The finding is supported by the 2015 Royal Society paper The evolution of air resonance power efficiency in the violin and its ancestors (see Part 1)Ī soundslot of equal area to a 50mm soundhole must be quite long to have a reasonably high perimeter : area ratio – for example an 18mm wide slot must be 436mm long. The classic f-hole in violin family instruments is an example. A high P:A ratio can be achieved by longer, narrower apertures called soundslots. If this ratio is greater than 0.1 there is a very marked increase in radiation from a soundbox. There is a strong relationship between the radiative performance of a soundhole of given area and the ratio of its perimeter to its area (P:A ratio).The significance of Helmholtz resonance in forming the bass response of an instrument is its function as an important coupling between the other main resonators – the soundboard and the back/sides system. Helmholtz resonance can be detected in the signal coming from a soundhole, but only very close to it.If using round soundholes, the larger the area of the hole the better it is at radiating sound produced inside the soundbox, which represents about 30% of the total sound generated by a guitar. This is the eighth in a series of nine posts summarising the results of an experiment I carried out during 20 to try to increase my understanding of resonance in acoustic guitars, and in particular how the design of soundholes could be improved. PART 8: A FINAL SOUNDSLOT DESIGN FOR A PARLOUR GUITAR
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