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<!--Converted with LaTeX2HTML 96.1 (Feb 5, 1996) by Nikos Drakos =
(nikos@cbl.leeds.ac.uk), CBLU, University of Leeds =
--><HTML><HEAD><TITLE>No Title</TITLE>
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<BODY lang=3DEN bgColor=3Dwhite><B>THE PHYSICS OF VIBRATING STRINGS</B>=20
<P>Vibrating strings are key components of many musical instruments, =
such as=20
guitars, violins, and pianos. Hence, if we want to appreciate the =
physics of=20
these instruments, we must begin with the physics of a vibrating string. =
To a=20
first approximation, all strings are created equal, as all are described =
by the=20
wave equation=20
<P><A name=3Dwave_equation>&nbsp;</A> <IMG height=3D43 alt=3Dequation7=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg3.gif"=20
width=3D500 align=3Dbottom>=20
<P>where <I>y</I> is the displacement of the string from its equilibrium =

position, which is a function of position along the string, <I>x</I>, =
and time,=20
<I>t</I>. But since guitars sound different from violins, and both sound =

different from pianos, we know that there must be more to the story than =
(<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#wave_equation">1</A>).=20
This section of the course begins with a discussion of the wave equation =
and how=20
to attack it numerically. This brings out some nice lessons in numerical =

stability. It turns out that the Courant condition, which concerns how =
to best=20
choose the temporal and spatial grid sizes in a finite difference =
treatment, can=20
be easily understood from the physics of the wave equation. We then =
consider=20
waves moving on strings in several different contexts, including plucked =
guitar=20
strings, and piano strings as they are struck by a (piano) ``hammer.''=20
<P>To construct a numerical scheme for attacking the wave equation, we=20
discretize <I>x</I> and <I>t</I> in units of <IMG height=3D14=20
alt=3Dtex2html_wrap_inline114=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg4.gif"=20
width=3D25 align=3Dbottom> and <IMG height=3D14 =
alt=3Dtex2html_wrap_inline116=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg5.gif"=20
width=3D20 align=3Dbottom> , so that <IMG height=3D32 =
alt=3Dtex2html_wrap_inline118=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg6.gif"=20
width=3D269 align=3Dmiddle> , and write the derivatives in finite =
difference form=20
<P><A name=3Ddiscrete>&nbsp;</A> <IMG height=3D50 alt=3Dequation15=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg7.gif"=20
width=3D757 align=3Dbottom>=20
<P>The <IMG height=3D10 alt=3Dtex2html_wrap_inline120=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg8.gif"=20
width=3D12 align=3Dbottom> symbol is used here to emphasize that this is =
only an=20
approximation; there are correction terms which can be important. =
Rearranging=20
(<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#discrete">2</A>)=20
gives=20
<P><A name=3Dalgor_1>&nbsp;</A> <IMG height=3D24 alt=3Dequation23=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg9.gif"=20
width=3D713 align=3Dbottom>=20
<P>where <IMG height=3D30 alt=3Dtex2html_wrap_inline122=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg10.gif"=20
width=3D102 align=3Dmiddle> . Thus, if we know the string configuration =
at time=20
steps <I>n</I> and <I>n</I>-1, we can calculate the configuration at =
step=20
<I>n</I>+1. The initial conditions will depend on how the string is =
excited, and=20
we will now consider two cases.=20
<P>Some results obtained with the algorithm (<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#algor_1">3</A>)=20
are shown in Fig.&nbsp;<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#plucked_string">1</A>.=20
Here the initial string profile (shown at the top of the figure) was =
chosen to=20
be triangular, with the string at rest, as would be appropriate for a =
plucked=20
guitar string. The kink associated with this pluck is seen to split into =
two=20
separate kinks, one propagating to the left and one to the right, which =
reflect=20
from the ends of the string. In our simulation we kept the ends of the =
string=20
fixed, so the reflections are inverted.=20
<P>
<P><A name=3D53>&nbsp;</A><A name=3Dplucked_string>&nbsp;</A> <IMG =
height=3D297=20
alt=3Dfigure28=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg12.gif"=20
width=3D334 align=3Dbottom> <BR><STRONG>Figure 1:</STRONG> <EM>Waves =
propagating on=20
a string with fixed ends. The string had a length of 0.65&nbsp;m with=20
c=3D200&nbsp;m/s, as would be appropriate for a guitar string. The =
simulation used=20
the values <IMG height=3D14 alt=3Dtex2html_wrap_inline130=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg11.gif"=20
width=3D117 align=3Dbottom> , and <IMG height=3D30 =
alt=3Dtex2html_wrap_inline102=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg2.gif"=20
width=3D93 align=3Dmiddle> . The initial string profile is given at the =
top, and=20
successive traces (moving from top to bottom) show the string at =
progressively=20
later times. For clarity, each trace is shifted downwards from the =
previous one.=20
</EM><BR>
<P>
<P>The astute reader will recognize that (<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#algor_1">3</A>)=20
bears a strong resemblance to a no-frills Euler algorithm. While the =
Euler=20
method is a very simple and useful approach for many problems, it is =
known to=20
fail miserably for some situations that involve oscillatory motion, such =
as a=20
simple harmonic oscillator or planetary motion. Wave motion is also a =
type of=20
oscillation, so one might have expected that an Euler approach would =
fail here=20
too. However, the results in Fig.&nbsp;<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#plucked_string">1</A>=20
suggest that it works quite nicely. Understanding why it works so well =
provides=20
a useful lesson in numerical methods, and (as was noted above) leads to =
a=20
derivation of the Courant condition for the stability of the algorithm.=20
<P>Once we have obtained the solution for the string displacement as a =
function=20
of time, as in the above figure, we can then discuss the sound which is =
produced=20
and its associated spectrum. This brings us to several important issues =
and=20
techniques, including spectrum analysis, the Fourier transform, and the =
Fast=20
Fourier Transform.=20
<P>We next proceed to the case of a piano. A piano string is set into =
motion by=20
the blow from a ``hammer,'' which is actually just a wooden mallet =
covered with=20
a compressible layer of felt. While our first urge might be to treat the =
felt as=20
a simple spring describable by Hooke's law, it turns out that life is =
not this=20
simple. Experiments have found that the restoring force for felt depends =
on the=20
rate at which it is compressed, and the preceding compression history. =
Because=20
of this hysteresis, a full, general treatment of the piano hammer =
problem has=20
not yet been worked out. However, it is not hard to give a fairly good=20
approximate approach, which is basically equivalent to the best that has =
been=20
done to date in the research literature.=20
<P>We can add the hammer to the simulation by treating it as a mass =
which=20
strikes our numerical string at a certain location, with the =
hammer-string=20
interaction force given by=20
<P><A name=3Dhammer_force>&nbsp;</A> <IMG height=3D21 alt=3Dequation36=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg13.gif"=20
width=3D500 align=3Dbottom>=20
<P>where <I>z</I> is the amount which the felt is compressed, the =
exponent <IMG=20
height=3D27 alt=3Dtex2html_wrap_inline136=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg14.gif"=20
width=3D60 align=3Dmiddle> describes how the stiffness varies with =
compression, and=20
<I>K</I> is a force constant. Here <I>g</I>(<I>x</I>) is a function =
which=20
describes how the hammer force is distributed along the string. This can =
be=20
accommodated by letting <I>g</I>(<I>x</I>) be a gaussian function =
centered at=20
point where the middle of the hammer meets the string, with a full width =
which=20
corresponds to the width of the hammer. (Note that (4) has been obtained =
from=20
direct experimental measurements.) In a typical case, the hammer meets =
the=20
string a distance 1/8 from one end, and has a width of about 1&nbsp;cm. =
The=20
strategy then is to begin at <I>t</I>=3D0 with the string in its =
undisplaced state=20
(<I>y</I>=3D0 everywhere) and give the hammer some initial velocity. =
When the two=20
meet, the hammer felt is compressed by an amount equal to the difference =
between=20
the hammer position and the string position at the strike point, =
resulting in an=20
interaction force which acts on both the string and the hammer. This =
causes the=20
string to move, and the hammer to eventually rebound. Some results from =
such a=20
simulation are given in Fig.&nbsp;<A=20
href=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/=
book_strings.html#piano">2</A>,=20
which shows the string profile during the initial hammer-string impact=20
(0.3&nbsp;ms), just after the hammer falls away from the string =
(2.1&nbsp;ms),=20
and while the string is vibrating freely (3.0&nbsp;ms). Here we have =
used string=20
and hammer parameters appropriate for the note middle C on a piano. The=20
calculated hammer-string contact time is 2.1&nbsp;ms, which is quite =
close to=20
typical measured values.=20
<P>
<P><A name=3D55>&nbsp;</A><A name=3Dpiano>&nbsp;</A> <IMG height=3D222 =
alt=3Dfigure41=20
src=3D"http://www.physics.purdue.edu/people/faculty/ng/tmp/book_strings/i=
mg15.gif"=20
width=3D251 align=3Dbottom> <BR><STRONG>Figure 2:</STRONG> =
<EM>Simulation of a piano=20
string. The string and hammer parameters we used are appropriate for a =
string=20
near middle C. The string profile is shown at several different times =
after=20
impact with the hammer. </EM><BR>
<P>
<P>These results can also be compared to those for the plucked guitar =
string,=20
and differences in the spectra of guitar and piano tones can be =
identified and=20
understood. Other topics of interest can also be addressed, including =
damping,=20
and the effect of string stiffness.=20
<P><BR>
<P>
<ADDRESS><I>Nick Giordano <BR>Mon Sep 8 10:19:18 EST 1997</I>=20
</ADDRESS></BODY></HTML>

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