FensonGibder: Sulta on vielä ne linkit laittamatta yliopistotutkimuksista, jossa bodyn vaikutus sähköisesti vahvistettuun ääneen on korvin havaittavissa. No niin, nyt tuli tsekattua hieman tuota tarkoittamaasi tutkimusta. Aihe on tosiaankin mielenkiintoinen, koska itseasiassa tällä viikolla olin tutustunut toiseen vastaavaan tutkimukseen aiheesta:
https://hal.archives-ouvertes.fr/hal-00810874/document Tuossa vertailtiin kaulaliitoksen (neck-thru, screwed-neck ja glued-neck, kts. seuraava lainaus) vaikutusta soundiin, ja tutkimuksessa todettiin mm. seuraavaa:
LAINAUS:
We show in Figure 7 the driving-point conductances at
the two string/guitar coupling points (at the bridge and at the
place on the neck where the string is fretted to produce this
note) for the note (C3) whose spectrograms are in Figure 6.
Figure 7 is described below.
For the neck-thru guitar (Figure 7a) the estimated fundamental
frequency of the C3 is 138.8 Hz. At this
frequency the conductance values (blue triangles) are
low. No strong coupling occurs and the vibration of
the string remains undisturbed as we see in Figure 6a
The neck driving-point conductance plot corresponding
to the C3 for the screwed-neck guitar (Figure 7c)
shows a very high value at the fundamental frequency
of the note (139.1 Hz). At the bridge it still takes a low
value. Energy is likely to be transferred from the string
to the guitar via the neck at this frequency, resulting in
an energy loss for the fundamental frequency of the
note. The spectrogram of Figure 6c shows that phenomenon
quiet well: the fundamental decays very fast.
For a majority of the recorded notes, we find this relationship
between a high (resp. low) driving-point conductance
value at location and fundamental frequency of the note and an abnormal (resp. normal) spectrogram.
The driving-point conductance (Figure 7b) for the C3
(fundamental frequency 140.3 Hz) of the glued-neck
guitar can be seen as a counterexample to the relationship
explained above: the conductance values at the
bridge and on the neck are low, but the fundamental
(Figure 6b) lasts little shorter than its first harmonic,
and lots of beatings are to be seen. This is the case for
a non-neglectible number of notes.
LAINAUS LOPPU
Tuosta tutkimuksen perusteella kitaran muu rakenne (ja materiaalit) vaikuttavat kielen värähtelyn taajuusjakaumaan, jolloin äänen väri luonnollisesti muuttuu.
Toisaalta voidaan toki sanoa, että kitaran rakenne/materiaalit eivät vaikuta siihen, miten mikki kielen värähtelyn poimii (kuten olet useasti jo maininnut), mutta rakenne ja materiaalit vaikuttavatkin jo itse kielen värähtelyn luonteeseen (ja tätä kautta soundiin).
"isi, katso, tuo yksi kitara on ihan rikki!" - 3v. tytär DLX-musicin kitaraosastolla kommentoi Jacksonin RR3:sta...