Transmission of Sound Waves in Gases at Low Pressures
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Glossary Physics (I-Introduction)
1 Glossary Physics (I-introduction) - Efficiency: The percent of the work put into a machine that is converted into useful work output; = work done / energy used [-]. = eta In machines: The work output of any machine cannot exceed the work input (<=100%); in an ideal machine, where no energy is transformed into heat: work(input) = work(output), =100%. Energy: The property of a system that enables it to do work. Conservation o. E.: Energy cannot be created or destroyed; it may be transformed from one form into another, but the total amount of energy never changes. Equilibrium: The state of an object when not acted upon by a net force or net torque; an object in equilibrium may be at rest or moving at uniform velocity - not accelerating. Mechanical E.: The state of an object or system of objects for which any impressed forces cancels to zero and no acceleration occurs. Dynamic E.: Object is moving without experiencing acceleration. Static E.: Object is at rest.F Force: The influence that can cause an object to be accelerated or retarded; is always in the direction of the net force, hence a vector quantity; the four elementary forces are: Electromagnetic F.: Is an attraction or repulsion G, gravit. const.6.672E-11[Nm2/kg2] between electric charges: d, distance [m] 2 2 2 2 F = 1/(40) (q1q2/d ) [(CC/m )(Nm /C )] = [N] m,M, mass [kg] Gravitational F.: Is a mutual attraction between all masses: q, charge [As] [C] 2 2 2 2 F = GmM/d [Nm /kg kg 1/m ] = [N] 0, dielectric constant Strong F.: (nuclear force) Acts within the nuclei of atoms: 8.854E-12 [C2/Nm2] [F/m] 2 2 2 2 2 F = 1/(40) (e /d ) [(CC/m )(Nm /C )] = [N] , 3.14 [-] Weak F.: Manifests itself in special reactions among elementary e, 1.60210 E-19 [As] [C] particles, such as the reaction that occur in radioactive decay. -
Using the Partial Wave Method for Wave Structure Calculation and the Conceptual Interpretation of Elastodynamic Guided Waves
applied sciences Article Using the Partial Wave Method for Wave Structure Calculation and the Conceptual Interpretation of Elastodynamic Guided Waves Christopher Hakoda and Cliff J. Lissenden * Department of Engineering Science and Mechanics, Pennsylvania State University, University Park, PA 16802, USA; [email protected] * Correspondence: [email protected] Received: 8 May 2018; Accepted: 8 June 2018; Published: 12 June 2018 Featured Application: Shortcut to wave-structure calculation for elastodynamic guided waves and prediction of acoustic leakage behavior. Abstract: The partial-wave method takes advantage of the Christoffel equation’s generality to represent waves within a waveguide. More specifically, the partial-wave method is well known for its usefulness when calculating dispersion curves for multilayered and/or anisotropic plates. That is, it is a vital component of the transfer-matrix method and the global-matrix method, which are used for dispersion curve calculation. The literature suggests that the method is also exceptionally useful for conceptual interpretation, but gives very few examples or instruction on how this can be done. In this paper, we expand on this topic of conceptual interpretation by addressing Rayleigh waves, Stoneley waves, shear horizontal waves, and Lamb waves. We demonstrate that all of these guided waves can be described using the partial-wave method, which establishes a common foundation on which many elastodynamic guided waves can be compared, translated, and interpreted. For Lamb waves specifically, we identify the characteristics of guided wave modes that have not been formally discussed in the literature. Additionally, we use what is demonstrated in the body of the paper to investigate the leaky characteristics of Lamb waves, which eventually leads to finding a correlation between oblique bulk wave propagation in the waveguide and the transmission amplitude ratios found in the literature. -
Introduction to Audio Acoustics, Speakers and Audio Terminology
White paper Introduction to audio Acoustics, speakers and audio terminology OCTOBER 2017 Table of contents 1. Introduction 3 2. Audio frequency 3 2.1 Audible frequencies 3 2.2 Sampling frequency 3 2.3 Frequency and wavelength 3 3. Acoustics and room dimensions 4 3.1 Echoes 4 3.2 The impact of room dimensions 4 3.3 Professional solutions for neutral room acoustics 4 4. Measures of sound 5 4.1 Human sound perception and phon 5 4.2 Watts 6 4.3 Decibels 6 4.4 Sound pressure level 7 5. Dynamic range, compression and loudness 7 6. Speakers 8 6.1 Polar response 8 6.2 Speaker sensitivity 9 6.3 Speaker types 9 6.3.1 The hi-fi speaker 9 6.3.2 The horn speaker 9 6.3.3 The background music speaker 10 6.4 Placement of speakers 10 6.4.1 The cluster placement 10 6.4.2 The wall placement 11 6.4.3 The ceiling placement 11 6.5 AXIS Site Designer 11 1. Introduction The audio quality that we can experience in a certain room is affected by a number of things, for example, the signal processing done on the audio, the quality of the speaker and its components, and the placement of the speaker. The properties of the room itself, such as reflection, absorption and diffusion, are also central. If you have ever been to a concert hall, you might have noticed that the ceiling and the walls had been adapted to optimize the audio experience. This document provides an overview of basic audio terminology and of the properties that affect the audio quality in a room. -
Laplace and the Speed of Sound
Laplace and the Speed of Sound By Bernard S. Finn * OR A CENTURY and a quarter after Isaac Newton initially posed the problem in the Principia, there was a very apparent discrepancy of almost 20 per cent between theoretical and experimental values of the speed of sound. To remedy such an intolerable situation, some, like New- ton, optimistically framed additional hypotheses to make up the difference; others, like J. L. Lagrange, pessimistically confessed the inability of con- temporary science to produce a reasonable explanation. A study of the development of various solutions to this problem provides some interesting insights into the history of science. This is especially true in the case of Pierre Simon, Marquis de Laplace, who got qualitatively to the nub of the matter immediately, but whose quantitative explanation performed some rather spectacular gyrations over the course of two decades and rested at times on both theoretical and experimental grounds which would later be called incorrect. Estimates of the speed of sound based on direct observation existed well before the Newtonian calculation. Francis Bacon suggested that one man stand in a tower and signal with a bell and a light. His companion, some distance away, would observe the time lapse between the two signals, and the speed of sound could be calculated.' We are probably safe in assuming that Bacon never carried out his own experiment. Marin Mersenne, and later Joshua Walker and Newton, obtained respectable results by deter- mining how far they had to stand from a wall in order to obtain an echo in a second or half second of time. -
Introduction to Physical Chemistry – Lecture 5 Supplement: Derivation of the Speed of Sound in Air
Introduction to Physical Chemistry – Lecture 5 Supplement: Derivation of the Speed of Sound in Air I. LECTURE OVERVIEW We can combine the results of Lecture 5 with some basic techniques in fluid mechanics to derive the speed of sound in air. For the purposes of the derivation, we will assume that air is an ideal gas. II. DERIVATION OF THE SPEED OF SOUND IN AN IDEAL GAS Consider a sound wave that is produced in an ideal gas, say air. This sound may be produced by a variety of methods (clapping, explosions, speech, etc.). The central point to note is that the sound wave is defined by a local compression and then expansion of the gas as the wave FIG. 2: An imaginary cross-sectional tube running from one passes by. A sound wave has a well-defined velocity v, side of the sound wave to the other. whose value as a function of various properties of the gas (P , T , etc.) we wish to determine. Imagine that our cross-sectional area is the opening of So, consider a sound wave travelling with velocity v, a tube that exits behind the sound wave, where the air as illustrated in Figure 1. From the perspective of the density is ρ + dρ, and velocity is v + dv. Since there is sound wave, the sound wave is still, and the air ahead of no mass accumulation inside the tube, then applying the it is travelling with velocity v. We assume that the air principle of conservation of mass we have, has temperature T and P , and that, as it passes through the sound wave, its velocity changes to v + dv, and its ρAv = (ρ + dρ)A(v + dv) ⇒ temperature and pressure change slightly as well, to T + ρv = ρv + vdρ + ρdv + dvdρ ⇒ dT and P + dP , respectively (see Figure 1). -
The Physics of Sound 1
The Physics of Sound 1 The Physics of Sound Sound lies at the very center of speech communication. A sound wave is both the end product of the speech production mechanism and the primary source of raw material used by the listener to recover the speaker's message. Because of the central role played by sound in speech communication, it is important to have a good understanding of how sound is produced, modified, and measured. The purpose of this chapter will be to review some basic principles underlying the physics of sound, with a particular focus on two ideas that play an especially important role in both speech and hearing: the concept of the spectrum and acoustic filtering. The speech production mechanism is a kind of assembly line that operates by generating some relatively simple sounds consisting of various combinations of buzzes, hisses, and pops, and then filtering those sounds by making a number of fine adjustments to the tongue, lips, jaw, soft palate, and other articulators. We will also see that a crucial step at the receiving end occurs when the ear breaks this complex sound into its individual frequency components in much the same way that a prism breaks white light into components of different optical frequencies. Before getting into these ideas it is first necessary to cover the basic principles of vibration and sound propagation. Sound and Vibration A sound wave is an air pressure disturbance that results from vibration. The vibration can come from a tuning fork, a guitar string, the column of air in an organ pipe, the head (or rim) of a snare drum, steam escaping from a radiator, the reed on a clarinet, the diaphragm of a loudspeaker, the vocal cords, or virtually anything that vibrates in a frequency range that is audible to a listener (roughly 20 to 20,000 cycles per second for humans). -
Nonlinear Ultrafast Acoustics at the Nano Scale Peter Van Capel, Emmanuel Péronne, Jaap Dijkhuis
Nonlinear ultrafast acoustics at the nano scale Peter van Capel, Emmanuel Péronne, Jaap Dijkhuis To cite this version: Peter van Capel, Emmanuel Péronne, Jaap Dijkhuis. Nonlinear ultrafast acoustics at the nano scale. Ultrasonics, Elsevier, 2015, 56, pp.36-51. 10.1016/j.ultras.2014.09.021. hal-01233796 HAL Id: hal-01233796 https://hal.archives-ouvertes.fr/hal-01233796 Submitted on 17 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Nonlinear ultrafast acoustics at the nano scale ⇑ P.J.S. van Capel a, , E. Péronne b,c, J.I. Dijkhuis a a Debye Institute for Nanomaterials Science, Center for Extreme Matter and Emergent Phenomena, Utrecht University, P.O. Box 80000, 3508 TA Utrecht, The Netherlands b CNRS, UMR 7588, Institut des NanoSciences de Paris, F-75005 Paris, France c Sorbonne Universités, UPMC Univ. Paris 06, UMR 7588, INSP, F-75005 Paris, France Pulsed femtosecond lasers can generate acoustic pulses propagating in solids while displaying either dif-fraction, attenuation, nonlinearity and/or dispersion. When acoustic attenuation and diffraction are neg-ligible, shock waves or solitons can form during propagation. Both wave types are phonon wavepackets with characteristic length scales as short as a few nanometer. -
Directivity Patterns of Laser-Generated Sound in Solids: Effects of Optical and Thermal Parameters
Directivity patterns of laser-generated sound in solids: Effects of optical and thermal parameters Victor V. Krylov Department of Aeronautical and Automotive Engineering, Loughborough University, Loughborough, Leicestershire LE11 3TU, UK Abstract In the present paper, directivity patterns of laser-generated sound in solids are investigated theoretically. Two main approaches to the calculation of directivity patterns of laser- generated sound are discussed for the most important case of thermo-optical regime of generation. The first approach, which is widely used in practice, is based on the simple modelling of the equivalent thermo-optical source as a mechanical dipole comprising two horizontal forces applied to the surface in opposite directions. The second approach is based on the rigorous theory that takes into account all acoustical, optical and thermal parameters of a solid material and all geometrical and physical parameters of a laser beam. Directivity patterns of laser-generated bulk longitudinal and shear elastic waves, as well as the amplitudes of generated Rayleigh surface waves, are calculated for different values of physical and geometrical parameters and compared with the directivity patterns calculated in case of dipole-source representation. It is demonstrated that the simple approach using a dipole-source representation of laser-generated sound is rather limited, especially for description of generated longitudinal acoustic waves. A practical criterion is established to define the conditions under which the dipole-source representation gives predictions with acceptable errors. It is shown that, for radiation in the normal direction to the surface, the amplitudes of longitudinal waves are especially sensitive to the values of thermal parameters and of the acoustic reflection coefficient from a free solid surface. -
Quality of Piano Tones
THE JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA Volume 34 Number 6 JUNE. 1962 Quality of Piano Tones HARVEY FLETCIIER,E. DONNEL• BLACKHAM,AND RICIIARD STRATTON Brigham Young University, Provo, Utah (ReceivedNovember 27, 1961) A synthesizerwas constructedto producesimultaneously 100 pure toneswith meansfor controllingthe intensity and frequencyof each one of them. The piano toneswere analyzedby conventionalapparatus and methodsand the analysisset into the synthesizer.The analysiswas consideredcorrect only when a jury of eight listenerscould not tell which were real and which were synthetictones. Various kinds of synthetictones were presented to the jury for comparisonwith real tones.A numberof thesewere judged to have better quality than the real tones.According to thesetests synthesized piano-like tones were produced when the attack time was lessthan 0.01 sec.The decaycan be as long as 20 secfor the lower notes and be lessthan 1 secfor the very high ones.The best quality is producedwhen the partials decreasein level at the rate of 2 db per 100-cpsincrease in the frequencyof the partial. The partialsbelow middle C must be inharmonicin frequencyto be piano-like. INTRODUCTION synthesizer,and (4) the frequencychanger. To these HISpaper isa reportof our efforts tofind an ob- facilitieshave been added, a sonograph,an analyzer, a jectivedescription of the qualityof pianotones as single-tracktape recorder,a 5-track tape recorder,and understoodby musicians,and also to try to find syn- other apparatususually available in electronicresearch thetic toneswhich are consideredby them to be better laboratories.A block diagram of the arrangementis than real-piano tones. shownin Fig. 1. The usual statement found in text books is that the pitch of a tone is determinedby the frequencyof EQUIPMENT vibration,the loudnessby the intensityof the vibration, 1. -
FORMULAS for CALCULATING the SPEED of SOUND Revision G
FORMULAS FOR CALCULATING THE SPEED OF SOUND Revision G By Tom Irvine Email: [email protected] July 13, 2000 Introduction A sound wave is a longitudinal wave, which alternately pushes and pulls the material through which it propagates. The amplitude disturbance is thus parallel to the direction of propagation. Sound waves can propagate through the air, water, Earth, wood, metal rods, stretched strings, and any other physical substance. The purpose of this tutorial is to give formulas for calculating the speed of sound. Separate formulas are derived for a gas, liquid, and solid. General Formula for Fluids and Gases The speed of sound c is given by B c = (1) r o where B is the adiabatic bulk modulus, ro is the equilibrium mass density. Equation (1) is taken from equation (5.13) in Reference 1. The characteristics of the substance determine the appropriate formula for the bulk modulus. Gas or Fluid The bulk modulus is essentially a measure of stress divided by strain. The adiabatic bulk modulus B is defined in terms of hydrostatic pressure P and volume V as DP B = (2) - DV / V Equation (2) is taken from Table 2.1 in Reference 2. 1 An adiabatic process is one in which no energy transfer as heat occurs across the boundaries of the system. An alternate adiabatic bulk modulus equation is given in equation (5.5) in Reference 1. æ ¶P ö B = ro ç ÷ (3) è ¶r ø r o Note that æ ¶P ö P ç ÷ = g (4) è ¶r ø r where g is the ratio of specific heats. -
A Pocket-Sized Introduction to Acoustics Keith Attenborough, Michiel Postema
A pocket-sized introduction to acoustics Keith Attenborough, Michiel Postema To cite this version: Keith Attenborough, Michiel Postema. A pocket-sized introduction to acoustics. The Univerisity of Hull, 80 p., 2008, 978-90-812588-2-1. hal-03188302 HAL Id: hal-03188302 https://hal.archives-ouvertes.fr/hal-03188302 Submitted on 6 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A pocket-sized introduction to acoustics Prof. Dr. Keith Attenborough Dr. Michiel Postema Department of Engineering The University of Hull 2 ISBN 978-90-812588-2-1 °c 2008 K. Attenborough, M. Postema. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechan- ical, photocopying, recording or otherwise, without the prior written permission of the authors. Publisher: Michiel Postema, Bergschenhoek Printed in England by The University of Hull Typesetting system: LATEX 2" Contents 1 Acoustics and ultrasonics 5 2 Mass on a spring 7 3 Wave equation in fluid 9 4 Sound speed -
Harmonic Analysis for Music Transcription and Characterization
UNIVERSITA` DEGLI STUDI DI BRESCIA FACOLTA` DI INGEGNERIA Dipartimento di Ingegneria dell'Informazione DOTTORATO DI RICERCA IN INGEGNERIA DELLE TELECOMUNICAZIONI XXVII CICLO SSD: ING-INF/03 Harmonic Analysis for Music Transcription and Characterization Ph.D. Candidate: Ing. Alessio Degani .............................................. Ph.D. Supervisor: Prof. Pierangelo Migliorati .............................................. Ph.D. Coordinator: Prof. Riccardo Leonardi .............................................. ANNO ACCADEMICO 2013/2014 to my family Sommario L'oggetto di questa tesi `elo studio dei vari metodi per la stima dell'informazione tonale in un brano musicale digitale. Il lavoro si colloca nel settore scientifico de- nomitato Music Information Retrieval, il quale studia le innumerevoli tematiche che riguardano l'estrazione di informazioni di alto livello attraverso l'analisi del segnale audio. Nello specifico, in questa dissertazione andremo ad analizzare quelle procedure atte ad estrarre l'informazione tonale e armonica a diversi lev- elli di astrazione. Come prima cosa verr`apresentato un metodo per stimare la presenza e la precisa localizzazione frequenziale delle componenti sinusoidali stazionarie a breve termine, ovvero le componenti fondamentali che indentificano note e accordi, quindi l'informazione tonale/armonica. Successivamente verr`aesposta un'analisi esaustiva dei metodi di stima della frequenza di riferimento (usata per accordare gli strumenti musicali) basati sui picchi spettrali. Di solito la frequenza di riferimento `econsiderata standard e associata al valore di 440 Hz, ma non sempre `ecos`ı. Vedremo quindi che per migliorare le prestazioni dei vari metodi che si affidano ad una stima del contenuto armonico e melodico per determinati scopi, `efondamentale avere una stima coerente e robusta della freqeunza di riferimento. In seguito, verr`apresentato un sistema innovativo per per misurare la rile- vanza di una data componente frequenziale sinusoidale in un ambiente polifonico.