Quote:
Originally Posted by Mike O'Malley
A few years a go Rick Turner and Steve Rabe (SWR amps) did a similar experiment where they hooked guitar up to a low frequency transducer. They reported similar effects. Interesting. They patented the proces, or the device, but I don't think it ever went anywhere
http://www.acousticguitar.com/gear/a...ibration.shtml
|
That is an interesting article that really points out one of the big differences between guitars and the violin family. Catgut Acoustical Society members have used Chladni patterns in plate tuning for the last 50 years or so as an inexpensive method to visualize the major vibration modes in plate tuning. Christmas "glitter" is placed on a disassembled plate and the plate is vibrated using a sinewave generator driving a small speaker. When the frequency of a particular mode is activated, the distinctive Chladni pattern is formed by the glitter. In violin plate tuning, the patterns (primarily of modes 1, 2 & 5) are used to help determine where or how much wood should be removed from the plate. The Chladni mode patterns have distinctive shapes that are, for lack of better words, the "target" during the graduation/plate tuning. The vibrating frequency of the particular mode changes as a result the plate tuning wood removal. You never know the mode frequency until after the plate tuning is done and there are no consistent mode frequencies between instruments of the same type and style.
Apparently, in flat top guitars, the Chladni modes are at a consistent fixed frequency from one guitar to another. This allows them to vibrate the guitars at known (fixed) frequencies. Violin family instruments could not use this method since the exact mode vibration frequencies would not be known. (Besides, how would you attach a round back bass to the top of the big guitar shaker?)
