The three-mass model for the classical guitar revisited

Bernard Richardson , Helen Johnson , Alexandra Joslin , Ian Perry

Input admittance and sound-pressure response functions for the guitar show several prominent peaks in the low-frequency range. The lowest three peaks can be modelled very effectively using a coupled three-mass model describing the interaction between the lowest modes of the soundboard and back plate and the air-cavity resonance. Whilst there has been considerable qualitative or speculative discussion of the frequency placement of these modes, there have been very few quantitative studies which have attempted to identify the important acoustical features of these peaks. It is known that the frequency placement of strong peaks influences the “local” response of the played instrument, but psychoacoustical studies have shown that the “residual response” of these peaks has a “global” influence at frequencies above the resonances. In this study, we are using a three-mass model for the guitar coupled to a lossy string. The model generates plucked-string sounds which are then used for psychoacoustical evaluation of the relative influence of parameters such as plate mass, stiffness, damping and radiativity on the perceived sound quality of the guitar. The results of this work-in-progress will be presented at the conference.

Mots clés: Guitar; Construction; Psychoacoustics

Domaines: Acoustique [physics.class-ph]

Bernard Richardson, Helen Johnson, Alexandra Joslin, Ian Perry. The three-mass model for the classical guitar revisited. Acoustics 2012, Apr 2012, Nantes, France. ⟨hal-00811279⟩