5: Musical Acoustics Applications
- Page ID
- 134600
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 5.1: How an Acoustic Guitar Works
- This page explains the sound production process in guitars, highlighting the roles of strings, the body, and air. Vibrating strings, influenced by tension, weight, and length, generate sound frequencies. The guitar body amplifies these sounds using a light, flexible top plate, while the air inside acts as a Helmholtz resonator, enhancing lower frequencies.
- 5.2: Basic Acoustics of the Marimba
- This page provides an overview of the marimba, a melodic percussion instrument known for its wooden bars and resonators. It covers the acoustic principles of sound production, highlighting how bar size and resonator length affect tuning. The text addresses myths about tuning, clarifying that it involves adjusting resonator lengths. Additionally, it discusses the impact of temperature on tuning and mentions advancements in creating tunable resonators to enhance performance.
- 5.3: Bessel Functions and the Kettledrum
- This page covers the mathematical principles behind kettledrum sound production, utilizing models of circular membranes and Bessel functions. It explains the Helmholtz equation and the application of polar coordinates to find solutions for drum vibrations, culminating in Bessel's Equation and its first kind solutions.
- 5.4: Acoustics in Violins
- This page covers the anatomy and sound production mechanics of the violin, detailing how bowing initiates string vibrations transmitted through the bridge to the body, which influences sound quality. The bridge converts string motion into forces, aided by the sound post and bass bar, affecting tone. The interaction of the body with air enhances sound radiation, and techniques for observing vibration modes are discussed, emphasizing their significance in acoustics.
- 5.5: Microphone Technique
- This page covers microphone techniques, types, and placement strategies, focusing on dynamic, condenser, and ribbon microphones for various sound sources. It emphasizes techniques like close and distant miking to improve sound quality, while also offering tips to prevent sound bleed and phase issues.
- 5.6: Microphone Design and Operation
- This page explains how microphones convert sound into electrical signals using dynamic and condenser methods. Dynamic microphones function based on Faraday's Law with moving-coil or ribbon mechanisms, while condenser microphones use capacitors to generate electric potential. Power sources include batteries, phantom power, and T-powering. Electret microphones maintain a fixed charge for operation. Both types are essential in the entertainment industry.
- 5.7: Acoustic Loudspeaker
- This page details the components and functioning of acoustic transducers, specifically moving coil-permanent magnet loudspeakers, focusing on the Magnet Motor Drive System, Cone System, and Suspension. It underscores modeling loudspeakers as lumped systems to analyze their behaviors and the crucial role of enclosures in sound management.
- 5.8: Sealed Box Subwoofer Design
- This page covers the design and features of closed box baffle sub-woofers, highlighting their simplicity and sound quality. It explains the benefits of a sealed enclosure for sound isolation and reduced cone excursion, improving low-end clarity. Key parameters like driver resonance and compliance are essential for proper box tuning.