Using a Brace to Design a Soundboard Section for a Desired Natural Frequency

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Proceedings of the Stockholm Music Acoustics Conference 2013, SMAC 2013, Stockholm, Sweden

A STRUCTURED APPROACH TO USING A RECTANGULAR BRACE TO DESIGN A SOUNDBOARD SECTION FOR A DESIRED NATURAL FREQUENCY Patrick Dumond Natalie Baddour pdumo057@uottawa.ca nbaddour@uottawa.ca Department of Mechanical Engineering University of Ottawa 161 Louis Pasteur, CBY A205 Ottawa, Canada K1N 6N5

the fact that these methods are very labor intensive, rendering them cost-prohibitive, as well as difficult to implement into a structured manufacturing process. For these reasons, most manufacturers only use material that has mechanical properties which fit within their set criteria. Such an approach leads to much waste [3]. Like most design problems, a design is first created from experience and then iteratively refined in order to achieve the desired parameters. This is especially true of systems in which certain eigenvalues are desired [4]. For guitar soundboards, luthiers begin with a certain design, remove material from the braces in small increments and then check the system’s natural frequencies (eigenvalues) until a desired solution converges. It has been shown in previous work that it is indeed possible to alter certain frequencies of a soundboard system by simply adjusting the shape of the braces [5]. While effective, this trial-anderror method is not optimal. A better approach would be to design/ construct the system directly from the desired natural frequencies (eigenvalues). In order to achieve this, we turn to the field of study known as inverse eigenvalue problems, which deals specifically with finding matrices from a set of given eigenvalues [6], [7]. A rather young area, inverse eigenvalue problems use knowledge of matrix algebra and numerical methods to create matrices that yield a desired frequency spectrum (set of eigenvalues) or a partial spectrum. It is well known that inverse eigenvalue problems are illposed, meaning there generally exists many solutions [7]. In design, the existence of many solutions is potentially beneficial, giving the designer options. However, physical constraints do need to be applied in order to make a system physically realizable. Most methods for inverse eigenvalue problems involve the use of well-developed matrix theory for matrices with a specific structure (e.g. Jacobi and band matrices) and then apply appropriate numerical algorithms to solve for the unknown matrices from the known desired eigenvalues [8], [9], [10], [11], [12], [13], [14]. The structure of the matrices generally implies various physical constraints. However, there exist very few methods that can solve for matrices having a more general unstructured form. The goal of this paper is to demonstrate the use of a technique that has been recently proposed using the generalized Cayley-Hamilton

ABSTRACT The manufacture of acoustically consistent wooden musical instruments remains economically demanding and can lead to a great deal of material waste. To address this, the problem of design-for-frequency of braced plates is considered in this paper. The theory of inverse eigenvalue problems seeks to address the problem by creating representative system matrices directly from the desired natural frequencies of the system. The goal of this paper is to demonstrate how the generalized Cayley-Hamilton theorem can be used to find the system matrices. In particular, a simple rectangular brace-plate system is analyzed. The radial stiffness of the plate is varied in order to model variations typically found in wood which is quartersawn. The corresponding thickness of the brace required to keep the fundamental natural frequency of the brace-plate system at a desired value is then calculated with the proposed method. It is shown that the method works well for such a system and demonstrates the potential of using this technique for more complex systems, including soundboards of wooden musical instruments.

1. INTRODUCTION Many aspects of the manufacture of wooden musical instruments have been addressed and rendered consistent. However, acoustical consistency still remains unattainable in most situations [1]. This is a consequence of the fact that the material of choice for many musical instruments is wood, a natural material that exhibits high variability in its material properties. By definition, wood has inconsistent properties because its growth is directly related to the highly variable climate of its environment. Luthiers have been compensating for these inconsistent material properties in guitars by means of various methods for years. The most prominent method currently in use is to adjust the shape of the soundboard’s braces in order to attain a more consistent frequency spectrum from this part of the instrument [2]. These methods have had varying degrees of success and mostly depend on the skill and experience of the luthier. Worsening the situation is Copyright: Š 2013 Patrick Dumond and Natalie Baddour. This is an open-access article distributed under the terms of the Creative Commons Attribution License 3.0 Unported, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

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