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The piano soundboard transforms the string vibration into sound andtherefore, its vibrations are of primary importance for the soundcharacteristics of the instrument. An original vibro-acoustical method ispresented to isolate the soundboard nonlinearity from that of the excitingdevice (here: a loudspeaker) and to measure it. The nonlinear part of thesoundboard response to an external excitation is quantitatively estimated forthe first time, at \approx -40 dB below the linear part at the ff nuance. Giventhis essentially linear response, a modal identification is performed up to 3kHz by means of a novel high resolution modal analysis technique (Ege et al.,High-resolution modal analysis, JSV, 325(4-5), 2009). Modal dampings (which, sofar, were unknown for the piano in this frequency range) are determined in themidfrequency domain where FFT-based methods fail to evaluate them with anacceptable precision. They turn out to be close to those imposed by wood. Afinite-element modelling of the soundboard is also presented. The low-ordermodal shapes and the comparison between the corresponding experimental andnumerical modal frequencies suggest that the boundary conditions can beconsidered as blocked, except at very low frequencies. The frequency-dependencyof the modal density and the observation of modal shapes reveal twowell-separated regimes. Below \approx 1 kHz, the soundboard vibrates more orless like a homogeneous plate. Above that limit, the structural waves areconfined by ribs, as already noticed by several authors, and localised inrestricted areas (one or a few inter-rib spaces), presumably due to a slightlyirregular spacing of the ribs across the soundboard.

Vibroacoustics of the piano soundboard: (Non)linearity and modal properties in the low and mid-frequency ranges