Introduction to Acoustics

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618 Part E Music, Speech, Electroacoustics Part E 15.3 Input impedance Pipe alone Pipe plus mouthpiece 0 1000 2000 Frequency (Hz) Fig. 15.86 Input impedance of a length of cylindrical trumpet pipe with and without a mouthpiece attached (after Benade [15.133]) only enables the player to vibrate their lips over a wide range of frequency, but also provides a very important acoustic function in significantly boosting the amplitude 16 12 8 4 0 Equivalent length (cm) λp/4 Vcup/Apipe fp 1 tone 1 semi-tone Trumpet mouthpiece Fig. 15.87 The amount by which a trumpet tube of length 137 cm would have to be lengthened to compensate for the lowering in frequency of the instrument’s resonant frequencies when a mouthpiece is attached to the input (after Benade [15.133]). The changes in length to give a semitone and a whole-tone change in frequency are indicated by the horizontal lines 50 45 40 35 30 25 20 15 10 5 0 100 300 500 700 900 1100 1300 1500 Fig. 15.88 The calculated impedance of an 800 Hz Helmholtz mouthpiece (dark brown), an attached pipe (black) and the combination of mouthpiece and pipe (light brown) of the higher partials, helping to give brass instruments their bright and powerful sounds. Typical mouthpiece shapes are shown in Fig. 15.85. Mouthpieces can be characterized by the mouthpiece volume and the popping frequency characterizing the Helmholtz resonator comprising the mouthpiece volume and backbore. The popping frequency can easily be estimated from the sound produced when the mouthpiece is slapped against the open palm of the hand (audio ). By adjusting the tension in the lips, the shape of the lips within the mouthpiece (the embouchure), and the flow of air between the lips via the pressure in the mouth, the skilled brass player forces the lip to vibrate at the required frequency of the note to be played. This can easily be demonstrated by making a pitched buzzing sound with the lips compressed against the rim of the mouthpiece cup. The circular rim constrains the lateral motion of the lips making it far easier to produce stable high notes. A brass player can sound all the notes on an instrument by simply blowing into the mouthpiece alone, but the mouthpiece alone produces relatively little volume. The instrument both stabilises the playing frequencies and increases the coupling between the vibrating lips and radiated sound. Figure 15.86 illustrates the enhancement in the input impedance around the popping frequency, when a mouthpiece is attached to the input of a cylindrical pipe, as measured by Benade [15.133]. Benade showed that the influence of the mouthpiece on the acoustical characteristics of a brass instrument is, to a first approximation, independent of the internal bore shape and
can be characterized by just two parameters, the internal volume of the mouthpiece and the popping frequency. Benade also measured the perturbation of the resonant frequencies of an instrument by the addition of a mouthpiece, as illustrated in Fig. 15.87. At low frequencies, the mouthpiece simply extends the effective input end of a terminated tube by an equivalent length of tubing having the same internal volume as the mouthpiece. In the measurements shown, Benade removed lengths of the attached tube to keep the resonant frequencies unchanged on adding the mouthpiece. However, since the fractional changes in frequency are small, the measurements are almost identical to the effective increase in length from the addition of the mouthpiece. At the mouthpiece popping frequency (typically in the range 500 Hz to 1 kHz depending on the mouthpiece and instrument considered), the effective increase in length is λ/4. This can result in decreases in resonant frequencies by as much as a tone, which could have a significant influence on the harmonicity, and hence the playability, of an instrument. The effective length continues to increase above the popping frequency before decreasing at higher frequencies. In many brass instruments, such as the trumpet, there is also a longer transitional conical section (the lead pipe) between the narrow bore of the mouthpiece and the larger-diameter main tubing. This reduces the influence of the mouthpiece on the tuning of individual resonances and the overall formant structure of resonances. It is straightforward to write down the input impedance inside the cup of a mouthpiece attached to an instrument using an equivalent electrical circuit. The volume within the cup is represented by a capacitance C in parallel with the inductance L and resistance R of air flowing through the backbore, which is in series with the input impedance of the instrument itself, so that Zin = 1 iωL + R + Zhorn . (15.125) iωC (1/iωC) + iωL + R + Zhorn Figure 15.88 shows the calculated input impedance of an 800 Hz Helmholtz mouthpiece resonator, of volume 5 cm 3 with a narrow-backbore neck section resulting in a Q-value of 10, before and after attachment to a cylindrical pipe of length 1.5 m and radius 1 cm, radiating into free space at its open end. The input impedance of the pipe alone is also shown. Note the marked increase in heights and strong frequency shifts of the partials in the neighbourhood of the mouthpiece resonance. As anticipated from our previous treatment of coupled resonators in the section on stringed instruments, the addition of the mouthpiece introduces Musical Acoustics 15.3 Wind Instruments 619 an additional normal mode resonance in the vicinity of the Helmholtz resonance. In addition, it lowers the frequency of all the resonant modes below the popping frequency and increases the frequency of all the modes above. Above the mouthpiece resonance, the input impedance is dominated by the inertial input impedance of the mouthpiece. The resonances of the air column are superimposed on this response and exhibit the familiar dispersive features already noted for narrow violin string resonances superimposed on the much broader body resonances. The calculated behaviour is very similar to the measured input admittance of typical brass instrument (Fig. 15.78) as extended to instruments with realistic bore shapes by Caussé, Kergomard and Lurton [15.144]. 15.3.3 Reed Excitation In the next sections, we consider the excitation of sound by: (a) the single and double reeds used for many woodwind instruments and selected organ pipes, (b) the vibrating lips in the mouthpiece of brass instrument, and (c) air jets used for the flute, certain organ stops and many ethnic instruments such as pan pipes. Reed Types Figure 15.89 shows a number of reed types used in woodwind and brass instruments (Fletcher and Rossing [15.5], Figs. 13.1, 7). Helmholtz [15.127] classified two main types of reed: inward-striking reeds, which are forced shut by an overpressure within the mouth, and outward-striking reeds, forced open by an overpressure. Modern authors often prefer to call such reeds inward-closing and a) b) d) Fig. 15.89a–d Examples of wind and brass instrument reeds: (a) a single reed (clarinet), (b) a double reed (oboe), (c) a cantilever reed (harmonium) and (d) the mouthpiece lip-reed (horn) (after Fletcher and Rossing [15.5]) c) Part E 15.3
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Springer Handbook of Acoustics
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Springer Handbook of Acoustics Thom
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Foreword The present handbook cover
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List of Authors Iskander Akhatov No
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Philippe Roux Université Joseph Fo
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XIV Contents 3.7 Attenuation of Sou
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XVI Contents 10 Concert Hall Acoust
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XVIII Contents 17.8 Physical Modeli
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XX Contents 24.5 Free-Field Microph
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XXII List of Abbreviations K KDP po
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Introduction 1. Introduction to Aco
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of noise have been the subject of c
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in order to understand how objectiv
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A Brief 2. A Brief History of Acous
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of 350 m/s for the speed of sound [
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number and relative strength of its
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To his contemporaries, Koenig was p
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Probably the most important use of
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piezoelectric ceramic compositions
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surveys together [2.46]. Masking of
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ther of computer music, since he de
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Basic 3. Linear Basic Linear Acoust
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M average molecular weight n unit v
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a) b) S v.n ∆t ∆S V |v| ∆t n
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temperature, q =−κ∇T , (3.16)
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The equivalent density M/V is conse
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Basic Linear Acoustics 3.3 Equation
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Because any vector field may be dec
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The latter and (3.84), in a manner
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assumed to have no ambient motion,
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Because the friction associated wit
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3.5 Waves of Constant Frequency One
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3.5.4 Time Averages of Products Whe
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as well as symmetry considerations,
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The auxiliary internal variables th
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Then the transient at a distant pos
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ω ′ = 0, and this is consistent
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1.0 10 -1 10 -2 10 -3 10 -4 10 -5 A
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This yields the interpretation that
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direction of propagation when a pla
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so the time-averaged incident energ
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Although the simple result of (3.31
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ut, also in keeping with the linear
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equation, the two differential equa
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Rodrigues relation, one has �1
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for the derivative.) In the asympto
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The differential scattering cross s
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elow) is F(t) = (2c) 1/2 �t −
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0.5 0 -0.5 -1.0 -1.5 0 Y0(η) (π/2
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is the Wronskian for the Bessel and
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The function qS is termed the sourc
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The appropriate identification for
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where jℓ is the spherical Bessel
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this subtlety taken into account, o
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U(x) Basic Linear Acoustics 3.15 Wa
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is ordinarily valid. With these ass
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along rays. These can be regarded a
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A(x0) x0 A(x) Fig. 3.53 Sketch of a
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possible, and one where neither the
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which is independent of the z-coord
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[3.108], and Carslaw [3.109]. In th
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where C(X)andS(X) are the Fresnel i
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Fig. 3.60 Characteristic diffractio
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of elastic solids, Trans. Camb. Phi
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3.101 J.B. Keller: Geometrical acou
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114 Part A Propagation of Sound Par
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Underwater 5. Underwater Acoustics
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5.1 Ocean Acoustic Environment The
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Long-Range Propagation Paths Figure
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tal direction, there is no loss ass
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equivalent circuit, as shown in Fig
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Attenuation á (dB/km) 1000 100 10
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5.2.5 Ambient Noise There are essen
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ubble natural acoustic resonance ω
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a bubbly medium (and for the simple
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As discussed, because detection inv
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(1/A)∇ 2 A ≪ K 2 )sothat(5.34)
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water, where the deep sound channel
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egion in the form p(r, z) = ψ(r, z
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5.4.6 Propagation and Transmission
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tegration interval. The source puls
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5.6 SONAR Array Processing Signal p
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former output is: �∞ b(θ,t) =
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Fig. 5.37 Angle-versus-time represe
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5.7 Active SONAR Processing Depth M
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a factor when there is a reverberan
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depth measurements that correspond
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along the cross-shelf track taken b
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time as a result of multiple paths,
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technique is very sensitive, and ex
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Fig. 5.57a,b Typical echogram obtai
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Frequency (Hz) 150 100 50 0 0 a) b)
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out. These data allow for study of
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5.59 G. Raleigh, J.M. Cioffi: Spati
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Physical 6. Physical Acou Acoustics
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where I is the intensity of the sou
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Wave velocity The wall exerts a dow
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destructively interfered with one a
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or: � � p2 � rms SPL = 10 log
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6.1.4 Wave Propagation in Solids Si
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where c is again the wave speed and
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measured. Some resonances are cause
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as 50 µmto5µm through one oscilla
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the number of false positives and m
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with the small mass), and frequency
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Laser Lens 1 Circular aperture Fig.
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Ground ring Insulator Sample Resist
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Energy ratio 1.0 0.8 0.6 0.4 Calcul
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terms. In this equation γ is the r
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directly. The nonlinearity paramete
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Thermoacoust 7. Thermoacoustics The
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Table 7.1 The acoustic-electric ana
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walls of the pores. (Positive G ind
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a) b) c) C reso d) δtherm e) p 0 U
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a) b) UA,l c) d) E 0 Q A Q A TA TA
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tor. This eliminates the need to le
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to this consumption of acoustic pow
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The traditional Stirling refrigerat
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Washington 1986) pp. 550-554, Softw
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258 Part B Physical and Nonlinear A
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Acoustics 9. Acoustics in Halls for
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parameters, so we can assist in bui
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weeks or even years is less reliabl
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9.3.1 Reverberation Time Reverberan
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selected). A distance different fro
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ing sound, as will naturally be exp
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of the sound fields. Consequently,
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e derived from interrupted noise de
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Acoustics in Halls for Speech and M
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espectively, can be calculated from
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ated by the architects. However, on
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of C and G. However, as all the ind
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F b d F n I S Fb Fn S d F n/F b d/d
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HS S èn ã d0 P0 rn Position of ey
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Time T (s) 2.5 2 1.5 1 5 10 15 Acou
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floor can be tilted to reduce volum
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ÄLcurv (dB) 10 8 6 4 2 0 -2 -4 -6
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Seating capacity 2662 1 915 + 324 2
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4 3 2 1 Acoustics in Halls for Spee
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cially in auditoria with T values l
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esonance (AR)andmultichannel reverb
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Concert 10. Concert Hall Acoustics
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Concert Hall Acoustics Based on Sub
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0 0 Concert Hall Acoustics Based on
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mately by Concert Hall Acoustics Ba
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10.1.5 Specialization of Cerebral H
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The other (n − 1) bits indicated
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As for the conflicting requirements
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have mainly been concerned with tem
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a) c) S S -4.3 -2.8 -2.0 -3.5 -3dB
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a model of the auditory-brain syste
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Building 11. Building Acou Acoustic
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Pressure Maximum Minimum 0 D Distan
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Table 11.1 Absorption coefficients
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Absorption coefficient α 1 0 Frequ
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is of key importance in rooms where
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Table 11.4 Transmission loss and ST
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TL of wall - (TL of door, window or
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Table 11.7 Generalized noise reduct
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Masking sound pressure level (dB) 5
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As for the room criterion (RC) meth
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11.5 Noise Control Methods for Buil
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Neoprene pads (30 durometer) with a
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Concrete Caulk around perimeter Vib
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Trim board to conceal gap (fasten o
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Gypsum board partition (as schedule
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Double-layer ribbed or waffle neopr
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11.6 Acoustical Privacy in Building
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Table 11.9 AI,SIIandPIforopenplanof
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Electronic sound masking in plenum
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E 1179 Standard Specification for S
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430 Part D Hearing and Signal Proce
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Psychoacoust 13. Psychoacoustics Ps
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Absolute threshold (dB SPL) 100 90
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the signal. By using this off-cente
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is as a crude indicator of the exci
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Relative response (dB) 100 90 80 70
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In a variation of this procedure, t
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Level of matching noise (dB) 100 90
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13.4 Temporal Processing in the Aud
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Most models include an initial stag
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The components were either uniforml
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(Frequency DL)/ERBN 0.2 0.1 0.05 0.
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elaborate place models have been pr
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13.6 Timbre Perception 13.6.1 Time-
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the duplex theory of sound localiza
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harmonic (by shifting the frequency
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sive. While some studies have been
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sentences (see Fig. 13.20). They va
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components is usually only perceive
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References 13.1 ISO 389-7: Acoustic
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13.74 D. Ronken: Monaural detection
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asymmetric function, J. Acoust. Soc
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13.211 J. Vliegen, A.J. Oxenham: Se
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534 Part E Music, Speech, Electroac
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Page 572 and 573: 568 Part E Music, Speech, Electroac
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The 16. The Human Human Voice in Sp
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uation, the effect of gravity is in
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piratory muscles (the internal inte
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Mean Ps (cm H2O) 50 40 30 20 10 0 D
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Glottal flow Closed Opening Open Cl
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Transglottal airflow (l/s) 0.4 0.2
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Mean spectrum level (dB) -30 -40 -5
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20 10 0 -10 -20 -30 -40 -50 0 i y u
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Mean level (dB) 0 -10 -20 -30 -40 1
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This topic was addressed by Ladefog
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Fig. 16.29 Acoustic consequences of
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Bass i e u Alto Tenor o ε œ æ Th
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100 80 60 40 20 0 -20 100 80 60 40
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tours for [� ]and[Ù ] sampled at
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Rapp [16.100] asked three native sp
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Utterance command T0 T3 Accent comm
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The # symbol indicates the possibil
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Second formant frequency (Hz) 2500
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tional rather than absolute (à la
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16.7 P. Ladefoged, M.H. Draper, D.
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esonance imaging: Vowels, J. Acoust
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16.139 A. Eriksson: Aspects of Swed
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Computer 17. Computer Mu Music This
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Quantum step Amplitude Quantization
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Some might notice that linear inter
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pers, textbooks, patents, etc. Furt
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0:00.0 0.5 0 Computer Music 17.3 Ad
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(0,0) (0,1) (1,1) (0,2) (1,2) (0,3)
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synthesizing vocoder. The main diff
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x(n) + z -1 z -1 Scattering junctio
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230 Hz FOF 1100 Hz FOF 1700 Hz FOF
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0 y + - Computer Music 17.8 Physica
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-1 (1-ß )×length Velocity + Veloc
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0 -30 (dB) -60 0 1.5 3 4.5 (kHz) Fi
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17.10 Composition The history of co
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and variance of the features can be
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17.20 J.L. Kelly Jr., C.C. Lochbaum
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Audio 18. Audio and Electroacoustic
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Alexander Graham Bell filed his pat
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on magnetic stripes. A common arran
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60 40 20 0 SPL-sound pressure level
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Interaural intensity difference (dB
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with equalization, without incurrin
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Fig. 18.8 Sine wave with crossover
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18.3.8 Dynamic Range Dynamic range
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Directly actuated type Diaphragm ty
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effective pickup pattern of the arr
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attempts to apply complementary com
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Most of the issues relating to spea
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nificant design considerations. At
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Some appreciation of the performanc
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pre-digital reverberators were elec
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and ‘s’ in English text - may b
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content of rest of the signal spect
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cross the head, in opposite directi
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18.2 J. Sterne: The Audible Past (D
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18.71 T. Sporer: Creating, assessin
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786 Part F Biological and Medical A
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Medical 21. Medical Acous Acoustics
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21.1 Introduction to Medical Acoust
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Auscultation location Right & left
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portance. The Strouhal number has b
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Fig. 21.3 Phono-cardiograph transdu
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Amplitude 8 6 4 2 0 -2 -4 -6 Displa
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λ1 = c1 / fus θ1 λ2 = c2 / fus
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lood flow can be resolved if the si
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vided in the image thickness direct
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not as predicted, because the wave
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Fig. 21.18a,b Quadrature Doppler de
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a) b) c) 100 0 V mV 10 0 a = 13 a =
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Ultrasound contact gel Position enc
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a) 10 cm b) c) 10 cm Fig. 21.32a-c
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a) Pin B Pin A Ultrasound line b) M
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Organ Patient Ultrasound transducer
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systems cannot tell the difference
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40 µm can be resolved. For a 10 kH
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a) b) c) d) Medical Acoustics 21.4
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Fig. 21.54 Doppler spectral wavefor
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10 20 30 10 20 30 Pre-exercise B-mo
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Vibrations in a punctured artery De
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the veins and diffuse into the inte
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21.5.3 Agitated Saline and Patent F
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transported by those cells and/or r
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1 0.8 0.6 0.4 0.2 0 Relative power
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High intensity focused ultrasound h
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a) b) c) Fig. 21.74a-c B-mode imagi
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provided simple metrics for the lik
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thickness of the carotid arteries,
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Structural 22. Structural Acoustics
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Structural Acoustics and Vibrations
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Magnitude (arb. units) 1.4 1.2 1.0
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This does not include the case wher
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the mass matrix is taken to be cons
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Magnitude (dB) -10 -30 -50 0 1 2 3
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where D(ω) = ω 4 − 2iω 3�
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form y(x, t) = � Φn(x)qn(t) . (2
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first to solve the wave equation (2
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5 3 1 -1 -3 -5 0 1 2 3 4 5 6 7 8 9
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conditions at each end) are necessa
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from which we can derive through (2
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In this case, the eigenfrequencies
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of radiation modes and their link w
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Finally, the displacement is ˜ξ(x
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notes the value of this eigenmode a
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Pm = ˙Q H [Rs + Ra] ˙Q , (22.262)
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where and Ra = 2ζaω0 M Z(s) = zL
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Radiated Power. The mean acoustic p
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(22.318) can be written ξ(x, y, t)
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Denoting the eigenfrequencies and e
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Magnitude (arb. units) 3 2 1 0 -1 -
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for any real symmetric tensor Xij.
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F(N) 1 0.5 0 -0.5 -1 -1 -0.8 -0.6 -
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whose solution is θ1 = A cos ωτ.
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4.5 3.5 2.5 1.5 A 0.5 0 0.5 1.0 1.5
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Equations (22.423) are usually writ
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3. As the amplitude reaches the top
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Shallow Spherical Shells and Plates
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22.20 L. Cremer, M. Heckl: Structur
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Noise Noise is discussed in terms o
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where the overbars represent time a
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Typical outdoor setting A-weighted
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90 dB(A)” is widely used, and imp
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Microphone, amplifier and A/D conve
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When each segment of the measuremen
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found from � LW = Lp + 10 log A +
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surement method is the ultimate use
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An intensity analyzer is more compl
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23.2.5 Criteria for Noise Emissions
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Table 23.5 Table of limit values fr
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a) Air flows freely to rotor Weak t
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Static efficiency normalized to its
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ful applications. Good results are
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Table 23.8 Crossover speeds for var
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Reduction of airplane engine noise
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A variety of materials are used to
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∆LF (dB) 0 -10 -20 α -30 0.05 0.
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Absorption coefficient 1.0 0.8 0.6
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high enough that there is little so
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23.4.4 Criteria for Noise Immission
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Table 23.10 (cont.) Some features o
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Noise 23.4 Noise and the Receiver 1
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view of administrative procedures r
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provides recommendations for a foll
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sound power levels of noise sources
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23.68 ISO: ISO 9296:1988 Acoustics
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in impedance tubes - Part 2: Transf
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23.194 Commission of the European C
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1022 Part H Engineering Acoustics P
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Sound 25. Intens Sound Intensity So
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Under such conditions the intensity
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a) Pressure and particle velocity 0
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τ is a dummy time variable. The ca
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Error in intensity (dB) 5 0 -5 -10
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8 7 6 5 4 3 2 1 0 -1 -2 -3 Error du
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crophones are calibrated with a pis
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Sound power level (dB re 1 pW) 72 7
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it is relatively straightforward si
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intensity normal to the source. Thi
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25.9 W. Maysenhölder: The reactive
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25.77 ISO: ISO 11205 Acoustics - No
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Optical 27. Optical Methods Metho f
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course also present in ordinary hol
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Optical Methods for Acoustics and V
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50 100 150 200 250 300 350 400 450
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a) b) Optical Methods for Acoustics
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nm 1000 0 -1000 150 y (mm) 100 50 O
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Laser Optical Methods for Acoustics
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References 27.1 E.F.F. Chladni: Die
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27.75 E.-L.Johansson, L. Benckert,
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About the Authors Iskander Akhatov
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Neville H. Fletcher Chapter F.19 Au
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Brian C. J. Moore Chapter D.13 Univ
Page 1136 and 1137:
Detailed Contents List of Abbreviat
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3.8.3 Acoustic Power ..............
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4.8.3 Typical Speed of Sound Profil
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7.3 Engines .......................
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10 Concert Hall Acoustics Based on
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13.4 Temporal Processing in the Aud
Page 1148 and 1149:
15.2.5 String-Bridge-Body Coupling
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19.6 Birds ........................
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22.4.5 Combinations of Elementary S
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24.8 Overall View on Microphone Cal
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Subject Index 3 dB bandwidth 463 A
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British Medical Ultrasound Society
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electric circuit analogues - acoust
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hyperspeech 703 hypospeech 703 I IA
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- participation factors 909 - stiff
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- musical instruments 541 - musical
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- nonlinear vibrations 957 - plate
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subjective preference theory 353 su
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Introduction to Acoustics

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