Effect of operating conditions on gearbox noise

Low contact ratio spur gears were tested in the NASA gear noise rig to study the noise radiated from the top of the gearbox. The measured sound power from the gearbox top was obtained from a near field acoustic intensity scan taken at 63 nodes just above the surface. The sound power was measured at a matrix of 45 operating speeds and torque levels. Results are presented in the form of a spectral speed map and as a plot of sound power versus torque (at constant speed) and as sound power versus speed (at constant torque). Because of the presence of vibration modes, operating speed was found to have more impact on noise generation than torque level. A NASA gear dynamics code was used to compute the gear tooth dynamic overload at the same 45 operating conditions used for the experiment. Similar trends were found between the analytical results for dynamic tooth overload and experimental results for sound power. Dynamic analysis may be used to design high quality gears with profile relief optimized for minimum dynamic load and noise

English 4210—Syllabus

The syllabus for 4210 English: Writing for Social Justice. The syllabus includes an introduction and course overview, learning objectives, competencies, course assignments, evaluation, resources, and class schedule

Electronic Dance Music in Narrative Film

As a growing number of filmmakers are moving away from the traditional model of orchestral underscoring in favor of a more contemporary approach to film sound, electronic dance music (EDM) is playing an increasingly important role in current soundtrack practice. With a focus on two specific examples, Tom Tykwer’s Run Lola Run (1998) and Darren Aronofsky’s Pi (1998), this essay discusses the possibilities that such a distinctive aesthetics brings to filmmaking, especially with regard to audiovisual rhythm and sonic integration

Color and texture associations in voice-induced synesthesia

Voice-induced synesthesia, a form of synesthesia in which synesthetic perceptions are induced by the sounds of people's voices, appears to be relatively rare and has not been systematically studied. In this study we investigated the synesthetic color and visual texture perceptions experienced in response to different types of “voice quality” (e.g., nasal, whisper, falsetto). Experiences of three different groups—self-reported voice synesthetes, phoneticians, and controls—were compared using both qualitative and quantitative analysis in a study conducted online. Whilst, in the qualitative analysis, synesthetes used more color and texture terms to describe voices than either phoneticians or controls, only weak differences, and many similarities, between groups were found in the quantitative analysis. Notable consistent results between groups were the matching of higher speech fundamental frequencies with lighter and redder colors, the matching of “whispery” voices with smoke-like textures, and the matching of “harsh” and “creaky” voices with textures resembling dry cracked soil. These data are discussed in the light of current thinking about definitions and categorizations of synesthesia, especially in cases where individuals apparently have a range of different synesthetic inducers

Gear noise, vibration, and diagnostic studies at NASA Lewis Research Center

The NASA Lewis Research Center and the U.S. Army Aviation Systems Command are involved in a joint research program to advance the technology of rotorcraft transmissions. This program consists of analytical as well as experimental efforts to achieve the overall goals of reducing weight, noise, and vibration, while increasing life and reliability. Recent analytical activities are highlighted in the areas of gear noise, vibration, and diagnostics performed in-house and through NASA and U.S. Army sponsored grants and contracts. These activities include studies of gear tooth profiles to reduce transmission error and vibration as well as gear housing and rotordynamic modeling to reduce structural vibration transmission and noise radiation, and basic research into current gear failure diagnostic methodologies. Results of these activities are presented along with an overview of near term research plans in the gear noise, vibration, and diagnostics area

Oscillation threshold of a clarinet model: a numerical continuation approach

This paper focuses on the oscillation threshold of single reed instruments. Several characteristics such as blowing pressure at threshold, regime selection, and playing frequency are known to change radically when taking into account the reed dynamics and the flow induced by the reed motion. Previous works have shown interesting tendencies, using analytical expressions with simplified models. In the present study, a more elaborated physical model is considered. The influence of several parameters, depending on the reed properties, the design of the instrument or the control operated by the player, are studied. Previous results on the influence of the reed resonance frequency are confirmed. New results concerning the simultaneous influence of two model parameters on oscillation threshold, regime selection and playing frequency are presented and discussed. The authors use a numerical continuation approach. Numerical continuation consists in following a given solution of a set of equations when a parameter varies. Considering the instrument as a dynamical system, the oscillation threshold problem is formulated as a path following of Hopf bifurcations, generalizing the usual approach of the characteristic equation, as used in previous works. The proposed numerical approach proves to be useful for the study of musical instruments. It is complementary to analytical analysis and direct time-domain or frequency-domain simulations since it allows to derive information that is hardly reachable through simulation, without the approximations needed for analytical approach

Developing and evaluating a hybrid wind instrument

A hybrid wind instrument generates self-sustained sounds via a real-time interaction between a computed excitation model (such as the physical model of human lips interacting with a mouthpiece) and a real acoustic resonator. Attempts to produce a hybrid instrument have so far fallen short, in terms of both the accuracy and the variation in the sound produced. The principal reason for the failings of previous hybrid instruments is the actuator which, controlled by the excitation model, introduces a fluctuating component into the air flow injected into the resonator. In the present paper, the possibility of using a loudspeaker to supply the calculated excitation signal is evaluated. A theoretical study has facilitated the modeling of the loudspeaker-resonator system and the design of a feedback and feedforward filter to successfully compensate for the presence of the loudspeaker. The resulting self-sustained sounds are evaluated by a mapping of their sound descriptors to the input parameters of the physical model of the embouchure, both for sustained and attack sounds. Results are compared with simulations. The largely coherent functioning confirms the usefulness of the device in both musical and research contexts

Bodily awareness and novel multisensory features

According to the decomposition thesis, perceptual experiences resolve without remainder into their different modality-specific components. Contrary to this view, I argue that certain cases of multisensory integration give rise to experiences representing features of a novel type. Through the coordinated use of bodily awareness—understood here as encompassing both proprioception and kinaesthesis—and the exteroceptive sensory modalities, one becomes perceptually responsive to spatial features whose instances couldn’t be represented by any of the contributing modalities functioning in isolation. I develop an argument for this conclusion focusing on two cases: 3D shape perception in haptic touch and experiencing an object’s egocentric location in crossmodally accessible, environmental space

Mid-Air Haptics for Control Interfaces

Control interfaces and interactions based on touch-less gesture tracking devices have become a prevalent research topic in both industry and academia. Touch-less devices offer a unique interaction immediateness that makes them ideal for applications where direct contact with a physical controller is not desirable. On the other hand, these controllers inherently lack active or passive haptic feedback to inform users about the results of their interaction. Mid-air haptic interfaces, such as those using focused ultrasound waves, can close the feedback loop and provide new tools for the design of touch-less, un-instrumented control interactions. The goal of this workshop is to bring together the growing mid-air haptic research community to identify and discuss future challenges in control interfaces and their application in AR/VR, automotive, music, robotics and teleoperation