2aEA6 – Carbon Nanotube Speakers – Future of Transparent and Lightweight Solid-State Speakers

Suraj M Prabhu – smprabhu@mtu.edu
Dr. Andrew Barnard – arbarnar@mtu.edu
Dynamic Systems Laboratory
R.L. Smith Building, 1400 Townsend Drive
Houghton, MI 49931

Popular Version of paper 2aEA6, “Carbon Nanotube Coaxial Thermophone for Automotive Exhaust Noise Cancellation”
Presented Tuesday morning, November 5, 2017
174th ASA Meeting, New Orleans

Everyday noise affects human health and is a major irritant for people of all ages. Automotive exhaust noise is the one of the most common community noises. Exhaust noise is generated in the engine, travels down the exhaust pipe with the exhaust gases, and is radiated out to the atmosphere. Due to the presence of enormous numbers of automobiles, people are exposed to significant levels of exhaust noise over their lifetime and, so it is important to control the exhaust noise through engineering noise control technology.

The two types of noise control systems used are passive control system and active control systems. Passive control system uses a muffler to attenuate and/or absorb the exhaust noise. An active control system has a loudspeaker that generates a sound with equal amplitude and opposite phase to cancel the exhaust noise. This works just like noise canceling headphones that are used by many air travelers, except it is done at the source.

Carbon nanotubes (CNT) are carbon nano-structures which when stretched form extremely lightweight, flexible films. These films adhere to any conductive surface to form a thermal speaker and when current is passed through them; their surface temperature fluctuates very rapidly. These fluctuations produce pressure waves in the medium near the film, thereby producing sound. The speaker uses no moving parts to produce sound and hence it is solid state in operation.

Figure 1: Automotive exhaust noise schematic

As the operating temperature of CNT speakers is high as compared to the temperature of the exhaust gases, the speakers can be mounted directly onto the tailpipe. The design of the CNT speaker is a coaxial transducer in the form of a co-axial spool. In addition, compared to the other components of the speaker, the CNT film itself is massless and so the overall weight of the speaker is much less compared to traditional loudspeakers with magnets. When tested in the laboratory for noise cancellation, an average cancellation of 12 – 15 dB was achieved across exhaust frequency ranges.   

Figure 2: Passive control system schematic indicating the location of a single muffler along the tailpipe

Figure 3: Active control system schematic indicating the mounting of the loudspeaker at the end of a side branch and the mounting of the entire setup on the tailpipe.

Carbon nanotubes

Figure 4: Planar CNT speaker having the film stretched between two electrodes and attached to an insulating base with electrical connector

Carbon nanotubes

Figure 5: Coaxial CNT speaker (prototype) having two end plates (white discs), electrodes with wires for connection, CNT (black film) wrapped around the electrodes protected from the atmosphere by a transparent cover

1pEAa4 – How does the stethoscope actually work?

Lukasz J. Nowak – lnowak@ippt.pan.pl
Institute of Fundamental Technological Research, Polish Academy of Sciences
Pawinskiego 5B
02-106 Warszawa, Poland

Popular version of paper 1pEAa4, “An Experimental Study on the Role and Function of the Diaphragm in Modern Acoustic Stethoscopes”
Presented Monday afternoon, December 04, 2017, 1:45 PM, Balcony N
174th ASA meeting, New Orleans

Acoustic stethoscope, invented over 200 years ago by French physician, Rene Laennec, is the most commonly used medical diagnostic device and also the symbol of medical professionals. Thus, it might sound surprising, that the physics underlying the operation of this simple, mechanical device is still not well understood. The theory of operation of the stethoscope is widely described in the medical literature. However, most of the presented statements are based on purely intuitive conclusions, subjective impressions or on the results of experiments which do not reflect the complex mechanical problem of the chestpiece – patient interaction. Some recently published findings[1,2] suggest, that the state of the art in the field should be verified.

One of the main challenges in determining acoustic properties of stethoscopes is the fact, that under patient examination conditions (i.e. the only case that actually matters for the considered problem) the chestpiece of the stethoscope is mechanically coupled with a body. The effects of this coupling significantly alter the sought parameters. Thus, you cannot simply replace a patient with a loudspeaker, in order to use harmonic test signals, as in the normal case of measuring acoustic parameters of any standard audio device. You have to perform the analysis and draw the conclusions based on the sounds from the inside of the body of a patient, and those are relatively quiet, noisy, and variable in nature.

The present study focuses on the role and function of the diaphragm in modern acoustic stethoscopes. During auscultation, the diaphragm is excited to vibrate by the underlying body surface, and thus it is the source of sound transmitted through the hollow tubes of a stethoscope to the ears of the physician. The higher are the velocity level values distributed across the surface of the diaphragm, the louder will be the perceived sound. Loudness is a crucial parameter, as the auscultation sounds are very quiet in general, and the diagnosis is often obtained based on the distinction of very subtle changes in those signals. Different stethoscope manufacturers use various materials, shapes, sizes and attaching means for the diaphragms, claiming that specific solutions provide optimal sound parameters. However, no objective data regarding this problem are available, and thus, such statements cannot be accepted from the scientific point of view.

A detailed experimental methodology for determining vibroacoustic properties of different kinds of diaphragms is introduced in the present study. A laser Doppler vibrometer is used to measure the velocity of vibrations of various points on the surface of a diaphragm during heart auscultation (Figure 2). At the same time, an electrocardiography (ECG) signal is also recorded. The ECG signal is used to extract only a subset of clean and uncorrupted velocity signals, without noise and other, interfering body sounds (see Figure 3). The parameters of the extracted and selected fragments are statistically analyzed.

The box plot in Figure 4 shows the values of velocity of vibrations determined at the center and close to the edge for various types of diaphragms encountered in modern acoustic stethoscopes. The first two boxes on the left correspond to the case without a diaphragm. In general, the higher values, and the lower differences between the center and the edge – the better. As it can be seen, the results differ significantly between various diaphragm types. The drawn conclusions are especially important from the physicians’ point of view, as the acoustic efficiency of a stethoscope translates directly into the quality of the diagnosis. An open question remains if and how it could be possible to significantly improve the efficiency of the existing solutions? The analysis of the obtained results states a good foundation for further investigations in this direction, as it allows to better understand the phenomena underlying auscultation examination and to formulate some general assumptions regarding the most promising solutions.

stethoscope
Figure 1. A modern acoustic stethoscope with a diaphragm chestpiece

 
Figure 2. The laboratory stand used for experimental investigations on the vibroacoustic parameters of various kinds of stethoscope diaphragms

 
Figure 3. All the vibration velocity signals extracted from a single recording, including noisy and corrupted ones (top), and the corresponding subset of signals selected for further analysis (bottom)


Figure 4. Box plot presenting the distribution of the measured velocity of vibrations values at the center and edge points for each of the considered cases

[1] Nowak, L. J., and Nowak, K. M. (2017). “Acoustic characterization of stethoscopes using auscultation sounds as test signals,” J. Acoust. Soc. Am., 141, 1940–1946. doi:10.1121/1.4978524

[2] Nowak, K. M., and Nowak, L. J. (2017). “Experimental validation of the tuneable diaphragm effect in modern acoustic stethoscopes,” Postgrad. Med. J., , doi: 10.1136/postgradmedj-2017-134810. doi:10.1136/postgradmedj-2017-134810

3aAA1 – Are restaurants and bars in New York City too loud?

Gregory Scott –  greg@soundprint.co
SoundPrint
P.O. Box 74
New York, NY 10150

Popular version of paper 3aAA1, “Analyses of crowd-sourced sound levels, logged from more than 2250 restaurants and bars in New York City”
Presented Wednesday, December 06, 2017, 7:50-8:10 AM, Studio 9
174th ASA meeting, New Orleans

For several decades, there has been a significant need to better educate the public about noise pollution, and over the past few years, an increasing number of media articles have claimed that eating and drinking venues are getting too loud. This loudness problem is likely due, in part, to background music or architectural design that enhances rather than abates interior sounds. These design elements include open kitchens, stripped-down or hard surfaces as well as less tablecloths, carpeting and paneling to absorb sound.

Loud environments make it more difficult for people to connect with others in conversation as noise is the second highest complaint among diners in Zagat’s Annual Survey. In New York City, noise is the highest complaint and 72% of diners surveyed actively avoid eateries that are too loud [1-2].  Loud noise also potentially negatively impacts hearing health as it is the most common modifiable environmental cause of hearing loss that affects 24% of adults [3].  The Center for Disease Control and Prevention recommends avoiding prolonged exposure to loud environments to prevent noise-induced hearing loss [4-5].

This is the first exploratory study to capture, on a large scale and on a continuing basis, the average sound levels of restaurants and bars. The free iOS SoundPrint app (links here to website and app) was employed to measure and submit the sound levels of New York City venues to its publicly accessible database. More than 1,800 Manhattan restaurants and bars were measured at least three times during prime-time days and hours (Wednesday through Saturday evenings between ~7:00PM-9:00PM) from July 2015 to June 2017. The measured sound level values are organized into four categories: Quiet, Moderate, Loud and Very Loud based on two dimensions – whether they are conducive for conversation and whether they are safe for hearing health.  More discussion on how these categories were selected and defined is provided in the full paper.

The results in Table 2 and Table 3 show that the average sound level for Manhattan restaurants is 78 dBA making restaurants, on average, too loud for conversation. For bars, the average sound level is 81 dBA making bars not only too loud for conversation, but also potentially unsafe for hearing health.  About 71% of restaurants and 90% of bars that were measured exhibit sound levels that are not conducive for conversation. And approximately 31% of restaurants and 60% of bars have measured sound levels that are potentially dangerous to hearing health. These numbers reach as high as 70% for specific Manhattan neighborhoods such as Flatiron, Gramercy, East Village and the Lower East Side where average measured sound levels are as high as 82 dBA. Segmentation by neighborhoods shows another story, notably that as one proceeds from uptown to downtown Manhattan, the restaurants and bars tend to increase in average sound levels so you are more likely to discover a quieter venue on the Upper West Side or Upper East Side than in the village (See Table 2 and Table 3).

In addition, segmenting restaurants by their cuisine type shows a varying range of average sound levels where Indian, Chinese and Japanese restaurants comprise the relatively quieter restaurants compared to Mexican, Latin, American, Spanish and Mediterrean restaurants. SoundPrint data collectors observed that the quieter restaurants tend to have less background music, more sound-absorbing features and that the patrons do not tend to raise their voices compared to those of the other restaurant cuisines (See Table 4).

In sum, the data suggests that the increasing number of media articles about sound levels in restaurants being too loud are correct. In New York City, a majority of the surveyed restaurants and bars have average sound levels that make it difficult for patrons to have a conversation without the need to raise their voice and a high number approach levels that are known to be dangerous to hearing health. A person randomly walking into a restaurant or a bar in New York City during prime days and hours is more likely than not to encounter an auditory environment that is “too loud.”

restaurants and bars
restaurants and bars
restaurants and bars
restaurants and bars
  1. Zagat Survey. The State of American Dining in 2016.
  2. James M. New York City restaurant survey pet peeves and dining stats; 2013.
  3. Carroll YI, Eichwald J, Scinicariello F, et al. Vital Signs: Noise-Induced Hearing Loss Among Adults — United States 2011–2012. MMWR Morb Mortal Wkly Rep. ePub: 7 February 2017.
  4. Carroll YI, Eichwald J, Scinicariello F, et al. Vital Signs: Noise-Induced Hearing Loss Among Adults — United States 2011–2012. MMWR Morb Mortal Wkly Rep. ePub: 7 February 2017
  5. Themann CL, Suter AH, Stephenson MR. National research agenda for the prevention of occupational hearing loss—part 1. Semin Hear 2013;34:145–207. CrossRef

2pSP6 – Directive and focused acoustic wave radiation by tessellated transducers with folded curvatures

Ryan L. Harne*: harne.3@osu.edu
Danielle T. Lynd: lynd.47@osu.edu
Chengzhe Zou: zou.258@osu.edu
Joseph Crump: crump.1@themetroschool.org
201 W 19th Ave., N350 Scott Lab, Department of Mechanical and Aerospace Engineering, The Ohio State University, Columbus, OH 43210, USA
* Corresponding author

Popular version of paper 2pSP6 presented Mon afternoon, 26 June 2017
173rd ASA Meeting, Boston, Massachusetts, USA

Directed or focused acoustic wave energies are central to many applications, broadly ranging from ultrasound imaging to underwater ecosystem monitoring and to voice and music projection. The interference patterns necessary to realizing such directed or focused waves, guiding the radiated acoustic energy from transducer arrays to locations in space, requires close control over contributions of sound provided from each transducer source. Recent research has revealed advantages of mechanically reconfiguring acoustic transducer constituents along the folding patterns of an origami-inspired tessellation, as opposed to digitally processing signals sent to each element in a fixed configuration [1] [2] [3].

Video: Origami-inspired acoustic solutions. Credit: Harne/Lynd/Zou/Crump

One such proof-of-concept for a foldable, tessellated array of acoustic transducers is shown in Figure 1. We cut a folding pattern into piezoelectric PVDF (type of plastic) film, which is then bonded to a polypropylene plastic substrate scored with the same folding pattern. Rather than control each constituent of the array, as in digital signal processing methods, the singular driving of the whole array and the mechanical reconfiguration of the array by the folding pattern leads to comparable means to guide the acoustic wave energies.

tessellated transducers

Figure 1. Folding pattern for the array, where blue are mountain folds and red are valley folds. The laser cut PVDF is bonded to polypropylene to result in the final proof-of-concept tessellated array prototype shown at right. The baffle fixture is needed to maintain the curvature and fixed-edge boundary conditions during experiments. Credit: Harne/Lynd/Zou/Crump

To date, this concept of foldable, tessellated arrays has exemplified that the transmission of sound in angularly narrow beams, referred to technically as the directionality far field wave radiation, can be adapted by orders of magnitude when the array constituents are driven by the same signal. These arrays can be adapted up to a point dictated by the foldings of a Miura-ori style of tessellated array.

Our research investigates a new form of adaptive acoustic energy delivery from foldable arrays by studying tessellated transducers that adopt folded curvatures, thus introducing opportunity for near field energy focusing alongside the far field directionality.

For instance, Fig. 1 reveals the curvature of the proof-of-concept array of star-shaped transducer components for the partially folded state. This suggests that the array will focus sound energy to a location near the radius of curvature. The outcomes of these computational and experimental efforts find that foldable, tessellated transducers that curve upon folding offer straightforward means for the fine, real-time control needed to beam and focus sound to specific points in space.

Due to the numerous applications of acoustic wave guiding, these concepts could enhance the versatility and multifunctionality of acoustic arrays by a more straightforward mechanical reconfiguration approach that controls the radiated or received wave field. Alternatively, by strategically integrating with digital signal processing methods, future studies might uncover new synergies of performance capabilities by using actively controlled, origami-inspired acoustic arrays.

References

[1] R.L. Harne, D.T. Lynd, Origami acoustics: using principles of folding structural acoustics for simple and large focusing of sound energy, Smart Materials and Structures 25, 085031 (2016).
[2] D.T. Lynd, R.L. Harne, Strategies to predict radiated sound fields from foldable, Miura-ori-based transducers for acoustic beamfolding, The Journal of the Acoustical Society of America 141, 480-489 (2017).
[3] C. Zou, R.L. Harne, Adaptive acoustic energy delivery to near and far fields using foldable, tessellated star transducers, Smart Materials and Structures 26, 055021 (2017).

1pAAa6 – Soundscape of washroom equipment

Lucky Tsaih,
Yosua W. Tedja,
An-Chi Tsai, Julie Chen
Department of Architecture, National Taiwan University of Science and Technology,
Taipei, Taiwan.

1pAAa6 – Soundscape of washroom equipment and its application
Jun 25, 2017
173rd Meeting of the Acoustical Society of America and the 8th Forum Acusticum
Click here to read the abstract

There is at least one toilet in your apartment, sometimes two for a house or even three toilets for a midrise building. There are lots of toilets are in school. Wow! Toilets are everywhere! How loud is a toilet flush sound?

Audio 1. Credit: Tedja

It is about 92 decibels. Since human hearing is less sensitive in lower frequency regions, we only hear it as about 85 decibels. 85 decibels is as loud as a truck driving by in front of you. Since most people desire to sleep, work, and study in a quiet space, when someone flushes a toilet, our sleeping can be disturbed or our concentration broken.


Figure 1. Toilet sound and quiet space. Credit: Tsaih

Thus, how good is your washroom wall, door and window at reducing the toilet flush sound while you are sleeping, working or studying? As in most cases, a typical single layer of gypsum board wall is used and doesn’t reduce much of the low frequency sound, as Figure 2 shows.


Figure 2. Toilet sound and sound reduction of a typical GWB wall. Credit: Tsaih

So, during work, study or sleep, you will still probably hear the “hmmmmmmm” sound. The simulated sound below assumes there are only walls, and no windows or doors in the washroom.

This research is to show how loud the washroom equipment sound can be and what kind of proper noise control an architect should consider using when designing washrooms in spaces like bedrooms and classrooms. We measured and analyzed sound pressure levels of washroom equipment. We also analyzed sound transmission class and its frequency spectrum of some typical washroom partitions to see if these partitions could reduce washroom equipment sound sufficiently.

 

Audio 2. Credit: Tedja

washroom
Figure 3. Toilet sound in study room and bedroom. Credit: Tsai

In short, a wall that blocks toilet flush sound is necessary in our homes, classes, and offices.
washroom
Figure 4. Learning and sleeping with toilet flush sound. Credit: Tedja and Chen