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Journal of the Acoustical Society of America

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Jul 1935

Volume 7, Issue 1, pp. 1-77

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Acoustical Instruments

E. C. Wente

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 1-15 (1935); (15 pages)

Online Publication Date: 15 Jun 2005

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Previous to the development of amplifiers most of the instruments used in acoustical research depended for their operation upon purely mechanical principles. This paper includes a brief survey of such of these instruments as are still of interest in connection with the investigation of technical or research problems in acoustics, but it deals primarily with the more recent electrical devices used in the study of air‐borne sound waves. The limitations and fields of application of various electrical instruments, including microphones, particularly adapted to definite types of acoustic measurements, are discussed.

Velocity of High Frequency Sound in Small Tubes

Gardner A. Norton

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 16-26 (1935); (11 pages)

Online Publication Date: 15 Jun 2005

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This study of the velocity of high frequency sound in small tubes covers the range of frequency from about 10 to 80 kilocycles per second, and in diameter from 1/2″ to 3/16″. The method of G. W. Pierce, using magnetostriction oscillators, has been followed, providing high accuracy of measurement. Careful precautions in the construction were taken to eliminate the variations due to humidity, impurity, and to spurious reflections. The results tend to support definitely the Helmholtz‐Kirchhoff reduction law, but provide a smaller observed value of the constant for pure air compared to the theoretical value. The value of free space velocity derived from these experiments checks that independently obtained by Grabau, using a similar method in air, to within 1 part in 4000. Hence the present tube method may be applied to delicate measurements of sound dispersion in pure gases, and their mixtures.

On the Tone Quality of Pianoforte

R. N. Ghosh

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 27-28 (1935); (2 pages)

Online Publication Date: 15 Jun 2005

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An Analysis of the Vibrato from the Viewpoint of Frequency and Amplitude Modulation

J. R. Tolmie

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 29-36 (1935); (8 pages)

Online Publication Date: 15 Jun 2005

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Effect of Intensity on Supersonic Wave Velocity

W. H. Pielemeier

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 37-38 (1935); (2 pages) | Cited 2 times

Online Publication Date: 15 Jun 2005

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It is the purpose of this paper to present further evidence that supersonic waves in air have a velocity which depends on their intensity and that this velocity approaches the limiting value (γP/ρ)½ at comparatively low intensities.

Influence of Experimental Technique on the Measurement of Differential Intensity Sensitivity of the Ear

H. C. Montgomery

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 39-43 (1935); (5 pages) | Cited 1 time

Online Publication Date: 15 Jun 2005

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The lack of agreement among previous measurements of differential intensity sensitivity indicates that the values obtained depend to a large extent on the experimental conditions. The relative importance of various factors is indicated, and a procedure is suggested which was designed to give the smallest possible values of differential intensity sensitivity. Intensive measurements made by this method upon a single subject, using a pure tone of 1000 cycles gave values consistently smaller than any previously reported. There is no sharp division between intensity changes which can be perceived and those which cannot. The response of the subject is essentially variable and can only be described by statistical methods.

Beats and Combination Tones at Intervals Between the Unison and the Octave

Jack C. Cotton

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 44-50 (1935); (7 pages)

Online Publication Date: 15 Jun 2005

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A Simple and Precise Standard of Musical Pitch

Horatio W. Lamson

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 51-55 (1935); (5 pages)

Online Publication Date: 15 Jun 2005

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On the Principle of Uncertainty in Sound

Winston E. Kock

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 56-58 (1935); (3 pages)

Online Publication Date: 15 Jun 2005

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Following Stewart, a discussion of the application of the principle of uncertainty (ΔνΔl ≈ 1) to sound phenomena is given. Various sound phenomena are thereby explained and certain related experiments with frequency vibrato are reported. The phenomena explained are: The chromatic glissando imitation of a portamento, analysis of a formant into a Fourier series, the relation between vibrato wideness and pitch range and the pleasing effect of a frequency vibrato.

Dust Figures in a Kundt's Tube

R. B. Hastings and D. H. Ball

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 59-63 (1935); (5 pages)

Online Publication Date: 15 Jun 2005

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An experimental investigation of Kundt's tube phenomena has been performed with the primary purpose of investigating the actual motions and appearances of the striations under different conditions. No attempt was made to formulate rigorous theories explaining the figures. Very clear photographs of the particles in a striation were made by causing the striation to move out to the end of the tube and remain stationary long enough to be photographed. Photographs were also taken through the eyepiece of a microscope. From these it was evident that the particles in a striation did not, in general, touch each other. Striations on either side of a long metal rod on the bottom of the tube usually showed different spacings and occurred in different numbers on either side. This could not be caused by overtones since it is unlikely that more overtones could exist on one side than on the other. An electrostatic charge in motion near the tube prevented the figures from forming. A stationary charge in no way prevented their formation. Figures destroyed by the motion of a charge would slowly build up again when the charge was brought to rest, even with the charge present.

Subharmonics in Forced Oscillations in Dissipative Systems. Part II

P. O. Pedersen

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 64-70 (1935); (7 pages)

Online Publication Date: 15 Jun 2005

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Thirteenth Meeting of the Acoustical Society of America (A)

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 72-77 (1935); (6 pages)

Online Publication Date: 15 Jun 2005

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Sound Insulating Properties of Certain Building Materials (A)

John S. Parkinson

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 72-72 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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Transmission loss data obtained in the Johns‐Manville Laboratories on various building constructions are reported. Almost all this data has been obtained on “room size” floors and partitions. The relation between such tests and “panel” tests is given where data is available. Detailed studies of the vibrational properties of various constructions are also reported which show the response characteristics at various frequencies, the degree of structural isolation obtained in various double constructions, the relative importance of damping, etc.
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Sound Control and Isolation in the Design of Broadcast Studios (A)

G. M. Nixon

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 72-72 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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The paper contains a discussion of the necessity for making relatively elaborate provisions for sound control and isolation of broadcast studios, particularly studio groups as large and complex as the NBC studios at Radio City. A description is given of the methods of isolating a studio from those adjacent and also from surrounding spaces; of sound control and isolation details of windows, doorways, vestibules, foyers, corridors, electric light and power wiring, and the installation of isolating partitions. The paper also contains a discussion of the control of noise in an air conditioning system; layout and isolation of duct work; choice of sound absorbing material and manner of installation in duct work; design and choice of air velocities in supply and return outlets; and isolation of rotating machinery. A discussion is also given of anticipated noise levels and those obtaining after the completion of the installation.
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Airplane Acoustics (A)

Stephen J. Zand

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 72-72 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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Consideration is given to certain acoustical factors that have been heretofore underestimated by the acoustic engineer in the design of quiet commercial airplanes. The importance of proper structural preparation of an airplane to permit the application of efficient acoustic treatment is stressed. Recent experience in acoustical treatment of airplanes of French and Italian design is discussed.
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Practical Airplane Quieting (A)

R. F. Norris

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 72-72 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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The noise problem as found in an actual plane is stated, the method of attack outlined, and the actual treatment described. Sound‐level readings are given before and after remodeling and the results discussed.
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Transmission of Plane Sound Waves Through Multiple Partitions (A)

A. L. Kimball

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 72-73 (1935); (2 pages)

Online Publication Date: 15 Jun 2005

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The transmission ratio, and thus the transmission loss in decibels, has been determined from a theoretical consideration of this problem, based on certain simplifying assumption such as zero stiffness compared with mass, an air layer between partitions small compared with the wavelength, etc. Three cases in particular are considered, the transmission loss being expressed as a function of wavelength of sound, weight per square foot of partitions, and distance between them: (1) Double partition wall; (2) Single wall (noting check with previous work); (3) Double partition and single partition loosely fixed to vibrating surface as a means of reducing sound radiation from that surface. Certain limitations of the theory are explained briefly.
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Transmission of Sound Through Multiple Walls (A)

D. Faggiani

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 73-73 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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A simplified treatment of the transmission of sound through multiple partitions is presented. On the basis of several assumptions concerning the nature of such structures an equation is derived expressing their acoustic transmission loss. According to this simplified treatment, the reduction caused by multiple structures is always less than the sum of the losses of the individual components.
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Loudness Level Contours and Intensity Discrimination of Ears with Raised Auditory Thresholds (A)

Scott N. Reger

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 73-73 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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Equal loudness level contours over the frequency range from 1000 to 4000 cycles are practically parallel with the threshold level in “normal” ears. Equal loudness level contours do not display any such “parallelism” with the threshold value of ears with approximately normal thresholds at, e.g., 2000 cycles but with markedly raised thresholds at 4000 cycles. A study of 15 persons with this type of hearing showed that if an individual had a 10 db loss at 2000 cycles and a 60 db loss at 4000 cycles, he would judge a 4000 cycle tone 10 db above his threshold equally loud as a 2000 cycle tone approximately 40 db above his threshold. Intensity discrimination studies showed that ears with raised auditory thresholds also could detect smaller increments in intensity than the normal ear at intensity levels the same number of db above the thresholds of each. The above findings are discussed in relation to the perception of speech and music—particularly amplified speech in headphones—by individuals with raised auditory thresholds.
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On the Auditory Sensitivity of Animals Relative to Man (A)

John C. Steinberg

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 73-73 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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This note abstracts from recent literature a comparison of the auditory sensitivity of four different animals—the chimpanzee, the monkey, the cat, and the guinea pig—as obtained recently by four different experimenters using four different methods, with that of man. The work represents painstaking attempts at a quantitative determination of animal sensitivity. The data indicate that for tones of frequency of 1000 cycles or less the auditory sensitivity of the animals did not differ significantly from that of man. The cat and the guinea pig appear significantly less sensitive than man for tones of 4000 cycles and higher. For tones of 8000 cycles and higher, the monkey and the chimpanzee appear more sensitive than man.
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Apparent Duration of Sound Perception (A)

Samuel Lifshitz

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 73-73 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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With the aid of a vacuum tube “impulsator” the limits for which the integral law of apparent duration holds true, were determined; they are expressed by the value ∫ t2t1 log Idt, for the extent of the apparent duration. Experiments with different impulses of tones of 1000 vib./sec., showed that the law holds true for limits of from 2 to 50 units of apparent duration. As a unit of apparent duration we take the apparent duration of a pure, constant tone which has sounded for one second at a loudness level of 1 db. Further experiments with tones of 50, 100, 500, 1000, 2000 and 4000 vib./sec. showed that the integral of apparent duration holds true for these tones and does not depend on the frequency of the tone. The musical optimum of reverberation corresponds to 37 units of apparent duration. As a result of the limits determined as indicated above, we can consider that the integral law of apparent duration in its unvaried form is applicable for the determination of the musical optimum of reverberation for halls up to 80,000 cu. m in volume.
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Distribution of Peak and Root‐Mean‐Square Pressures in Conversational Speech (A)

H. K. Dunn and S. D. White

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 73-73 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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Measurements made on conversational English speech are described, using the voices of six men and five women. Both peak and r.m.s. pressures are given, as measured in one‐eighth‐second intervals, and in twelve different bands of frequencies throughout the voice range. From these data other quantities are derived, including the frequency distribution of speech power in long intervals, and the total average voice power. The measurements being made at a distance of twelve inches from the lips, other tests on a single voice show how the speech characteristics change in going to greater and smaller distances.
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Relating to the Physics of Speech Sounds (A)

F. Trendelenburg

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 73-74 (1935); (2 pages)

Online Publication Date: 15 Jun 2005

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It is difficult to find the composition of sounds which are aperiodic, especially those that change rapidly with time, such as those which occur frequently in spoken sounds. The methods of automatic electrical analysis cannot easily be used because they require too much time. Fourier‐analysis by graphical and mechanical means cannot be recommended since too many single analyses have to be carried out in aperiodic occurrences. One obtains a very graphic picture of the time function of the sound composition by taking oscillograms of the single octaves of the sounds by use of band pass filters. The paper reports the results of such oscillographic analyses of speech sounds. The oscillograms obtained make it easy to recognize by inspection the various harmonic and nonharmonic components of speech sounds. From the photographs, conclusions are drawn with regard to the theory of voice.
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Vocal Resonators (A)

Don Lewis

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 74-74 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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A new procedure has been formulated and used to determine the nature of vocal resonators. The procedure, which is based upon the harmonic analysis of selected waves within a vibrato cycle of a sung tone, involves the following assumptions: (1) That during a sustained vowel produced by a good singer, the sound source remains essentially constant except for frequency variations (the vibrato); (2) that a good singer can hold his resonators essentially constant during the production of a sustained vowel. With changes in the fundamental frequency that typify the vibrato, the frequencies of the overtones naturally vary—by rather large amounts in the case of the higher overtones. For example, if tones near G1 (98 d.v./sec.) are used and if there is a vibrato of something over a semi‐tone in extent, the overtones around the typical resonance regions for the vowel “ah” will change enough in frequency to cause them practically to overlap. The effects of the resonators on these shifting overtones are revealed by harmonic analysis. Instead of more or less isolated ordinates found in the common acoustic spectrum, many ordinates appear within fairly wide frequency bands. The data make it possible to draw inferences about the nature of the “vocal‐cord spectrum” and to offer what seem to be fairly accurate descriptions of the resonators.
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An Analysis of Some Artistic Elements in Singing (A)

Harold G. Seashore

J. Acoust. Soc. Am. Volume 7, Issue 1, pp. 74-74 (1935); (1 page)

Online Publication Date: 15 Jun 2005

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A skeletal job‐analysis is presented of the content of a scientific esthetics as applied to singing with tentative formulation of some laws of artistry in intonation, rhythm, phrasing, dynamics and tone quality, determined from objective measurements of the performances of accepted artists.
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