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Fréour V, Gautier F, David B, et al. Extraction and analysis of body-induced partials of guitar tones. J Acoust Soc Am. 2015;138(6):3930-40doi: 10.1121/1.4937749.
Fréour, V., Gautier, F., David, B., & Curtit, M. (2015). Extraction and analysis of body-induced partials of guitar tones. The Journal of the Acoustical Society of America, 138(6), 3930-40. https://doi.org/10.1121/1.4937749
Fréour, Vincent, et al. "Extraction and analysis of body-induced partials of guitar tones." The Journal of the Acoustical Society of America vol. 138,6 (2015): 3930-40. doi: https://doi.org/10.1121/1.4937749
Fréour V, Gautier F, David B, Curtit M. Extraction and analysis of body-induced partials of guitar tones. J Acoust Soc Am. 2015 Dec;138(6):3930-40. doi: 10.1121/1.4937749. PMID: 26723347.
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J Acoust Soc Am. 2015 Dec;138(6):3930-40. doi: 10.1121/1.4937749.

Extraction and analysis of body-induced partials of guitar tones.

The Journal of the Acoustical Society of America

Vincent Fréour, François Gautier, Bertrand David, Marthe Curtit

Affiliations

  1. Université du Maine, LAUM, UMR CNRS 6613, Avenue Olivier Messiaen F-72085, Le Mans Cedex 9, France.
  2. LTCI, CNRS, Télécom ParisTech, Université Paris-Saclay, 75013, Paris, France.
  3. Institut Technologique Européen des Métiers de la Musique, 71 Avenue Olivier Messiaen F-72085, Le Mans Cedex 9, France.

PMID: 26723347 DOI: 10.1121/1.4937749

Abstract

Guitar plucked sounds arise from a rapid input of energy applied to the string coupled to the instrument body at the bridge. For the radiated pressure, this results in quasi-harmonic contributions, reflecting the string modes coupled to the body, as well as some transient and quickly decaying components reflecting the excitation of the body modes of the instrument. In order to evaluate the relevance of this transient body sound, a high resolution analysis-synthesis method is described for the extraction of the body-mode contribution from the radiated pressure measured in the near field of the guitar top plate. This analysis scheme is first tested on synthesized signals. Some body-sound emergence indicators are then proposed and computed over a pool of instruments. The influence of the conditions of excitation on the body-sound emergence is investigated, and the instruments categorized according to these objective descriptors. Results show a larger range of body-sound emergence with variations of the plucking position in hand-made guitars compared to industrial instruments. This suggests that these particular hand-made instruments are more sensitive to variations in the control from the player and hence allow a wider range of timbres with respect to the transient coloration of the body modes.

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