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Question: (II) Approximately what are the intensities of the first two overtones of a violin compared to the fundamental? How many decibels softer than the fundamental are the first and second overtones? (See Fig. 12–15.)

Short Answer

Expert verified

The intensities of the first two overtones of a violin are \(\frac{{{I_2}}}{{{I_1}}} = 0.64\) and \(\frac{{{I_3}}}{{{I_1}}} = 0.20\) and the sound level of the first two overtones are \({\beta _{2 - 1}} = - {\rm{2}}\;{\rm{dB}}\) and \({\beta _{3 - 1}} = - 7\;{\rm{dB}}\).

Step by step solution

01

Determination of the ratio of intensities

To find the ratio of the intensities, use the concept of amplitudes of the successive overtones and their frequencies which is given as \(I = 2{\pi ^2}v\rho {f^2}{A^2}\) where v is the speed of sound in air,\(\rho \)is the density of the medium, f is the fundamental frequency, and A is the amplitude of the wave.

02

Given information

Given data:

The sound spectra for violin is given.

03

Evaluation of the intensity for first and second overtone

For the first overtone, the equation for the intensity can be given as:

\({I_1} = 2{\pi ^2}v\rho f_1^2A_1^2\) … (1)

Here, \({f_1}\) is the frequency of the first overtone and \({A_1}\) is the amplitude of the first overtone.

For the second overtone, the equation for the intensity can be given as:

\({I_2} = 2{\pi ^2}v\rho f_2^2A_2^2\) … (2)

Here, \({f_2}\) is the frequency of the second overtone and \({A_2}\) is the amplitude of the second overtone.

After dividing the equation (2) by (1), you get:

\(\begin{array}{c}\frac{{{I_2}}}{{{I_1}}} = \frac{{2{\pi ^2}v\rho f_2^2A_2^2}}{{2{\pi ^2}v\rho f_1^2A_1^2}}\\\frac{{{I_2}}}{{{I_1}}} = {\left( {\frac{{{f_2}}}{{{f_1}}}} \right)^2}{\left( {\frac{{{A_2}}}{{{A_1}}}} \right)^2}\end{array}\) … (3)

From figure 12-15, the value of the ratio of amplitude \(\left( {\frac{{{A_2}}}{{{A_1}}}} \right)\) is \(0.4\) , and the value of the ratio of frequency \(\left( {\frac{{{f_2}}}{{{f_1}}}} \right)\) is \(2\). Hence, on substituting the given values in equation (3), you get:

\(\begin{array}{c}\frac{{{I_2}}}{{{I_1}}} = {\left( 2 \right)^2}{\left( {0.4} \right)^2}\\\frac{{{I_2}}}{{{I_1}}} = 0.64\end{array}\)

04

Evaluation of the intensity for the third and first overtone

Similarly, the ratio of the third harmonic to the first harmonic can be given as:

\(\frac{{{I_3}}}{{{I_1}}} = {\left( {\frac{{{f_3}}}{{{f_1}}}} \right)^2}{\left( {\frac{{{A_3}}}{{{A_1}}}} \right)^2}\) … (4)

From figure 12-15, the value of the ratio of amplitude \(\left( {\frac{{{A_3}}}{{{A_1}}}} \right)\) is \(0.15\) , and the value of the ratio of frequency \(\left( {\frac{{{f_3}}}{{{f_1}}}} \right)\) is \(3\). Hence, on substituting the given values in equation (4), you get:

\(\begin{array}{c}\frac{{{I_3}}}{{{I_1}}} = {\left( 3 \right)^2}{\left( {0.15} \right)^2}\\\frac{{{I_3}}}{{{I_1}}} = 0.20\end{array}\)

05

Evaluation of the sound level

The sound level of the first two overtones can be calculated as:

\(\begin{array}{c}{\beta _{2 - 1}} = 10\log \left( {\frac{{{I_2}}}{{{I_1}}}} \right)\\{\beta _{2 - 1}} = 10\log \left( {0.64} \right)\\{\beta _{2 - 1}} = - 1.93\;{\rm{dB}} \approx - {\rm{2}}\;{\rm{dB}}\\{\beta _{2 - 1}} = - {\rm{2}}\;{\rm{dB}}\end{array}\)

Similarly, the sound level of the third overtone to the first overtone can be calculated as:

\(\begin{array}{c}{\beta _{3 - 1}} = 10\log \left( {\frac{{{I_3}}}{{{I_1}}}} \right)\\{\beta _{3 - 1}} = 10\log \left( {0.20} \right)\\{\beta _{3 - 1}} = - 6.98\;{\rm{dB}} \approx - 7\;{\rm{dB}}\\{\beta _{3 - 1}} = - 7\;{\rm{dB}}\end{array}\)

Hence, the intensities of the first two overtones of a violin are \(\frac{{{I_2}}}{{{I_1}}} = 0.64\) and \(\frac{{{I_3}}}{{{I_1}}} = 0.20\) and the sound level of the first two overtones are \({\beta _{2 - 1}} = - {\rm{2}}\;{\rm{dB}}\) and \({\beta _{3 - 1}} = - 7\;{\rm{dB}}\).

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Most popular questions from this chapter

Question: The “alpenhorn” (Fig. 12–42) was once used to send signals from one Alpine village to another. Since lower frequency sounds are less susceptible to intensity loss, long horns were used to create deep sounds. When played as a musical instrument, the alpenhorn must be blown in such a way that only one of the overtones is resonating. The most popular alpenhorn is about \({\bf{3}}{\bf{.4}}\,{\bf{m}}\) long, and it is called the \({{\bf{F}}^{\bf{\# }}}\) horn. What is the fundamental frequency of this horn, and which overtone is close to\({{\bf{F}}^{\bf{\# }}}\)? (See Table12–3.) Model as a tube open at both ends.

Question: In audio and communications systems, the gain, \(\beta \) in decibals is defined for an amplifer as,

\(\beta = {\bf{10log}}\left( {\frac{{{P_{{\bf{out}}}}}}{{{P_{{\bf{in}}}}}}} \right)\)

Where \({P_{{\bf{in}}}}\) is the power input to the system and \({P_{{\bf{out}}}}\) is the power output. (a) A particular amplifer puts out 135 W of power for and input of 1.0 mW. What is its gain in dB? (b) if a signal to noise ratio of 93 dB is specified, what is the noise power if the output signal is 10 W?

Why are the frets on a guitar (Fig. 12–30) spaced closer together as you move up the fingerboard toward the bridge?

FIGURE 12–30 Question 9.

A space probe enters the thin atmosphere of a planet where the speed of sound is only about 42 m/s. (a) What is the probe’s Mach number if its initial speed is 15,000 km/h? (b) What is the angle of the shock wave relative to the direction of motion?

Question: Manufacturers typically offer a particular guitar string in a choice of diameters so that players can tune their instruments with a preferred string tension. For example, a nylon high-E string is available in a low- and high-tension model with diameter 0.699 mm and 0.724 mm, respectively. Assuming the density \(\rho \) of nylon is the same for each model, compare (as a ratio) the tension in a tuned high-and-low tension string.

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