Significance of Beating Observed in Earthquake Responses of Buildings
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Echo Eliminator Ceiling & Wall Panels
Echo Eliminator Ceiling & Wall Panels Echo Eliminator, or Bonded Acoustical Cotton (B.A.C.), is the most cost-effective acoustical absorbing material on the market. It is a high-performance panel manufactured from recycled cotton, and is ideal for noise control applications. Echo Eliminator can easily be installed as acoustical wall panels or hanging baffles. • No VOCs (Volatile Organic Compounds) • No formaldehyde, requires no warning labels • Fungi-, mold-, and mildew-resistant • Class A Fire Rated (Non-flammable per ASTM E-84) ACOUSTICAL SURFACES, INC. CELEBRATING 35 YEARS – SOUNDPROOFING, ACOUSTICS, NOISE & VIBRATION SPECIALISTS! ™ 952.448.5300 • 800.448.0121 • [email protected] • www.acousticalsurfaces.com Echo Eliminator APPLICATIONS Residential, commercial, industrial; schools, restaurants, classrooms, Ceiling & Wall Panels houses of worship, community centers, offices, conference rooms, music rooms, recording studios, theaters, public spaces, medical facilities, audi- toriums, arenas/stadiums, warehouses, manufacturing plants, and more. Acoustics and Expected Performance: Absorbing sound and reducing echo / reverberation can be challeng- ing. Echo Eliminator offers a high Noise Reduction Coefficient (NRC) to reduce the amount of sound within a room. One-inch thick panels are appropriate for areas wher e the main issue is understanding speech. Rooms with more mid-and-low frequency noise, or where music is present, benefit from using two-inch thick panels. SIZES & OPTIONS Standard Size: 24" x 48" (minimum quantities apply, call for details); options: 12" x 12", 24" x 24", 48" x 48", 48" x 96". Note: All sizes are nominal and subject to manufacturing tolerances that may vary +/- 1/8". Thickness/Density: 1" thick / 3 lb. per cubic foot (pcf); 1" thick/6 lb. -
Helmholtz's Dissonance Curve
Tuning and Timbre: A Perceptual Synthesis Bill Sethares IDEA: Exploit psychoacoustic studies on the perception of consonance and dissonance. The talk begins by showing how to build a device that can measure the “sensory” consonance and/or dissonance of a sound in its musical context. Such a “dissonance meter” has implications in music theory, in synthesizer design, in the con- struction of musical scales and tunings, and in the design of musical instruments. ...the legacy of Helmholtz continues... 1 Some Observations. Why do we tune our instruments the way we do? Some tunings are easier to play in than others. Some timbres work well in certain scales, but not in others. What makes a sound easy in 19-tet but hard in 10-tet? “The timbre of an instrument strongly affects what tuning and scale sound best on that instrument.” – W. Carlos 2 What are Tuning and Timbre? 196 384 589 amplitude 787 magnitude sample: 0 10000 20000 30000 0 1000 2000 3000 4000 time: 0 0.23 0.45 0.68 frequency in Hz Tuning = pitch of the fundamental (in this case 196 Hz) Timbre involves (a) pattern of overtones (Helmholtz) (b) temporal features 3 Some intervals “harmonious” and others “discordant.” Why? X X X X 1.06:1 2:1 X X X X 1.89:1 3:2 X X X X 1.414:1 4:3 4 Theory #1:(Pythagoras ) Humans naturally like the sound of intervals de- fined by small integer ratios. small ratios imply short period of repetition short = simple = sweet Theory #2:(Helmholtz ) Partials of a sound that are close in frequency cause beats that are perceived as “roughness” or dissonance. -
Can You Reflect Sound? ECHO TUBE
Exhibit Sheet Can you reflect sound? ECHO TUBE (Type) Ages Topic Time Science 7-14 Sound <10 mins background Skills used Observation, Curiosity Overview for adults Echo Tube is a 15 metre hollow tube. When you shout or make a sound into the tube, it is reflected off the end of the tube and comes back to you. You hear this as an echo. The tube has two flaps within it that you can open or close, changing the length of the tube and the length of time it takes the echo to bounce back to you. What’s the science? Sound travels through the air as sound waves. When these sound waves meet a surface, they are reflected back to where they came from. Sound travels at 330 meters per second in air, which is much slower than light. This means that when light is reflected, we see its reflection instantly but when sound is reflected, we can hear the delay as an echo. The surface that the sound bounces off doesn’t have to be solid. The echo tube is open at both ends. The air pressure inside the tube is higher than the air pressure outside. When the sound wave meets the open end of the tube, this change in pressure causes a wave to be reflected down the tube from the open end. Science in your world Echoes from the open ends of tubes are what make musical instruments such as horns and trumpets work. The sound wave reflects up and down the tube from the open ends. -
Meeting Agenda 20-23 April 2004
ICES-Working Group on Fisheries Acoustics, Science and Technology Meeting Agenda 20-23 April 2004 DRAFT (8 April 2004) Sea Fisheries Institute (Demel Room) Gdynia, Poland Dr David Demer, USA, Chair April 20th 0900 Opening: host greeting, adoption of agenda, selection of rapporteur FAST Topic 1: Effectiveness of noise-reduced platforms (topic discussion leaders: Alex De Robertis and Ian H. McQuinn) 0930 Ron Mitson (presented by Paul G. Fernandes). “Underwater noise; a brief history of noise in fisheries.” (topic review) 1000 Paul G. Fernandes, Andrew S. Brierley, and F. Armstrong. “Examination of herring at the surface of the North Sea.” 1020 Coffee break 1040 Grazyna Grelowska and Ignacy Gloza. “The acoustic transmissions of a moving ship and a grey seal.” 1100 Pall Reynisson. “Noise reduced vessels; the Icelandic experience.” 1120 Janusz Burczynski. “New Deployment Options for Digital Sonar.” 1140 Martyn Simmons or Steve Goodwin. “TONES - an overview” 1200 Lunch 1330 Ron Mitson (presented by D. Van Holliday). “Does ICES CRR 209 need revision?” 1350 Discussion (topic discussion leaders: Alex De Robertis and Ian H. McQuinn) FAST Topic 2: Using acoustics for evaluating ecosystem structure, with emphasis on species identification (topic discussion leaders: Rudy Kloser and Rolf Korneliussen) 1430 John Horne. “Challenges and trends in acoustic species identification.” (topic review) 1500 Coffee break 1520 Michael Jech and William Michaels. “Multi-frequency analyses of acoustical survey data.” 1540 Paul G. Fernandes. “Determining the quality of a multifrequency identification algorithm.” 1600 A. Mair and Paul G. Fernandes. “Examination of plankton samples in relation to multifrequency echograms.” 1620 Valerie Mazauric and Laurent Berger. “The numerical tool OASIS for echograms simulation.” 1640 Valerie Mazauric and John Dalen. -
Neural Tracking of the Musical Beat Is Enhanced by Low-Frequency Sounds
Neural tracking of the musical beat is enhanced by low-frequency sounds Tomas Lenca, Peter E. Kellera, Manuel Varleta, and Sylvie Nozaradana,b,c,1 aMARCS Institute for Brain, Behaviour, and Development, Western Sydney University, Penrith, NSW 2751, Australia; bInstitute of Neuroscience (IONS), Université Catholique de Louvain, 1200 Woluwe-Saint-Lambert, Belgium; and cInternational Laboratory for Brain, Music, and Sound Research (BRAMS), Département de Psychologie, Faculté des Arts et des Sciences, Université de Montréal, Montréal, QC H3C 3J7, Canada Edited by Dale Purves, Duke University, Durham, NC, and approved June 28, 2018 (received for review January 24, 2018) Music makes us move, and using bass instruments to build the content (8, 9). Bass sounds are also crucial in music that en- rhythmic foundations of music is especially effective at inducing courages listeners to move (10, 11). people to dance to periodic pulse-like beats. Here, we show that There has been a recent debate as to whether evolutionarily this culturally widespread practice may exploit a neurophysiolog- shaped properties of the auditory system lead to superior tem- ical mechanism whereby low-frequency sounds shape the neural poral encoding for bass sounds (12, 13). One study using elec- representations of rhythmic input by boosting selective locking to troencephalography (EEG) recorded brain responses elicited by the beat. Cortical activity was captured using electroencephalog- misaligned tone onsets in an isochronous sequence of simulta- raphy (EEG) while participants listened to a regular rhythm or to a neous low- and high-pitched tones (12). Greater sensitivity to the relatively complex syncopated rhythm conveyed either by low temporal misalignment of low tones was observed when they tones (130 Hz) or high tones (1236.8 Hz). -
Thomas Young the Man Who Knew Everything
Thomas Young The man Who Knew Everything Andrew Robinson marvels at the brain power and breadth of knowledge of the 18th-century polymath Thomas Young. He examines his relationship with his contemporaries, particularly with the French Egyptologist Champollion, and how he has been viewed subsequently by historians. ORTUNATE NEWTON, happy professor of natural philosophy at childhood of science!’ Albert the newly founded Royal Institution, F Einstein wrote in 1931 in his where in 1802-03 he delivered what foreword to the fourth edition of is generally regarded as the most far- Newton’s influential treatise Opticks, reaching series of lectures ever given originally published in 1704. by a scientist; a physician at a major London hospital, St George’s, for a Nature to him was an open book, quarter of a century; the secretary of whose letters he could read without the Admiralty’s Board of Longitude effort. ... Reflection, refraction, the and superintendent of its vital Nauti- formation of images by lenses, the cal Almanac from 1818 until his mode of operation of the eye, the death; and ‘inspector of calculations’ spectral decomposition and recom- for a leading life insurance company position of the different kinds of in the 1820s. In 1794, he was elected light, the invention of the reflecting a fellow of the Royal Society at the telescope, the first foundations of age of barely twenty-one, became its colour theory, the elementary theory foreign secretary at the age of thirty, of the rainbow pass by us in and turned down its presidency in procession, and finally come his his fifties. -
Large Scale Sound Installation Design: Psychoacoustic Stimulation
LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction ................................................................................................................. -
The Concept of the Photon—Revisited
The concept of the photon—revisited Ashok Muthukrishnan,1 Marlan O. Scully,1,2 and M. Suhail Zubairy1,3 1Institute for Quantum Studies and Department of Physics, Texas A&M University, College Station, TX 77843 2Departments of Chemistry and Aerospace and Mechanical Engineering, Princeton University, Princeton, NJ 08544 3Department of Electronics, Quaid-i-Azam University, Islamabad, Pakistan The photon concept is one of the most debated issues in the history of physical science. Some thirty years ago, we published an article in Physics Today entitled “The Concept of the Photon,”1 in which we described the “photon” as a classical electromagnetic field plus the fluctuations associated with the vacuum. However, subsequent developments required us to envision the photon as an intrinsically quantum mechanical entity, whose basic physics is much deeper than can be explained by the simple ‘classical wave plus vacuum fluctuations’ picture. These ideas and the extensions of our conceptual understanding are discussed in detail in our recent quantum optics book.2 In this article we revisit the photon concept based on examples from these sources and more. © 2003 Optical Society of America OCIS codes: 270.0270, 260.0260. he “photon” is a quintessentially twentieth-century con- on are vacuum fluctuations (as in our earlier article1), and as- Tcept, intimately tied to the birth of quantum mechanics pects of many-particle correlations (as in our recent book2). and quantum electrodynamics. However, the root of the idea Examples of the first are spontaneous emission, Lamb shift, may be said to be much older, as old as the historical debate and the scattering of atoms off the vacuum field at the en- on the nature of light itself – whether it is a wave or a particle trance to a micromaser. -
Does Halo Insulation Work As Soundproofing?
Does Halo Insulation Work as Soundproofing? You’re probably familiar with Halo’s strengths as an insulation product that slashes energy costs by keeping room temperatures at a comfortable level. But what about noise control — can Halo also add comfort by reducing sound transmission? It turns out that it can, although Halo’s performance as a soundproofing material is not as impressive as its array of thermal benefits. This post will talk about the several ways in which Halo’s products can be used to manage sound in a building. Managing Sound Transmission vs. Echo © 2018 Logix Insulated Concrete Forms LTD | 855-350-4256 (HALO) Does Halo Insulation Work as Soundproofing? Soundproofing and sound absorption are 2 distinct processes. Soundproofing means blocking soundwaves from traveling from one space to the next, whereas sound absorption refers to reducing echo. One of the ways to soundproof a space is by decoupling the partition. This practice requires two layers of solid material — gypsum, concrete, or glass — with an air gap between them. The solid layer facing the sound’s origin acts as a conductor to the soundwaves until they reach the air cavity, interrupting the waves’ direct path. This way, the soundwaves are far weaker when they reach the solid layer on the other side of the partition. Unfortunately, decoupling alone is not enough to block soundwaves of all frequencies. That’s why other strategies, like adding mass, damping the partitions, and improving absorption, are crucial to sound control. Absorption, for instance, boosts the soundproofing performance of decoupled walls and improves the sound quality in the space from which the noise is coming. -
Contrast Echo on Evaluation of Cardiac Function – Basic Principles
Contrast echo and evaluation of cardiac function: basic principles Y. Yotov University Hospital “St.Marina” Varna, Bulgaria EAE Teaching Corse, 5-7 April 2012, Sofia, Bulgaria Contrast in echocardiography: Why? • To delineate the endocardium by cavity opacification. – for assessment of global and regional systolic function, LV volumes and ejection fraction. – LV opacification (LVO) for improved visualisation of structural abnormalities – enhanced visualisation of wall thickening during stress echocardiography • To enhance Doppler flow signals from the cavities and great vessels. • To determine myocardial ischaemia and viability using myocardial perfusion contrast echocardiography (MCE) • Quantification of the coronary flow reserve, which has prognostic value in various disease conditions TISSUE: Incident frequency results in equal and opposite vibration (i.e. LINEAR RESPONSE) MICROBUBBLES: Can only become so small but can expand to a greater degree, resulting in unequal oscillation (i.e. NON-LINEAR RESPONSE) This results in asymmetrical vibrations which produce harmonic frequencies http://www.escardio.org/communities/EAE/contrast-echo-box/ TISSUE HARMONIC IMAGING Principles of Contrast echocardiography Blood appears black on conventional two dimensional echocardiography, not because blood produces no echo, but because the ultrasound scattered by red blood cells at conventional imaging frequencies is very weak—several thousand times weaker than myocardium—and so lies below the displayed dynamic range. Stewart MJ. Heart. 2003; 89(3): 342–348. • It is a remarkable coincidence that gas bubbles of a size required to cross the pulmonary capillary vascular bed (1–5 mm) resonate in a frequency range of 1.5–7 MHz, precisely that used in diagnostic ultrasound. Stewart MJ. Heart. 2003; 89(3): 342–348. -
Characterization of Radio Frequency Echo Using Frequency Sweeping and Power Analysis Amar Zeher, Stéphane Binczak, Jerome Joli
Characterization of Radio Frequency Echo using frequency sweeping and power analysis Amar Zeher, Stéphane Binczak, Jerome Joli To cite this version: Amar Zeher, Stéphane Binczak, Jerome Joli. Characterization of Radio Frequency Echo using fre- quency sweeping and power analysis. 2014 IEEE REGION 10 TECHNICAL SYMPOSIUM, Apr 2014, Kuala Lumpur, Malaysia. pp.356-360, 10.1109/TENCONSpring.2014.6863057. hal-01463734 HAL Id: hal-01463734 https://hal.archives-ouvertes.fr/hal-01463734 Submitted on 17 Feb 2017 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. Characterization of Radio Frequency Echo Using Frequency Sweeping and Power Analysis Amar Zeher Stephane´ Binczak Jerome´ Joli LE2I CNRS UMR 6306, Laboratory LE2I CNRS UMR 6306, SELECOM, Universite´ de Bourgogne, Universite´ de Bourgogne, ZA Alred Sauvy, 9 avenue Alain Savary, BP47870 9 avenue Alain Savary, BP47870 66500 Prades, France. 21078 Dijon cedex, France 21078 Dijon cedex, France Email: [email protected] Email: [email protected] Email: [email protected] Abstract—Coupling between repeater’s antennas, called Radio as Wiener Filter, Linear Prediction [4] or Non-linear Acoustic Frequency Echo (RFE) deteriorates signal quality and compro- Echo Cancellation Based on Volterra Filters [5]. -
PSYCHOACOUSTICS: Software Package for Psychoacoustics
Acoust. Sci. & Tech. 41, 1 (2020) #2020 The Acoustical Society of Japan INVITED REVIEW PSYCHOACOUSTICS: Software package for psychoacoustics Aleksander P. Se˛k1;Ã and Brian C. J. Moore2;y 1Institute of Acoustics, Faculty of Physics, Adam Mickiewicz University, Poznan´, Poland 2Department of Experimental Psychology, University of Cambridge, Downing Street, Cambridge CB2 3EB, United Kingdom Abstract: Current research in the field of psychoacoustics is mostly conducted using a computer to generate and present the stimuli and to collect the responses of the subject. However, writing the computer software to do this is time-consuming and requires technical expertise that is not possessed by many would-be researchers. We have developed a software package that makes it possible to set up and conduct a wide variety of experiments in psychoacoustics without the need for time-consuming programming or technical expertise. The only requirements are a personal computer (PC) with a good- quality sound card and a set of headphones. Parameters defining the stimuli and procedure are entered via boxes on the screen and drop-down menus. Possible experiments include measurement of the absolute threshold, simultaneous and forward masking (including notched-noise masking), comodu- lation masking release, intensity and frequency discrimination, amplitude-modulation detection and discrimination, gap detection, discrimination of interaural time and level differences, measurement of sensitivity to temporal fine structure, and measurement of the binaural masking level difference. The software is intended to be useful both for researchers and for students who want to try psychoacoustic experiments for themselves, which can be very valuable in helping them gain a deeper understanding of auditory perception.