The Correlation Between the Percussive Sound and the Residual Stress/Strain Distributions in a Cymbal
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The Correlation Between the Percussive Sound and the Residual Stress/Strain Distributions in a Cymbal Kozo Osamura, Fumiyasu Kuratani, Toshio Koide, Wataru Ogawa, Hiroyasu Taniguchi, Yoshiyuki Monju, Taiji Mizuta, and Takahisa Shobu (Submitted August 9, 2016; in revised form September 28, 2016; published online October 24, 2016) The artistic sound of a cymbal is produced by employing a special copper alloy as well as incorporating complicated and heterogeneous residual stress/strain distributions. In order to establish a modern engineering process that achieves high-quality control for the cymbals, it is necessary to investigate the distribution of the residual stresses/strains in the cymbal and their quantitative relation with the frequency characteristics of the sound generated from the cymbal. In the present study, we have successfully used synchrotron radiation to measure the distribution of residual strain in two kinds of cymbals—after spinforming as well as after hammering. The microstructure and the mechanical properties of the cymbals were measured as well their acoustic response. Based on our experimental data, the inhomogeneous residual stress/strain distributions in the cymbals were deduced in detail and their influence on the frequency characteristics of the sound produced by the cymbals was identified. Keywords
artistic sound, cymbal, residual strain, synchrotron radiation, tin-copper alloy
1. Introduction The cymbal is a percussion instrument that has existed since ancient times and was made from bell metal (Ref 1). It is normally fabricated using one part tin to four parts copper, that is, 20% tin. But there have always been some variations. Depending on the manufacturer, some small but significant amounts of other elements, notably silver, gold, and phosphorus, are added. Bell bronze is a two-phase alloy that includes a major beta phase and a minor alpha phase. These two phases make the metal harder and more brittle than a single-phase alloy, affect the hardening process (produced by hammering and lathing), and greatly restrict the use of mechanized techniques for manufacture. A typical and traditional process for fabricating a cymbal is shown in Table 1. Cymbals are made from individually cast ingots which are then hot-forged to form the rough shape of the cymbal. The forming process then consists of cupping and spinforming using a spatula to deform the metal into a domed shape in order to introduce a graded residual stress. In the next turning process, hammering is added to unevenly harden the metal, and then, the thickness is reduced using a lathe.
Kozo Osamura, Research Institute for Applied Sciences, Sakyo-Ku, Kyoto 606-8202, Japan; Fumiyasu Kuratani, Department of Mechanical Engineering, University of Fukui, 3-9-1 Bunkyo, Fukui 910-8507, Japan; Toshio Koide, Koide Works, Ltd. (Koide Cymbals), 1-22-32 Kamisyoukakuji, Hirano-ku, Osaka 547-0006, Japan; Wataru Ogawa, Hiroyasu Taniguchi, Yoshiyuki Monju, and Taiji Mizuta, Osaka Alloying Works, Co., Ltd., 45-5-9 Sh
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