Simple Wave Simulator
The Simple Wave Simulator Interactive provides the learner with a virtual wave frequency and speed, and comparisons between transverse waves such as. The frequency and amplitude of a sound wave dictate what it sounds like. partial frequencies of over 2, bells with a wide range of dates, weights and founders. Analysis of Llandaff - a peal tuned without stretch.
If you're talking with a slightly lower-than-normal speaking pitch, it may mean you think the person you're gabbing with is a babe. The 3 Stages and 7 Chemicals of Love Keep Your Ears Open According to a study published in the Journal of Nonverbal Behavior, people subconsciously tweak the pitch of their voice when they're chatting with someone they think is good-looking.
Your Voice Changes When You Talk to Someone Attractive
Both heterosexual men and women tended to lower their voices if their opposite-sex conversation partner was deemed attractive.
Imagine the sound of Barry White and Kathleen Turner chatting it up and you get the idea. For example, you'll probably alter the sound of your voice when talking to your boss or telling a lie.
And although the researchers in this study predicted men would lower their voices and women would raise the pitch of their voices when talking to an attractive target — as men with lower voices and women with higher voices are seen as desirable by the opposite sex — that wasn't the case.
Though the results of the study may seem counterintuitive, it's consistent with other research.
For example, a study asked participants to simulate a ''sexy voice. Any person standing still near the source will encounter each wavefront with the same frequency that it was emitted. Wavefronts surrounding a stationary source.
Gillian Isoardi But if the wave source moves, the pattern of wavefronts will look different. In the time between one wave peak being emitted and the next, the source will have moved so that the shells will no longer be concentric.Frequency-Pitch and Amplitude-Loudness Relationship
The wavefronts will bunch up get closer together in front of the source as it travels and will be spaced out further apart behind it. Now a person standing still in front of the moving source will observe a higher frequency than before as the source travels towards them.
Wave on a String
Conversely, someone behind the source will observe a lower frequency of wave peaks as the source travels away from it. Wavefronts surrounding a moving source. Gillian Isoardi This shows how the motion of a source affects the frequency experienced by a stationary observer.
A similar change in observed frequency occurs if the source is still and the observer is moving towards or away from it. So why do we hear a change in pitch for passing sirens? The pitch we hear depends on the frequency of the sound wave. A high frequency corresponds to a high pitch.
So while the siren produces waves of constant frequency, as it approaches us the observed frequency increases and our ear hears a higher pitch. The basis of the simulation is the setting of the parameters for all the significant partials so that the envelope of the simulated partial's intensity over time matches as closely as possible that in the original recording.
I plotted the original and the simulated envelopes against one another and adjusted the parameters for the best fit. The example below is the nominal of the Lyminge bell - 'org' is this partial in the original recording, 'sim' is the simulated version: One of the problems I have experienced in simulating bell sounds is that they sound thin and computer generated.
My recording of the bell at La Vinzellewhich was taken with a very gentle clapper blow indeed, also has this 'computer generated' sound even though it is a real bell, which might give some clues as to the cause.
Based on experiments with simulations, I now believe that four factors affect this: The first point is obvious. The second was arrived at heuristically, and is presumably due to the difficulty in estimating amplitude via fourier transform over very short time intervals.
Wave on a String - Waves | Frequency | Amplitude - PhET Interactive Simulations
The third - the presence of doublets - is of some interest. No bell is devoid of doublets, and the addition of doublets to a simulation seems to increase the richness or plumminess of the sound. The last - intensity and distortion - was a chance discovery. The recording of the Lyminge bell showed a slight degree of overload lasting for the first ms.
The simulation, despite the strengthing of the high partials and the addition of doublets, did not have the same initial impact as the recording. This addition of distortion might not seem to have a scientific basis. However, some work done by Steve Ivin recently on simulation of bell sounds suggests that there is a significant noise component in the splash of a bell.