RESUMEN
The acoustic standing wave near the end of an open pipe is investigated using spectrally analyzed high-speed transmission electronic speckle pattern interferometry. It is shown that the standing wave extends beyond the open end of the pipe and the amplitude decays exponentially with distance from the end. Additionally, a pressure node is observed near the end of the pipe in a position that is not spatially periodic with the other nodes in the standing wave. A sinusoidal fit to the amplitude of the standing wave inside the pipe indicates that the end correction is well predicted by current theory.
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To improve understanding of super heavy-lift rocket acoustics, this letter documents initial findings from noise measurements during liftoff of the Space Launch System's Artemis-I mission. Overall sound pressure levels, waveform characteristics, and spectra are described at distances ranging from 1.5 to 5.2 km. Significant results include: (a) the solid rocket boosters' ignition overpressure is particularly intense in the direction of the pad flame trench exit; (b) post-liftoff maximum overall levels range from 127 to 136 dB, greater than pre-launch predictions; and (c) the average maximum one-third-octave spectral peak occurred at 20 Hz, causing significant deviation between flat and A-weighted levels.
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This study offers a metric to investigate transition times between articulated notes for reed instruments such as clarinets and bass clarinets. The method requires analysis of measurements of musician mouthpiece pressure. For this paper, the data were recorded using sensor-equipped mouthpieces made for the clarinet and bass clarinet. The method leads to a metric called the transition time (ΔT), which allows for comparing duration measured between notes for clarinets played in different musical contexts (dynamics, tempos, etc.) and playing regimes and between players.
Asunto(s)
Lubina , Música , AnimalesRESUMEN
This study offers a simple method to characterize two transition types in passages of music in order to automatically distinguish slurred transitions from tongued transitions in musical settings. Data were recorded from musicians playing a clarinet with a sensor-equipped mouthpiece measuring blowing pressure in the mouth and pressure in the mouthpiece. This method allows for comparing transitions in different musical contexts, playing regimes, and between players. The method is highly reliable in automatically detecting transition types in recorded clarinet playing in both simple and more complex passages.
RESUMEN
When designing a wind instrument such as a clarinet, it can be useful to be able to predict the playing frequencies. This paper presents an analytical method to deduce these playing frequencies using the input impedance curve. Specifically there are two control parameters that have a significant influence on the playing frequency, the blowing pressure and reed opening. Four effects are known to alter the playing frequency and are examined separately: the flow rate due to the reed motion, the reed dynamics, the inharmonicity of the resonator, and the temperature gradient within the clarinet. The resulting playing frequencies for the first register of a particular professional level clarinet are found using the analytical formulas presented in this paper. The analytical predictions are then compared to numerically simulated results to validate the prediction accuracy. The main conclusion is that in general the playing frequency decreases above the oscillation threshold because of inharmonicity, then increases above the beating reed regime threshold because of the decrease of the flow rate effect.