Experiment 1: Waves on String
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Atwood's Machine? (5 Points)
rev 09/2019 Atwood’s Machine Equipment Qty Equipment Part Number 1 Mass and Hanger Set ME‐8979 1 Photogate with Pully ME‐6838A 1 Universal Table Clamp ME‐9376B 1 Large Rod ME‐8736 1 Small Rod ME‐8977 1 Double rod Clamp ME‐9873 1 String Background Newton’s 2nd Law (NSL) states that the acceleration a mass experiences is proportional to the net force applied to it, and inversely proportional to its inertial mass ( ). An Atwood’s Machine is a simple device consisting of a pulley, with two masses connected by a string that runs over the pulley. For an ‘ideal Atwood’s Machine’ we assume the pulley is massless, and frictionless, that the string is unstretchable, therefore a constant length, and also massless. Consider the following diagram of an ideal Atwood’s machine. One of the standard ways to apply NSL is to draw Free Body Diagrams for the masses in the system, then write Force Summation Equations for each Free Body Diagram. We will use the standard practice of labeling masses from smallest to largest, therefore m2 > m1. For an Atwood’s Machine there are only forces acting on the masses in the vertical direction so we will only need to write Force Summation Equations for the y‐direction. We obtain the following Free Body Diagrams for the two masses. Each of the masses have two forces acting on it. Each has its own weight (m1g, or m2g) pointing downwards, and each has the tension (T) in the string pointing upwards. By the assumption of an ideal string the tension is the same throughout the string. -
Lab 12. Vibrating Strings
Lab 12. Vibrating Strings Goals • To experimentally determine the relationships between the fundamental resonant frequency of a vibrating string and its length, its mass per unit length, and the tension in the string. • To introduce a useful graphical method for testing whether the quantities x and y are related by a “simple power function” of the form y = axn. If so, the constants a and n can be determined from the graph. • To experimentally determine the relationship between resonant frequencies and higher order “mode” numbers. • To develop one general relationship/equation that relates the resonant frequency of a string to the four parameters: length, mass per unit length, tension, and mode number. Introduction Vibrating strings are part of our common experience. Which as you may have learned by now means that you have built up explanations in your subconscious about how they work, and that those explanations are sometimes self-contradictory, and rarely entirely correct. Musical instruments from all around the world employ vibrating strings to make musical sounds. Anyone who plays such an instrument knows that changing the tension in the string changes the pitch, which in physics terms means changing the resonant frequency of vibration. Similarly, changing the thickness (and thus the mass) of the string also affects its sound (frequency). String length must also have some effect, since a bass violin is much bigger than a normal violin and sounds much different. The interplay between these factors is explored in this laboratory experi- ment. You do not need to know physics to understand how instruments work. In fact, in the course of this lab alone you will engage with material which entire PhDs in music theory have been written. -
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). -
The Musical Kinetic Shape: a Variable Tension String Instrument
The Musical Kinetic Shape: AVariableTensionStringInstrument Ismet Handˇzi´c, Kyle B. Reed University of South Florida, Department of Mechanical Engineering, Tampa, Florida Abstract In this article we present a novel variable tension string instrument which relies on a kinetic shape to actively alter the tension of a fixed length taut string. We derived a mathematical model that relates the two-dimensional kinetic shape equation to the string’s physical and dynamic parameters. With this model we designed and constructed an automated instrument that is able to play frequencies within predicted and recognizable frequencies. This prototype instrument is also able to play programmed melodies. Keywords: musical instrument, variable tension, kinetic shape, string vibration 1. Introduction It is possible to vary the fundamental natural oscillation frequency of a taut and uniform string by either changing the string’s length, linear density, or tension. Most string musical instruments produce di↵erent tones by either altering string length (fretting) or playing preset and di↵erent string gages and string tensions. Although tension can be used to adjust the frequency of a string, it is typically only used in this way for fine tuning the preset tension needed to generate a specific note frequency. In this article, we present a novel string instrument concept that is able to continuously change the fundamental oscillation frequency of a plucked (or bowed) string by altering string tension in a controlled and predicted Email addresses: [email protected] (Ismet Handˇzi´c), [email protected] (Kyle B. Reed) URL: http://reedlab.eng.usf.edu/ () Preprint submitted to Applied Acoustics April 19, 2014 Figure 1: The musical kinetic shape variable tension string instrument prototype. -
An Experiment in High-Frequency Sediment Acoustics: SAX99
An Experiment in High-Frequency Sediment Acoustics: SAX99 Eric I. Thorsos1, Kevin L. Williams1, Darrell R. Jackson1, Michael D. Richardson2, Kevin B. Briggs2, and Dajun Tang1 1 Applied Physics Laboratory, University of Washington, 1013 NE 40th St, Seattle, WA 98105, USA [email protected], [email protected], [email protected], [email protected] 2 Marine Geosciences Division, Naval Research Laboratory, Stennis Space Center, MS 39529, USA [email protected], [email protected] Abstract A major high-frequency sediment acoustics experiment was conducted in shallow waters of the northeastern Gulf of Mexico. The experiment addressed high-frequency acoustic backscattering from the seafloor, acoustic penetration into the seafloor, and acoustic propagation within the seafloor. Extensive in situ measurements were made of the sediment geophysical properties and of the biological and hydrodynamic processes affecting the environment. An overview is given of the measurement program. Initial results from APL-UW acoustic measurements and modelling are then described. 1. Introduction “SAX99” (for sediment acoustics experiment - 1999) was conducted in the fall of 1999 at a site 2 km offshore of the Florida Panhandle and involved investigators from many institutions [1,2]. SAX99 was focused on measurements and modelling of high-frequency sediment acoustics and therefore required detailed environmental characterisation. Acoustic measurements included backscattering from the seafloor, penetration into the seafloor, and propagation within the seafloor at frequencies chiefly in the 10-300 kHz range [1]. Acoustic backscattering and penetration measurements were made both above and below the critical grazing angle, about 30° for the sand seafloor at the SAX99 site. -
Experiment 12
Experiment 12 Velocity and Propagation of Waves 12.1 Objective To use the phenomenon of resonance to determine the velocity of the propagation of waves in taut strings and wires. 12.2 Discussion Any medium under tension or stress has the following property: disturbances, motions of the matter of which the medium consists, are propagated through the medium. When the disturbances are periodic, they are called waves, and when the disturbances are simple harmonic, the waves are sinusoidal and are characterized by a common wavelength and frequency. The velocity of propagation of a disturbance, whether or not it is periodic, depends generally upon the tension or stress in the medium and on the density of the medium. The greater the stress: the greater the velocity; and the greater the density: the smaller the velocity. In the case of a taut string or wire, the velocity v depends upon the tension T in the string or wire and the mass per unit length µ of the string or wire. Theory predicts that the relation should be T v2 = (12.1) µ Most disturbances travel so rapidly that a direct determination of their velocity is not possible. However, when the disturbance is simple harmonic, the sinusoidal character of the waves provides a simple method by which the velocity of the waves can be indirectly determined. This determination involves the frequency f and wavelength λ of the wave. Here f is the frequency of the simple harmonic motion of the medium and λ is from any point of the wave to the next point of the same phase. -
Chapter 5 Waves I: Generalities, Superposition & Standing Waves
Chapter 5 Waves I: Generalities, Superposition & Standing Waves 5.1 The Important Stuff 5.1.1 Wave Motion Wave motion occurs when the mass elements of a medium such as a taut string or the surface of a liquid make relatively small oscillatory motions but collectively give a pattern which travels for long distances. This kind of motion also includes the phenomenon of sound, where the molecules in the air around us make small oscillations but collectively give a disturbance which can travel the length of a college classroom, all the way to the students dozing in the back. We can even view the up–and–down motion of inebriated spectators of sports events as wave motion, since their small individual motions give rise to a disturbance which travels around a stadium. The mathematics of wave motion also has application to electromagnetic waves (including visible light), though the physical origin of those traveling disturbances is quite different from the mechanical waves we study in this chapter; so we will hold off on studying electromagnetic waves until we study electricity and magnetism in the second semester of our physics course. Obviously, wave motion is of great importance in physics and engineering. 5.1.2 Types of Waves In some types of wave motion the motion of the elements of the medium is (for the most part) perpendicular to the motion of the traveling disturbance. This is true for waves on a string and for the people–wave which travels around a stadium. Such a wave is called a transverse wave. This type of wave is the easiest to visualize. -
AN INTRODUCTION to MUSIC THEORY Revision A
AN INTRODUCTION TO MUSIC THEORY Revision A By Tom Irvine Email: [email protected] July 4, 2002 ________________________________________________________________________ Historical Background Pythagoras of Samos was a Greek philosopher and mathematician, who lived from approximately 560 to 480 BC. Pythagoras and his followers believed that all relations could be reduced to numerical relations. This conclusion stemmed from observations in music, mathematics, and astronomy. Pythagoras studied the sound produced by vibrating strings. He subjected two strings to equal tension. He then divided one string exactly in half. When he plucked each string, he discovered that the shorter string produced a pitch which was one octave higher than the longer string. A one-octave separation occurs when the higher frequency is twice the lower frequency. German scientist Hermann Helmholtz (1821-1894) made further contributions to music theory. Helmholtz wrote “On the Sensations of Tone” to establish the scientific basis of musical theory. Natural Frequencies of Strings A note played on a string has a fundamental frequency, which is its lowest natural frequency. The note also has overtones at consecutive integer multiples of its fundamental frequency. Plucking a string thus excites a number of tones. Ratios The theories of Pythagoras and Helmholz depend on the frequency ratios shown in Table 1. Table 1. Standard Frequency Ratios Ratio Name 1:1 Unison 1:2 Octave 1:3 Twelfth 2:3 Fifth 3:4 Fourth 4:5 Major Third 3:5 Major Sixth 5:6 Minor Third 5:8 Minor Sixth 1 These ratios apply both to a fundamental frequency and its overtones, as well as to relationship between separate keys. -
Physics 114 Tutorial 5: Tension Instructor: Adnan Khan
• Please do not sit alone. Sit next to at least one student. • Please leave rows C, F, J, and M open. Physics 114 Tutorial 5: Tension Instructor: Adnan Khan 5/7/19 1 Blocks connected by a rope q Section 1: Two blocks, A and B, are tied together with a rope of mass M. Block B is being pushed with a constant horizontal force as shown at right. Assume that there is no friction between the blocks and the blocks are moving to the right. 1. Describe the motion of block A, block B, and the rope. 2. Compare the acceleration of block A, block B and the rope. 5/7/19 2 Blocks connected by a rope 2. Compare the accelerations of block A, block B and the rope. A. aA > aR > aB B. aB > aA > aR C. aA > aB > aR D. aB > aR > aA E. aA = aR = aB 5/7/19 3 Blocks connected by a rope 3. Draw a separate free-body diagram for each block and for the rope. Clearly label your forces. 5/7/19 4 Blocks connected by a rope 4. Rank, from largest to smallest, the magnitudes of the horizontal components of the forces on your diagrams. 5/7/19 5 Blocks connected by a very light string q Section 2: The blocks in section 1 are now connected with a very light, flexible, and inextensible string of mass m (m < M). Suppose the hand pushes so the acceleration of the blocks is the same as in section 1. Blocks have same acceleration as with rope 5. -
The Emergence of Low Frequency Active Acoustics As a Critical
Low-Frequency Acoustics as an Antisubmarine Warfare Technology GORDON D. TYLER, JR. THE EMERGENCE OF LOW–FREQUENCY ACTIVE ACOUSTICS AS A CRITICAL ANTISUBMARINE WARFARE TECHNOLOGY For the three decades following World War II, the United States realized unparalleled success in strategic and tactical antisubmarine warfare operations by exploiting the high acoustic source levels of Soviet submarines to achieve long detection ranges. The emergence of the quiet Soviet submarine in the 1980s mandated that new and revolutionary approaches to submarine detection be developed if the United States was to continue to achieve its traditional antisubmarine warfare effectiveness. Since it is immune to sound-quieting efforts, low-frequency active acoustics has been proposed as a replacement for traditional passive acoustic sensor systems. The underlying science and physics behind this technology are currently being investigated as part of an urgent U.S. Navy initiative, but the United States and its NATO allies have already begun development programs for fielding sonars using low-frequency active acoustics. Although these first systems have yet to become operational in deep water, research is also under way to apply this technology to Third World shallow-water areas and to anticipate potential countermeasures that an adversary may develop. HISTORICAL PERSPECTIVE The nature of naval warfare changed dramatically capability of their submarine forces, and both countries following the conclusion of World War II when, in Jan- have come to regard these submarines as principal com- uary 1955, the USS Nautilus sent the message, “Under ponents of their tactical naval forces, as well as their way on nuclear power,” while running submerged from strategic arsenals. -
Fundamentals of Duct Acoustics
Fundamentals of Duct Acoustics Sjoerd W. Rienstra Technische Universiteit Eindhoven 16 November 2015 Contents 1 Introduction 3 2 General Formulation 4 3 The Equations 8 3.1 AHierarchyofEquations ........................... 8 3.2 BoundaryConditions. Impedance.. 13 3.3 Non-dimensionalisation . 15 4 Uniform Medium, No Mean Flow 16 4.1 Hard-walled Cylindrical Ducts . 16 4.2 RectangularDucts ............................... 21 4.3 SoftWallModes ................................ 21 4.4 AttenuationofSound.............................. 24 5 Uniform Medium with Mean Flow 26 5.1 Hard-walled Cylindrical Ducts . 26 5.2 SoftWallandUniformMeanFlow . 29 6 Source Expansion 32 6.1 ModalAmplitudes ............................... 32 6.2 RotatingFan .................................. 32 6.3 Tyler and Sofrin Rule for Rotor-Stator Interaction . ..... 33 6.4 PointSourceinaLinedFlowDuct . 35 6.5 PointSourceinaDuctWall .......................... 38 7 Reflection and Transmission 40 7.1 A Discontinuity in Diameter . 40 7.2 OpenEndReflection .............................. 43 VKI - 1 - CONTENTS CONTENTS A Appendix 49 A.1 BesselFunctions ................................ 49 A.2 AnImportantComplexSquareRoot . 51 A.3 Myers’EnergyCorollary ............................ 52 VKI - 2 - 1. INTRODUCTION CONTENTS 1 Introduction In a duct of constant cross section, with a medium and boundary conditions independent of the axial position, the wave equation for time-harmonic perturbations may be solved by means of a series expansion in a particular family of self-similar solutions, called modes. They are related to the eigensolutions of a two-dimensional operator, that results from the wave equation, on a cross section of the duct. For the common situation of a uniform medium without flow, this operator is the well-known Laplace operator 2. For a non- uniform medium, and in particular with mean flow, the details become mo∇re complicated, but the concept of duct modes remains by and large the same1. -
Vibration Suppression in Simple Tension-Aligned Structures
VIBRATION SUPPRESSION IN SIMPLE TENSION-ALIGNED STRUCTURES By Tingli Cai A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Mechanical Engineering – Doctor of Philosophy 2016 ABSTRACT VIBRATION SUPPRESSION IN SIMPLE TENSION-ALIGNED STRUCTURES By Tingli Cai Tension-aligned structures have been proposed for space-based antenna applications that require high degree of accuracy. This type of structures use compression members to impart tension on the antenna, thus helping to maintain the shape and facilitate disturbance rejection. These struc- tures can be very large and therefore sensitive to low-frequency excitations. In this study, two control strategies are proposed for the purpose of vibration suppression. First, a semi-active con- trol strategy for tension-aligned structures is proposed, based on the concept of stiffness variation by sequential application and removal of constraints. The process funnels vibration energy from low-frequency to high-frequency modes of the structure, where it is dissipated naturally due to internal damping. In this strategy, two methods of stiffness variation were investigated, including: 1) variable stiffness hinges in the panels and 2) variable stiffness elastic bars connecting the panels to the support structure. Two-dimensional and three-dimensional models were built to demon- strate the effectiveness of the control strategy. The second control strategy proposed is an active scheme which uses sensor feedback to do negative work on the system and to suppress vibration. In particular, it employs a sliding mechanism where the constraint force is measured in real time and this information is used as feedback to prescribe the motion of the slider in such a way that the vibration energy is reduced from the structure continuously and directly.