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ABSTRACT
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Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
194
Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
Magnitude [dB]
Gxz 14.6
xy 0.42 [1] 80
Poisson ratios yz 0.53
xz 0.46
70
Density s 440 [kgm3 ]
Isotropic loss factor 0.01 [1]
Driving force amplitude A 1.5 [N] 60
box
Air density 0 1.2 [kgm3 ] 50 modified
Speed of sound in air c0 343 [ms1 ] top plate
100 150 200 250 300 350 400 450 500 550
Frequency [Hz]
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Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
150 Hz 125 Hz
150 Hz 125 Hz
195 Hz 185 Hz
b) Box kantele
Total displacement (mm) 195 Hz 185 Hz
90
Magnitude [dB]
196
Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
Airgap 3 mm
Airgap 3 mm
Total displacement (mm)
285 Hz
Airgap 5 mm
285 Hz
Airgap 5 mm
290 Hz
Airgap 7 mm
290 Hz
Airgap 7 mm
290 Hz
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Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden
ysis with sinusoidal excitation were used to simulate the [9] M. J. Elejabarrieta, A. Ezcurra, and C. Santamara, Vibrational
kantele with the frequency range of 0-570 Hz. Three kan- behaviour of the guitar soundboard analysed by the finite
tele structures were included; two traditional structures, the element method, Acta Acustica united with Acustica, vol. 87,
pp. 128136, 2001.
top-plate kantele and the box kantele, were compared with
a modified kantele which has an air gap separating the top [10] , Coupled modes of the resonance box of the guitar,
and the back plate. In the modified kantele, the top plate Journal of the Acoustical Society of America, vol. 111, no. 5,
pp. 22832292, 2002.
acts as a free-edge vibrator. In addition, together the top
and the back plate create an enclosed air mass that has its [11] A. Ezcurra, M. Elejabarrieta, and C. Santamaria, Fluid-
own vibrational modes. structure coupling in the guitar box: numerical and exper-
imental comparative study, Applied Acoustics, vol. 66, pp.
The simulations confirm that combining both the freely 411425, 2005.
vibrating top plate and the enclosed air leads to an increased
density of normal modes and eigenmodes in the modified [12] J. A. Torres and R. Boullosa, Radiation efficiency of a guitar
top plate linked with edge or corner modes and intercell can-
kantele in comparison to the traditional kanteles. A high
cellation, Journal of the Acoustical Society of America, vol.
mode density of the body in the tuning range of the strings 130, no. 1, pp. 546556, 2011.
is beneficial for the sound quality and sound pressure level
of the instrument, as the string vibrations couple better [13] , Influence of the bridge on the vibrations of the top
plate of a classical guitar, Applied Acoustics, vol. 70, pp.
with the body. This is one of the reasons for the improved 13711377, 2009.
loudness of the modified kantele.
In addition, the radiation efficiency of the modified kantele [14] A. Runnemalm, Sound and vibrations in structures with air
closures, Ph.D. dissertation, Lule University of Technology,
is improved compared to the traditional kanteles, provided Sweden, 1999.
that the air gap is smaller than 5 mm. Of the sizes modelled,
an air gap of 3 mm had the highest radiation efficiency. [15] J. Bretos, C. Santamaria, and J. A. Moral, Vibrational patters
and frequency responses of the free plates and box of a violin
Furthermore, the enclosed air allows air modes, in particular obtained by finite element analysis, Journal of the Acoustical
the Helmholtz resonance, to couple with the plate modes. Society of America, vol. 105, no. 3, pp. 19421950, 1999.
Thus, the radiation patterns of the modified kantele are
[16] , Vibrational patterns of a violin-shaped air cavity ob-
more omni-directional than those of the traditional kanteles. tained by finite element modeling, Acta Acustica united with
This phenomenon also contributes to the increased radiation Acustica, vol. 85, pp. 584586, 1999.
efficiency of the modified kantele.
[17] N. Giordano, Simple model of a piano soundboard, Journal
of the Acoustical Society of America, vol. 102, no. 2, pp. 1159
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