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Helmholtz Resonator

Helmholtz resonator
Helmholtz resonator

Resonate absorbers are the most powerful of low-frequency absorption technologies. Pound for pound and square foot per square foot, resonant absorbers can not be matched for low-frequency absorption. They are sometimes called resonance absorbers. We are speaking about real low-frequency absorption which represents all frequencies below 100 Hz. Resonant absorbers are different than other absorbers. They work best in areas of high room sound pressure not high sound velocity areas like porous absorbers that handle middle and high frequencies.

Vibrations & Sound Pressure
A resonant absorber is a vibrational system that “runs” on sound pressure. As vibrational science will tell us a resonant absorber is a mass vibrating against a spring. The mass is the cabinet and front wall or diaphragm. The spring is the air inside the cavity of the resonant absorber. If you change the vibrating mass and stiffness of the spring, you can control and tune the resonant absorber to the resonant frequency of choice. The internal mass or cabinet depth determines design frequency. The spring or internal air and cavity are used for achieving the rate of absorption above the unit’s designed for resonant frequency. There are three types of resonant absorbers: Helmholtz and Diaphragmatic and Membrane.

Helmholtz resonator

Helmholtz / Membrane
A Helm resonator is a box or tube with an opening or slot at its mouth. Air enters the slot which has a calculated width, length, and depth. The slot is attached to a cabinet or cylinder of different widths and depths. A glass coke bottle is a good example of a Helmholtz resonator. It is a resonant absorber or as some would term a resonance absorber. The frequency or resonance is determined by the slot dimensions along with the cabinet or cylinder depth. Helms are frequency specific and narrow frequency band coverage. A membrane absorber works similar to a diaphragmatic. It has a membrane than vibrates in sympathy to sound pressure. This vibrating membrane is attached to a cabinet which has a certain depth and fills material. A diaphragmatic absorber works similar to a membrane with more performance per square foot.

 

Calculate Resonant frequency of Helmholtz Slot Absorber

Resonant Frequency Formula
fo = 2160*sqrt(r/((d*1.2*D)*(r+w)))
fo = resonant frequency
r = slot width
d = slat thickness
1.2 = mouth correction
D = cavity depth
w = slat width
2160 = c/(2*PI) but rounded
c = speed of sound in inch/sec
If the gaps vary say 5mm, 10mm, 15mm, 20mm and the wall is angled as shown below, a broad band low mid resonator is created that still keeps the high frequencies alive.

Remember the cavity behind must be airtight!
By working out the different slat widths and slat gaps you can create a broadband low mid resonator at specific frequencies.

Credit : mh-Audio.nl , acousticfields

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Scientists have pioneered a new technique to produce arrays of sound produced entirely by heat

The team of researchers from the Centre for Metamaterial Research and Innovation at the University of Exeter used devices, known as thermophones, to create a fully controlled array from just a thin metal film attached to some metal wires.

The results, published in Science Advances, could pave the way for a new generation of sound technology, including home cinema systems.

Traditionally, arrays have been used in a host of every day applications, including ultrasound and sound systems. Arrays allow sounds from several sources to be ‘steered’ in a certain direction, to gain greater control and clarity of the sound produced.

Conventional speaker arrays rely on the production of sound through driven movement of some object — such as a speaker cone. The new study, however, pioneers arrays of speakers that produce sound entirely by heat: thermophones.

Although thermophones have been in existence for more than 100 years, they have, until now, had limited real-world application. However, they have a host of advantages from their mechanical counterparts — including no moving parts and the ability to be mass produced from inexpensive, sustainable materials.

Crucially, they can even be made transparent and flexible, which is desirable for the new wave of flexible technologies being produced.

For the study, the researchers found that, when combined into an array, thermophones are able to reproduce the same control over sound fields as traditional arrays.

However, they do much more than this: as they are driven by electrical currents, the sound they produce mirrors the subtle movement of the current carriers as they flow through the device and, as a result, they create a much richer sound field than traditional arrays.

The researchers suggest that the study opens a route to radically simplify array design, showing that with thermophone technology, it is possible to create a fully controlled array from nothing more than a thin metal film attached to some metal wires.

David Tatnell, lead author of the study and a PhD researchers at the EPSRC Centre for Doctoral Training in Metamaterials said: “Using heat to produce sound is a game changer as it allows us to make speaker arrays smaller than ever before. This, as well as the ability to make the speakers flexible and transparent, has a lot of exciting potential applications, such as haptic feedback systems in smartphones and other wearables.

Credit: https://www.sciencedaily.com/releases/2020/07/200702113652.htm

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Impact of Soundscape in Perception

Previously, we have discussed how the human auditory system works and recognizes the sound direction. Now, we will discuss how sound is perceived through our mind. In acoustics, the sound processing into the human auditory system is divided into 2 different mechanisms, namely hearing and listening. Hearing is the process of the mechanism of sound wave propagation into the human auditory system due to the sensitivity of the human auditory system to the vibration of sound waves with a certain frequency and intensity. While listening is a process of hearing along with the interpretation of information about the environment of a place based on the details contained in the vibration of sound waves that are heard.

Interpretation of sound information in the listening process is the vibrations of sound waves that are heard by humans. That not only represents the source of the sound but also contains information about the environment in which the sound is heard due to the physical mechanism that occurs when the sound wave propagates. Listening is considered a complex mechanism because it involves multi-level attention and higher cognitive functions. There are three levels in listening that are used to explain the complexity of listening namely listening-in-search, listening-in-readiness, and background listening.

Listening then forms us in an interpretation and perception in an environment based on its acoustic conditions. For example, if we close our eyes and we are given a stimulus in the form of the sound of water, squeaking, and the sound of wind with a certain level of sound pressure (SPL) we can interpret this as a feeling of being in a park. Then if the sound is added to the vehicle’s sound stimulus with a sufficiently audible sound pressure level, this might disturb the atmosphere of the park, and we feel uncomfortable. The action and interaction of natural factors and / or human factors acoustically in a place is called soundscape. This is because the sound in the environment does not only focus on a person, but also how one interacts with the sound and how one’s attention to the sound that arises.

Simple soundscape involves the type of sound source, location related to activities that occur in the related environment, environmental conditions and various subjective things that shape one’s perception and interpretation. This relates to the definition of soundscape in building one’s perception where it is also influenced by their socio-cultural and also the soundscape approach is seen from various disciplines.The soundscape process can be seen in the process diagram in Figure 1.

The analysis of soundscape can produce information for the basis for taking action in the form of sound management, which is to sort out what sounds should be heard and what sounds should be covered with other sounds (masking noise), by directing the attention of visitors to certain sounds that are in line with expectations they are based on the function of the related place.

Written by:

Adetia Alfadenata

Acoustic Engineer

Geonoise Indonesia

support.id@geonoise.asia

References :                                                                     

1. B. Truax, Acoustic Communication. Ablex Publishi, 1984

2. A. Ozcevik and Z. Y. Can, “A Field Study on The Subjective Evaluation of Soundscape,” in Acoustics 2012, 2012, no. April, pp. 2121–2126.

3. F. Aletta and J. Kang, “Soundscape descriptors and a conceptual framework for developing predictive soundscape models,” no. October 2017, 2016.

The British Standards Institution, “BS ISO 12913-1:2014 – Acoustics — Soundscape Part 1 : Definition and conceptual framework,” ISO, 2014.

5. D. Botteldooren, C. Lavandier, and A. Preis, “Understanding urban and natural soundscapes,” in Forum Acusticum 2011, 2011, vol. 1, no. c, pp. 2047–2052.

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