Resonant frequency in acoustics

AI Thread Summary
The discussion centers on how a resonator, like a guitar body, amplifies the sound of a tuning fork rather than resonating at its own natural frequency. The tuning fork's design allows it to transmit vibrations effectively to the resonator, which is constructed to enhance specific frequencies rather than suppress them. The interaction creates a unique sound that differs from the tuning fork alone, influenced by the resonances of the resonator. Additionally, the guitar's large surface area helps move air, contributing to the amplification. Ultimately, the resonator's design is crucial for achieving a balanced amplification of musical notes.
SaulC
Messages
5
Reaction score
0
Hi,

A question popped into my mind which I've never thought of in 20 years of making music: when you hold a tuning fork against a simple resonator (a guitar body, a table, any object with some volume really), the resonator amplifies the tuning fork's sound and you hear the tuning pitch louder.

I've read that this works because of the way the tuning fork is designed: the oscillating tines move horizontally and transmit vertical oscillation to the handle, which isn't dampened when holding it. The vibrations are then transmitted to the resonator by physical contact.

My question is: why is the resonator amplifying the tuning fork's frequency rather than resonating at its own natural resonant frequency (cf. singing a note close to a guitar at a specific pitch will make the guitar resonate and amplify that pitch)?

Thanks a lot for your help.
 
Physics news on Phys.org
A guitar is designed to function as a musical instrument ... so it would be silly if it's box was constructed to suppress a musical note.
So the simple answer is that the box was constructed that way.

But you will notice that the sound you get from the box+fork is different from the sound of the fork by itself, or the fork and other objects.
This is the result of the resonances ... so the box does favourably amplify particular frequencies.
The specific resonances in a box can be quite complicated ... consider how a singing voice often sounds better in a shower stall... why does a shower stall not suppress non-resonant sounds?
http://www.indiana.edu/~emusic/acoustics/resonance.htm
http://www.ncbi.nlm.nih.gov/pubmed/12051448
 
The guitar has a large surface area to move air. The tuning fork will not move much air. Even though the guitar may dampen out the tuning fork frequency, it still moves air as it does that. I would be very surprised if the guitar was designed to do much to resonate with or to dampen out the frequencies of interest. That would lead to a very uneven volume at different frequencies of a song.
 
  • Like
Likes Phil Freihofner
Thank you very much for your very helpful replies.
 
A struck tuning fork or plucked string can only contain a certain amount of energy, so presumably bringing one near a resonator shortens the duration of the note as well as making it louder?
 
This is from Griffiths' Electrodynamics, 3rd edition, page 352. I am trying to calculate the divergence of the Maxwell stress tensor. The tensor is given as ##T_{ij} =\epsilon_0 (E_iE_j-\frac 1 2 \delta_{ij} E^2)+\frac 1 {\mu_0}(B_iB_j-\frac 1 2 \delta_{ij} B^2)##. To make things easier, I just want to focus on the part with the electrical field, i.e. I want to find the divergence of ##E_{ij}=E_iE_j-\frac 1 2 \delta_{ij}E^2##. In matrix form, this tensor should look like this...
Thread 'Applying the Gauss (1835) formula for force between 2 parallel DC currents'
Please can anyone either:- (1) point me to a derivation of the perpendicular force (Fy) between two very long parallel wires carrying steady currents utilising the formula of Gauss for the force F along the line r between 2 charges? Or alternatively (2) point out where I have gone wrong in my method? I am having problems with calculating the direction and magnitude of the force as expected from modern (Biot-Savart-Maxwell-Lorentz) formula. Here is my method and results so far:- This...
Back
Top