How the top vibrates and the enclosure responds physically to say a high e will be way different say a low A'. In short you would need to measure all the fundamental frequencies of each note and it's component harmonic series frequencies to be able to accurately model an acoustic guitar. There is a lot more to it than that but those are the two principle factors that shape the resonance of the acoustic guitar.Īs you can imagine the resulting frequency response for each note or group of notes will be highly complex and very different. ![]() They play a large part in the efficiency of the whole system helping the top to vibrate freely and across as many frequencies as possible without getting dead or wolf tones. The size and location of the sound hole aids (tune) what are known as the AO or Helmholtz resonances. Air is constantly being compressed and expand as the top moves. Like all enclosures there is a lot going on inside the guitar sound wise. This moves us along to the second most important aspect that shapes the timbre of an acoustic instrument, the enclosure or body cavity. In fact less sound waves leave the soundhole than are pushed out by the top vibrating. The sound hole is not there to push sound out it's there to aid the way the top responds to vibrations. The speed of sound in spruce is around ten times greater along the grain than radially or tangentially so the braces not only strengthen the top but pass the strings energy around the top. It is lost in other places but the bridge is our prime concern. The energy is limited and it is lost through the top via the bridge. This is what causes our sustain or more correctly decay. The top needs to respond to the vibrations of the string and it does it by passing some of the energy through the top and some travels back down the string. That allows it to be relatively light but remain stable as well as vibrate freely compared to other woods. Spruce is chosen because it has a high stiffness to mass ratio. On most decent but not all acoustic guitars the top is made of some variety of spruce. First and foremost are the materials it is made of and specifically the top and how it is braced. OK before we move on to a discussion on what your objectives are a little background may help.Īn acoustic guitar sounds the way it does for a number of reason. ![]() The output doesn't have to be loud (Or does the body respond to different volumes differently?), I'd be recording in a vocal booth using the lowest self noise stuff if I have, but if I can't drive it safely I'm not going to risk it, I don't know enough about piezo elements beyond that they turn electric fluctuations into compression/expansion and vice versa. recorded tracks need also applied to the impulse response, the one in that link needed lots of high boost/lower mid cut), then loaded that into a pedal that uses impulse responses, I could have the best live guitar sound. If I miced my guitar up properly in the studio and got a good impulse response of it (With any EQ e.t.c. ![]() I'm mixing some live stuff with DI'd guitars for someone, thats what started this whole thing, but it got me thinking about my own live acoustic sound. This was with a different guitar that has no pickup in it, to be applied to a different guitar again. ![]() I've been messing around with knocking the guitar body in various places and strumming all the strings muted, with mixed results ( Clicky). The pickups are on the inside on the guitar, under the saddle, my thinking was exciting the guitar where the strings meet the body would give a.an impulse response more true to how the guitar responds to being played.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |