited by 13 publications

References 23 publications

Model-predicted geometry variations to compensate material variability in the design of classical guitars

Model-predicted geometry variations to compensate material variability in the design of classical guitars

Influence of 3D Printing Direction in PLA Acoustic Guitars on Vibration Response

Model-predicted geometry variations to compensate material variability in the design of classical guitars

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