The references I have read using the CLT mentioned third harmonic not a dead zone (all odds well beyond third). This is well known and not a surprise.
ED, here's an article on building your own CLT with comparisons to the real thing.
http://downloads.hindawi.com/journals/apec/1978/473873.pdf
http://downloads.hindawi.com/journals/apec/1978/473873.pdf
Interesting, very close to my 10 resistor method, the limit in the paper is the one reference resistor. Their method is also dependent on the quality of the drive oscillator.
What is more interesting is that they only look at the third harmonic but recognize more are there.
What is interesting is this quote from Danbridge
"Some components contain materials which inherently have a high distortion:
Magnetic materials, composition resistors, high-dielectric capacitors etc. In
these components, the excessive distortion from a small defect is hidden in
the high inherent distortion and cannot readily be detected.
At the other end of the scale, we have metal-film resistors where the inherent
distortion is very low, typically -130 dB or lower, and the wire-wound types
which normally exhibit even lower distortion. With these components, defects
give rise to a distortion which normally exceeds that of the rest of the batch."
But I just got in a package with no return address and assembly instructions for a "interocitor." I think I'll take a break and try to put it together.
There is no disagreement on such a simple thing.. Linear is linear, non linear is non linear. Acoustic resonance is not by nature non linear. It is only when the moving or absorbing entities move sufficiently to enter a non linear region that non linearities apply. One example would be a tuning fork where the tines are sticking through tight toleranced holes such that excessive movement causes impact. Or a compliant material which becomes rapidly non linear as a result of compressive stress or acts non-newtonion.
No we are not getting into chaos theory. Besides, what do production meetings have to do with audio???
Never said otherwise..total agreement.
It most certainly would... Look at your words I hilighted...that is the key. Putting 10,000 sabins in null locations does nothing.. It's the nodes where absorbtion is most efffective.
The term buckling implies non-linearity. What you are speaking of is not buckling, but a 3 dimensional response to a 3 dimensional problem of stiffness, mass and excitation. Buckling in the materials world is the plastic deformation of a material as a result of exceeding the strength of the material.. You unfortunately used a word which while seemingly descriptive, invokes something else altogether...
Any order of the model past first is just way over my head!
Me too..
Not only is it not first order, it's not even second..three axis of mass, three of stiffness, three of force....easier to measure..Cool. Good luck.
Cheers, John
ps..Other than the vaccine guy, I've never heard of sabin. You use it as if it is a measure of absorbtion units.. I assume you know what you are talking of here..so I use the term above as if I actually knew what it was..
I did find Sabin 3.0 - Statistical Acoustics Based Investigator... Is that what you were referring to?? Or did you actually dangle guys named Sabin around the room?
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[snip]ps..Other than the vaccine guy, I've never heard of sabin. You use it as if it is a measure of absorbtion units.. I assume you know what you are talking of here..so I use the term above as if I actually knew what it was..
He probably means the Sabine reverb equation?
jan didden
I'm not sure that all the expansive phono cartridges are only repacked cheap ones.
John:
This guy has done it for violins. You might find it interesting.
Master Studio for Violinmaking - Martin Schleske Munich, Germany Sound Analysis
This guy has done it for violins. You might find it interesting.
Master Studio for Violinmaking - Martin Schleske Munich, Germany Sound Analysis
And here for the Stradivarius.
A stradivarius is definitely different - News 2010 - News & Events.
Eelco
A stradivarius is definitely different - News 2010 - News & Events.
Eelco
I have a spare Voltarator if you need one. It's previous publishing of a 1mV dead-zone at room temperature that I am looking for. The more I think about it the physics implied by your picture of the abruptness and level gets stranger and stranger.
Right again ED, I actually turned this up today looking for dead-zones... LMAO
The dead-zone conductor hyperchaos generator
Toshimichi Saito Member
BTW not a single hit for what I was really looking for.
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though it is interesting, we have always known that they had better instrument wood than we have today, or ever will have
sorry to say, but nothing new in that
in general, I suppose we just have to learn how to use whatever materials we have available
even if it means viloins and guitars made of carbone
if it works, so be it
and as we speak, carbone is being used for violin bow making
as well as a good bow, strings are important too
maybe some day they will make real good strings too
sorry to say, but nothing new in that
in general, I suppose we just have to learn how to use whatever materials we have available
even if it means viloins and guitars made of carbone
if it works, so be it
and as we speak, carbone is being used for violin bow making
as well as a good bow, strings are important too
maybe some day they will make real good strings too
Buzzsaw Popstar - 1983 - The Vampire Lovers
On the other hand my mother plays a Jacobus Stainer violin (lion's head, dated 1667) and this instrument's sound is pure joy....to me modern violins sound like chainsaws in comparison.
Return to thread....interesting stuff, thanks John.
Eric.
A mate years ago bought a particular Maton acoustic after playing every one that he could find in every shop in the city - he loved the sound of this particular guitar and I couldn't stand the sound of that guitar at all.
On the other hand my mother plays a Jacobus Stainer violin (lion's head, dated 1667) and this instrument's sound is pure joy....to me modern violins sound like chainsaws in comparison.
Return to thread....interesting stuff, thanks John.
Eric.
The modern science of architectural acoustics begins with Wallace Sabine at about the same time Edison was developing the wax cylinder phonograph. The way the science developed was defined by the way Sabine approached the problem. He was the first one to make a serious study of the way rooms affect the sounds we hear in them. It is hard to imagne anyone ever getting a grasp on reproducing sound heard at live performances without studying this field of work since as Bose pointed out in his white paper, the overwhelming preponderance of sound heard in them is the result of the reflections which constitute the architectural acoustic effect. This is where real understanding begins.
Wallace Clement Sabine - Wikipedia, the free encyclopedia
Leo Beranek, one of the world's leading authorities on architectural acoustics explained how Sabine began his work in his 2001 Geugenheim Lecture at the Department of Mechanical Engineering at Georgia Tech. He goes on to explain how Sabine had a hand in the development of Boston Symphony Hall, a room Beranek calls the best room for listening to music in the United States and one of the two or three best in the world. Unfortunately this lecture is no longer available on Georgia Tech's web site.
Sabine's equation relates the reverberation time of a room, that is the time it takes for sound to decay to one one milionth of its intensity, 60 db to the room's volume, coefficient of acoustical absorption, and surface area. Later Norris Eyring developed a similar but different equation. In a 2008 technical paper on Beranek's web site, the two equations are reconciled. One problem with Sabine's equation is that to get the right answer, it sometimes has to use coefficients of absorption greater than 1.0, the equivalent of the sound absorption of an open window.
Beranek contends that wood although excellent for making many musical instruments is a very poor material for building listening venues such as concert halls. Its propensity to flex and absorb sound greatly reduces bass unless it is at least 2 1/2 inches thick. Concession was made to this popular misconception by installation of the wainscot around the stage of Boston Symphonly Hall. Evidently there isn't enough of it to adversely affect overall acoustics severly.
From the link;
"On one American site there was even a stating that it was Bush’s fault that we no longer produce beautiful violins, as he is taking no action on the climate problem."
The simplistic search for the answer to the centuries old mystery of how the violin makers of Cremona Italy produced their masterpieces continues to elude scientists. The true answer of what their secret was remains unknown. The obvious flaw in the assertion about climate affecting wood being the answer is that violin makers not only use wood that has been harvested and aged for decades before they create instruments out of them, but the violin makers of the 18th and 19th centuries before the industrial revolution could not duplicate them either.
Violins made by Stradivarius and Guarnerius as well as those of lesser known violin makers contemporary to that era such as Amati not only sound different from modern violins, they play differently too. They are much easier to get their fantastic tone an power out of than modern violins. I was fortunate enough to have been able to hear on many occasions and in many places including my own home one priceless instrument. It's a sound you never forget.
Guarneri Violin Sold for $10 Million - NYTimes.com
So far it has not been possible for electronic recording and playback means to come even close to duplicating this instrument's sound, at least not to my ears.
Whatever the instruments made out of carbon fiber are, the are not IMO violins, violas, or cellos. Their tone is loud and pure. So pure in fact that they only superficially sound like real violins to an ear attuned to these instruments. Their tone has no complexity whatsoever, it is too pure. It is the auditory equivalent of trying to make wine by adding alcohol to grape juice. It doesn't work. This is a shame. $5000 for an instrument that sounds like a Cremona masterpiece if what interests you is sound and not pedigree would be a steal. We'd have already acquired at least a few of them were it true.
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