To do
• Make equipment list for Principles of
Loudspeakers lab
• Make setup diagram for Hearing lab
Lab Setup
A Guide Prepared for Physics in the
Arts (Physics 109) TAs
Lab Setup Guide
• A guide for TAs of the Physics in the Arts
• Experienced TAs:
– Modify details as needed
• Grouping all drawing objects in each slide avoids unintended movement of
objects
• Some slides have multi-line notes
– Note contents are visible in Outline View, Normal View or Notes Page
(accessed through View menu -> Notes Page)
• None of the slides should be directly shown to students
– Modify slides in a manner appropriate for showing to students
• Slides not copyright-safe yet
– The guide must be used only by the TAs of the semester & must not be
shared on a server with public access.
Last updated:
May 1, 2007
Before the Semester Begins...
•
Experienced TAs are responsible for checking consumable items and requesting orders
–
Principles of Loudspeakers
•
–
Musical Instruments
•
•
–
ILFORD Ortho Plus (Orthochromatic Film)
ILFORD MULTI GRADE IV RC DE LUXE (Photographic Paper)
KODAK Professional D-76 Developer (Chemicals for Developing)
KODAK Dektol Developer (Chemicals for Developing)
KODAK Rapid Fixer (Chemicals for Developing)
HG89 HEICO PERMAWASH (Chemicals for Developing)
Additive Color Mixing
•
•
–
Reeds for Clarinet, Oboe and Saxophone, Strings for Guitar, Viola and Violin
Maintain proper humidity level for stringed instruments
Photography (Photography_Lab_Supplies.xls helps you determine the amount needed)
•
•
•
•
•
•
–
Beads or plastic pellets used on 12" loudspeaker cone
Replacement projector bulbs (300 W and 500 W)
Assorted color papers
Subtractive Color: Filters & Paint
•
Assorted color papers
–
•
Daler-Rowney System 3 Acrylic Paints
–
•
Must Have: Yellows (high & low saturation), Red & Pink, Orange & Brown
Process Yellow 675, Process Cyan 120, Fluorescent Pink (instead of Process Magenta 412)
CHROMA A2® Acrylic Paints
–
Titanium White, Carbon Black
Labs in General
• Lab Experiments
– Students are responsible for knowing important experiments and results
• Even if they couldn't try during the lab time
– Need to read the manual
– Can always ask any questions
– But remember that they don't have to finish all parts of the lab manual
• Lab Notebook
– Must be stored in the lab shelf after each lab
– Sign/initial at the end of each lab content
– For exam preparation
• Many instructors allow students to take lab notebooks home after the lab on
the week before the exam
• Ask students to bring notebooks back by the end of the exam day
– Must be in the lab at the time of the final grading meeting
Lab Sequence in Spring Semesters
– Sound First
Lab 0: Principles of Loudspeakers
Lab 1 & 3: Oscillators & Oscilloscopes, Hearing
Lab 2: Simple Harmonic Oscillators – Resonance & Damped Oscillations
Lab 4: Strings
Lab 5: Pipes
Lab 6: Fourier Analysis
Lab 7: Musical Scales
Lab 8: Musical Instruments
Lab 9: Reflection and Refraction
Lab 10: Lenses
Lab 11 & 12: Photography I & II
Lab 14: Additive Color Mixing
Lab 13: Subtractive Color: Filters & Paint
Lab Sequence in Some Fall Semesters
– Light First
Lab 9: Reflection
Lab 9: Refraction
Lab 10: Lenses
Lab 11 & 12: Photography I & II
Lab 14: Additive Color Mixing
Lab 13: Subtractive Color: Filters & Paint
Lab 1 & 3: Oscillators & Oscilloscopes, Hearing
Lab 2: Simple Harmonic Oscillators – Resonance & Damped Oscillations
Lab 4: Strings
Lab 5: Pipes
Lab 6: Fourier Analysis
Lab 7: Musical Scales
Physics 109 Lab Room 3124 Chamberlin Hall
Power Outlet Configuration
N
W
E
17
Two Circuit Breaker panels
located in between Rm 3119 doors
- in front of Rm 3112 and Rm
3114
Name:3/G2
Voltage:208Y/120V
Source:2/GP1
Room:#2303B
S
Room lights use separate circuit breakers
#61 breaker is not used for any outlets
#15 – 20 A
#17 – 20 A
#19 – 20 A
#21 – 20 A
#52 – 20 A
#54 – 20 A
15
17
34?
2nd Power Pole
1 unit = 4 outlets
54 Top
38
24
21 Bottom
1st Power Pole
1 unit = 4 outlets
52 Top
25
27
19 Bottom
15
15
34
17
17
4
1
2
8
3
7
Computer
fzx31241
fzx31242
fzx31243
fzx31244
fzx31245
fzx31246
fzx31247
fzx31248
5
Table
1
2
3
4
5
6
7
8
6
Physics 109 Lab Room 3124 Chamberlin Hall
Table Configuration
TA
Physics 109 Lab Room 3124 Chamberlin Hall
Storage Configuration
Storage Cabinet
LIGHT (LABS 9-12)
LIGHT (LABS 13-14)
LIGHT (LABS 14)
Cables on the wall – BNC, banana
SOUND (LABS 0/2)
SOUND (LABS 4/6)
SOUND (LAB 7)
SOUND (LAB 8)
PARTS/SUPPLIES/MISCELLANEOUS
Cart (CHLOE)
LIGHT MISCELLANEOUS
SOUND MISCELLANEOUS
MISCELLANEOUS
Cart (ZOE)
Cart (YANCY)
ELECTRONICS
ELECTRONICS ACCESSORIES
Cables on the wall – power, extension
L-Misc S-Misc
Zoe
Parts
Chloe
Yancy
S8
Cables2
Tympani
Piano
Misc
Electr E-Acc
Storage Abbrev.
L9/12
L13/14
L14
Cables1
S0/2
S4/6
S7
S8
Parts
Chloe
L-Misc
S-Misc
Misc
Zoe
Yancy
Electr
E-Acc
Cables2
Whiteboard
TA
Physics 109 Computer Setup
•
Initial setup of Physics 109 lab computers in thawed state:
–
1.
2.
3.
4.
5.
6.
Just “Cancel” all when new devices found dialog box pops up
Computer names: fzx3124x
Printer suffix: uncheck
Work group: PHYS109
Reboot computer
Set IP address (128.104.xxx.9x)
Copy 109 folder from external media like floppy disc
USB Ports on Computer
Spectrophotometer
Sound Blaster
PASCO Interface
Computer
Keyboard
Mouse
Ethernet
Because the computer is
'deep frozen,' particular
USB port is assigned a
specific device. The
assignment avoids new
device installation.
Physics 109 Computer Setup
1.
With Sound Interface Device (SoundBlaster) plugged in USB port,
–
Control Panel -> Sound and Audio Devices
•
Volume tab -> Device volume -> Advanced... -> Play Control -> Options -> Properties
–
–
–
•
Volume tab -> Device volume -> Advanced... -> Play Control
–
–
–
•
Set Default device to current sound interface device (SB Live! 24-bit External)
Audio tab -> Sound recording
–
•
Set Speaker setup to Stereo headphones
Audio tab -> Sound playback
–
•
Maximize the volume for Play Control, Wave, MIDI, Line-In/Mic-In and CD Audio
Check (v) Mute for Line-In/Mic-In
Slide Play Control Balance all the way to Left (left channel only)
Volume tab -> Speaker settings -> Advanced... -> Advanced Audio Properties -> Speakers tab
–
•
Mixer device = current sound interface device (SB Live! 24-bit External)
Adjust volume for Playback
»
Check (v) all checkboxes in Show the following volume controls:
Adjust volume for Recording
»
Check (v) all checkboxes in Show the following volume controls:
Set Default device to current sound interface device (SB Live! 24-bit External)
Audio tab -> Sound recording -> Volume... -> Wave In
–
–
–
Maximize the Volume for Line-In/Mic-In and What U Hear
Check (v) Select for Line-In/Mic-In
Slide Line-In/Mic-In Balance all the way to Left (left channel only)
Physics 109 Computer Setup
2.
DataStudio Module Interface
–
–
3.
For Strings lab
For Resonance & Damped Oscillation lab (see details in Lab 2 slides)
Bookmarks in Browser
–
–
4.
Online Sound Analysis lab @ <http://nuclear.physics.wisc.edu/synthesis/>
Physics 109 course web page
"109" Folder
–
5.
Attach read-only attribute on all files, shortcuts and sub-folders
Recently Used Program List in the Start Menu
–
6.
Show browser, calculator, Word, Excel, Acrobat Reader, Internet Explorer, SecureCRT
TA Computer Display Setup for the LCD Projector
–
–
Don't need to setup in thawed state – can be changed during frozen state.
Two different ways to do this
1.
2.
Right Click on Desktop -> Graphics Options -> Output To -> Intel(R) Dual Display Clone ->
Monitor + Digital Display
Display properties -> Settings -> Advanced -> Intel(R) Graphics Media Accelerator Driver ->
Graphics Properties
–
Choose Multiple Display – Twin or Dual
»
Primary Device=Digital Display, Secondary Device=Monitor
Principles of Loudspeakers
Lab 0
Lab 0: Principles of Loudspeakers
•
1.
This is essentially a DEMO LAB (Some things not ready, but in principle….)
The Magnetic Field B
–
–
–
–
2.
show lines of force near permanent horse-shoe magnet, keep this demo in your hand, do not let students steal it!
show compass affected by magnetic field
show coil and current I make magnetic field, some magnets are not permanent
show red speaker coil model as an assembly of horseshoe magnets
Sound Generation
–
–
–
–
–
–
–
3.
use rectangular coil: current I in a magnetic field B experiences a force F
use small coil, signal generator at audio frequency and amplifier
show vibration but no sound
use same setup with speaker --> sound
Why: Sound = Vibration but needs cone to vibrate air
show beads jumping in speaker
use toys, record player: cones are needed to make air vibrate
Microphone
–
–
–
–
use rectangular coil: moving wire in a magnetic field B generates a current I
use speaker as microphone
moving magnetic field same as moving wire: show model of stereo record player pickup
use microphone to show voice…
Notes provided by Emeritus Professor Ugo Camerini in Fall 2003-2004.
Lab 0: Notes to TAs
•
A demo lab – TAs simply demonstrate
–
–
–
How the electricity, magnetism, and motion are related
Sound as vibration of air
Speaker (same as headphone) and simple microphone
•
TAs can establish their teaching style
•
Students must take notes
•
First practice of lab note taking!
Didn't bring lab notebooks? Show them what the consequences ar-r-r-r-e!!!
After students learned how the demo units worked
–
–
Electricity
Students use them starting with Lab 1!
•
–
–
Motion
Okay to use units
But the needle-pins device is an exception
Magnetism
Lab 0: Equipment List
•
Equipment
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Permanent horse-shoe magnet
Beads
Microphone
Compass
Needle-pin field detecting device
Mini compasses field detecting device
Helmholtz coil
Power supply for Helmholtz coil
Double pole double throw switch
Red speaker coil
String phone
Turning fork
Lumiscope
Paper cone with needle
Magnet-Meter-Coil Assembly
Rectangular coil
Battery case
Small coil electromagnet
JVC A-X2 Stereo Integrated Amplifier
Large Speaker
Model of stereo record player pickup
Turntable (Record Player)
Record album (Phonograph disc records)
Oscillators & Oscilloscopes
Lab 1
Often combined with Lab 3 Hearing –
budget lab time
Lab 1: Oscillators & Oscilloscopes
•
The Oscillator
1.
•
Using the Oscillator
The Oscilloscope
2.
3.
4.
5.
6.
7.
Using the Oscilloscope
Measuring Amplitude & Period
Pitch and Loudness
Wave Shape
Interesting Things to Do
Lissajous Figures (Optional)
Lab 1: Precautions
•
Hearing Damage
–
•
Warn students of the potential hearing damage by the large output amplitude
from function generator.
Data and Observation
–
Tell students to record numbers and observations directly as they appear on
devices
No need for second guesses or interpretations!
–
•
Test Individually
–
•
Test of frequency range of hearing should be done individually
For semesters in which both Lab 1 and Lab 3 are covered in one lab session
–
–
Ask professors to assign priorities to experiments
Write the order of experiments on the board
•
•
Simply tell students that experiments had better be done in the order
Never tell them some experiments are not important
Lab 1: Notes to Students
•
Hearing Damage
–
•
Could occur by a large output amplitude from function generator.
Data and Observation
–
•
Record numbers and observations directly as they appear on devices
Test Individually
–
Test of frequency range of hearing should be done individually
Lab 1: Oscillators & Oscilloscopes
Volume
Control
BNC T adaptor
Mini-RCA
adaptor
Frequency Counter (UW)
Freq A
A
BNC-RCA
adaptor
Function Generator
(Krohn-Hite 1000A)
Press Default Setup
Oscilloscope: TRIGGER
Source – EXT
Coupling – HF Reject
Press "SET TO 50%" button
TTL
LO
HI
BNC Cable, 24"
Oscilloscope
(Tektronics TDS 2002)
CH 1
EXT
BNC Cable, 36"
BNC Cable, 48"
BNC Cable, 60"
Microphone
Loudspeaker
Expt 1: Using the Oscillator
Frequency Counter (UW)
A
Freq A
Just to make sure everyone gets the correct idea:
1. Turn off all equipment
2. Examine Oscillator following the manual
Function Generator
(Krohn-Hite 1000A)
3. Turn on Oscillator and Frequency Counter
4. Continue the rest of experiment 1
TTL
LO
HI
Loudspeaker
Hearing
Lab 3
Suggest to musicians and musicmajors to try out experiments
Lab 3: Hearing
1.
2.
3.
4.
5.
6.
7.
8.
9.
Loudness & Pitch
Frequency Range of Hearing
Loudness & Amplitude
Pitch Discrimination
Beats
Difference Tones
Loudness Affects Pitch Perception
Masking
More on Loudness
Lab 3: Hearing
Audio Generator
(Ramsey SG560)
No done yet...
GENERATOR
OUTPUT
- +
Frequency Counter (UW)
Freq A
A
BNC Cable, 36"
Function Generator
(Krohn-Hite 1000A)
Oscilloscope
(Tektronics TDS 2002)
CH 1
EXT
TTL
LO
HI
BNC Cable, 24"
BNC Cable, 48"
BNC Cable, 36"
Press Default Setup
Oscilloscope: TRIGGER
Source – EXT
Coupling – HF Reject
Press "SET TO 50%" button
Loudspeaker
Simple Harmonic Oscillators
Lab 2
Lab 2: Simple Harmonic Oscillators
–
Oscillators (We don't have time to do this part)
•
•
1.
2.
3.
4.
–
Non-Harmonic Oscillators
Harmonic Oscillators
Spring Constant
Measuring Period for Different Amplitudes
Changing Mass and Restoring Force
Changing the Spring Constant
Resonance and Damped Oscillations
1.
2.
3.
4.
Damped Oscillations
Effect of Damping
Resonance Curve
Buildup Time of Oscillation
Lab 2: PASCO USB Interface
Computer
USB Connection: Unlike SCSI units, USB SW750 can
be turned on or hot-swapped while computer is on
PASCO Science Workshop 750
A
Lab 2: Resonance & Damped
Oscillations Setup
To Gauge In
To Driver
PASCO Science Workshop 750
A
BNC Cable, 48"
BNC Cable, 48"
PASCO Interface
cable (Black/Red)
Strain
Gauge
Strain Gauge
Null
Speaker
Driver
In
Magnet
Match the inscribed alphabet letters
on the blade apparatus and magnet
Blade apparatus
Out
BNC-banana adaptor
Pendulum Resonance Apparatus:
Blade Driver/Strain Gauge Pickup
Lab 2: Strain Gauge Calibration
PASCO Science Workshop 750
A
Strain Gauge
Null
Start recording data in DataStudio
and adjust 'Strain Gauge Null' until
the voltage reading becomes zero
on the screen.
Driver
In
Out
Lab 2: Notes to TAs
•
The natural frequency fN and resonance frequency fR are
–
–
•
Near 10.6 Hz for all Stainless Steel blades
Usually slightly different in students' data while the lecture teaches that they are exactly the same
Plucking method for damped oscillation measurements
–
Push the copper paddle toward the vertical frame
•
–
The paddle will never hit the frame upon release
Produce 5~6 V by the initial displacement
•
With too large a displacement,
–
–
•
The speaker system couples to the damping effect
A plastic deformation (yielding) of the blade could occur
The strain gauge reading usually drifts with time
1.
2.
•
Due to electronics or relaxation
Due to yielding of the blade
DataStudio sometimes reports an error
–
•
See slides titled "DataStudio Errors"
On tables 4, 6, 7 and 8, data may have a large noise. If this happens, try the following:
–
–
–
–
Without changing frequency and amplitude, turn off driver and driver unit.
Unplug power cable from the driver unit and power strip.
Reconnect power cable, turn on driver unit and restart the driver
Sometimes it works...
Lab 2: Notes to Students
•
Changing the frequency by 0.05 Hz
–
•
Makes a large change in oscillation A near fR!
Change frequency knob in one direction during resonance experiments
–
•
Increasing f direction is the easiest.
Plucking method for damped oscillation measurements
–
•
Push the copper paddle about 2/3 of the way toward the vertical frame from the
equilibrium position
DataStudio sometimes reports an error
–
•
Just press "Click To Connect" icon and restart measurement
On some tables, data may have a large noise
–
Ask your TA to fix the problem!
Lab 2: Damping Time
Calibration by Magnet Position
Adjust brass ring position to
obtain desired damping time
Cu Paddle
Magnet
Far position:
Adjust brass ring to obtain   2.2 s.
Then,  ƒ  0.2 Hz.
Magnet 1.4~1.7 cm away from Cu paddle.
Based on  ƒ    4/9
Near position:
Adjust brass ring to obtain   0.9 s.
Then,  ƒ  0.5 Hz.
Magnet 0.9~1.2 cm away from Cu paddle.
Lab 2: DataStudio Errors (1)
Sometimes an error occurs – USB units are not as good as SCSI units are.
Just click OK button and follow the instruction in the next slide.
Lab 2: DataStudio Errors (2)
Click the "Click To Connect" icon to restore the connection to the interface.
You can also restore connection through menu item Experiment -> Connect to Interface
Lab 2: DataStudio Errors (3)
Now you can start new data collection
Lab 2: DataStudio Settings (1)
Before:
DataStudio software default user interface
After:
Changes made to user interface for "blade-experiment.ds"
Lab 2: DataStudio Settings (2)
File -> Options -> Main Toolbar Settings...
(Uncheck) Toolbar Item Summary
(Uncheck) Toolbar Item Calculator
Lab 2: DataStudio Settings (3)
Graph Settings dialog box
Double click anywhere inside the graph -> Graph Settings dialog box pops up
Appearance tab -> Data (uncheck) Connect Data Points
Lab 2: DataStudio Settings (4)
Graph Settings dialog box
Axes Settings tab -> X Axis Scale (Minimum, Maximum) = (–0.5 s, 8.5 s)
Axes Settings tab -> Automatic Scaling (uncheck) Adjust Axes To Fit Data
Lab 2: DataStudio Settings (5)
Graph Settings dialog box
Tools tab -> Data Point Gravity for SmartTools = 0
Uncheck Toolbar Slope Tool, Curve Fit, Calculate, Prediction and Statistics
Lab 2: DataStudio Settings (6)
Setup toolbar button
-> Experimental Setup dialog box
Press Sample Rate = 500 Hz
Strings
Lab 4
Lab 4: Strings
•
•
•
Standing Waves
Modes
Slinky Experiments
1.
2.
•
Frequency of Modes
Pulse on Slinky
Experiments with String
1.
2.
3.
4.
5.
6.
7.
Computer as Driver Control
Finding the Fundamental Mode
Higher Modes
The "Plucking Game"
Changing the Length of the String
Changing the Tension on the String
Changing the Mass Per Unit Length of the String
Lab 4: Precautions
•
Slinky
–
Some students really abuse the slinky
•
•
Write a note on the board and warn them verbally
String
Linear mass density  of the Dacron 30# (black) ~ 0.283 g/m
Hang more than 200 g mass initially
–
–
•
•
–
So that students will use at least 100 g when the mass is halved
50 g mass is too small for our string
Students may conclude that the larger errors in the higher frequency range is due
to the stiffness of the string
•
–
Give them credit for this since this tells you that they are reading the lab manual
carefully
At higher driving frequencies, a node would appear before speaker post
•
End of the string is no longer a relevant node for the mode
Lab 4: Notes to Students
Write notes on the board and tell them verbally
•
Slinky
–
–
Could easily be damaged by a large tension
Can be shaken
•
•
–
Horizontally on the floor or
Vertically in the air
Needs the same tension during all slinky experiments
•
•
•
•
To keep the wave speed on slinky constant
Even if the length is halved
Even if it's the pulse experiment
String
–
–
Needs 200 g to 500 g mass initially hanging on free end
Mass per unit length M/  0.283 g/m
Lab 4: Strings
A sudden disruption of the existing
mode of oscillation occurs
momentarily when the driving
frequency is changed using
DataStudio based frequency
control.
The Ramsey SG560 audio
generator does not appear to
cause the disruption during the
frequency change.
PASCO Science Workshop 750
A
Pipes
Lab 5
Lab 5: Pipes
1.
2.
3.
4.
5.
Modes of the Pipe
Effect of Length & Diameter of Pipe – Acoustic Length
Closed Pipes
Pipes with a Fingerhole
Rise & Decay of Pipe Oscillators
Lab 5: Pipes
Press Default Setup
Oscilloscope: TRIGGER
Source – EXT
Coupling – HF Reject
Press "SET TO 50%" button
Oscilloscope
(Tektronics TDS 2002)
CH 1
EXT
BNC Cable, 36"
Frequency Counter (UW)
BNC Cable, 36"
Freq A
A
Microphone Bias
Power Supply
Function Generator
(Krohn-Hite 1000A)
Microphone Bias Switch:
ON during use
OFF after use/lab
VERN
TTL
LO
HI
Sound-insulating Box
BNC Cable, 24"
BNC Cable, 60"
Fine frequency tuning with vernier
(VERN) knob
Speaker Switch
Speaker Switch:
ON during use
ON/OFF for rise time experiments
Lab 5: Pipes
Rubber Band
Rubber Band
Speaker
Sound-insulating Box
Face the speaker toward the bottom edge of the box
Rubber Plug for making Closed Pipe
Align the end of the pipe and the edge of the speaker
40 cm
20 cm
Pipe with a fingerhole – place the hole farther away from the speaker
Fourier Analysis
Lab 6
Lab 6: Fourier Analysis
Fourier Synthesis
1.
2.
3.
Two Sine Waves of the Same Frequency
Building a Square Wave from Sine Waves
Does One Hear Phase?
Fourier Analysis
1.
2.
3.
Fourier Analysis of Sine Waves
Fourier Spectrum of the Square Wave
Fourier Analysis of Your Voice
Lab 6: Fourier Analysis
•
PASCO Fourier Synthesizer (7 sets):
–
–
•
Oscilloscope (8 sets):
–
–
•
Connect (2) Sound Interface Cable to the device (currently Sound Blaster Live! 24-bit External USB unit).
Connect (1) cable to the speaker jack labeled “FRONT” on the back panel of the device.
Connect (1) cable to the audio input jack labeled “LINE IN” on the back panel of the device.
Speaker (8 sets):
–
•
Attach (1) BNC Female to Female Barrel Connector to each Sound Interface Cable (a monaural 1/8” mini-jack to BNC adapter
cable).
Sound Interface Device (8 sets):
–
–
–
•
Set all oscilloscopes to use the external trigger; set the trigger source to EXT in the TRIG MENU.
Filter out high-frequency noise in trigger signal; set coupling to HF Reject.
Sound Interface Cable (16 sets):
–
•
Plug in (1) BNC-banana adapter (Dual Banana to BNC Coaxial adaptor) to each of (3) output banana terminals on the synthesizer.
Make sure the polarity is correct; there is a ground bump on the dual banana plug connector. Speaker output terminals are not
grounded.
All synthesizers are currently in working condition. One of the units have less than perfect switches; you just need to wiggle them to
make them work happily. These synthesizers will be phased out when they break; they are discontinued now.
Attach (1) 48” BNC cable to the loudspeaker. Keep the cable on the loudspeaker all the time.
Switching Audio Input and Microphone Input:
–
–
–
TAs or students need to switch the sound interface cable from the audio input jack to the microphone input jack labeled “MIC IN” on
the front panel of the sound interface device.
The “MIC IN” signal goes through an audio frequency band-pass filter and has a precedence over “LINE IN” signal.
The “LINE IN” input can take the output signal from the function generator and the Fourier synthesizer. Don’t overload the input.
Lab 6: Fourier Analysis
Experiment 1:
Students could miss ideas about
amplitude when canceling two sine
waves – they might conclude that they
can't cancel.
Fourier Synthesis
Experiment 1, 2 and 3 (Printed Manual)
Experiment 3:
Sound generated by PASCO
synthesizer changes while changing
phase quickly – same as Doppler shift
for a short while.
FOURIER SYNTHESIZER
(PASCO)
TRIGGER
OUTPUT
10K
OUTPUT
8
OUTPUT
Press Default Setup
Oscilloscope: TRIGGER
Source – EXT
Coupling – HF Reject
Press "SET TO 50%" button
BNC Cable, 36"
BNC Cable, 48"
Oscilloscope
(Tektronics TDS 2002)
CH 1
EXT
BNC Cable, 24"
BNC Cable, 36"
Loudspeaker
Lab 6: Fourier Analysis
Using java applet on the computer:
Experiment 1:
Students could miss ideas about
amplitude when canceling two waves
– the default amplitudes are the same.
Fourier Synthesis
Experiment 1, 2 and 3 (Online Manual)
There is a Bookmark in the browser for online manual at <http://nuclear.physics.wisc.edu/synthesis/>
*** Do not move or strain
Sound Interface Device –
use a long BNC cable and
adapter to extend reach!
Loudness from the speaker does not
change until the amplitude becomes
very small.
Experiment 2:
Students could miss ideas about
phase when making a square wave –
the default phases are already zero.
Computer
Sound Interface Device
(SoundBlaster)
Experiment 3:
Phase change somehow affects the
computer generated sound.
FRONT LINE IN
Sound Blaster
USB
BNC Cable, 24"
Rear Panel
Loudspeaker
BNC Cable, 48"
Sound Interface Cable
BNC Barrel Adapter
USB Cable for Sound Interface
Lab 6: Fourier Analysis
Fourier Analysis
Experiment 1 (Printed Manual)
Frequency Counter (UW)
A
*** Do not move or strain
Sound Interface Device –
use a long BNC cable and
adapter to extend reach!
Freq A
Function Generator
(Krohn-Hite 1000A)
Computer
Sound Interface Device
(SoundBlaster)
TTL
LO
HI
FRONT LINE IN
USB
BNC Cable, 24"
BNC Cable, 60"
Rear Panel
A sine wave input shows up as a line in Fourier spectrum. Slowly
changing the frequency of the function generator gives students
a good idea about what Fourier spectrum shows.
Also, point out about 60 Hz power line noise when it is present.
Sound Interface Cable
Lab 6: Fourier Analysis
Fourier Analysis
Experiment 2 (Online Manual)
Use Fourier Analysis applet online.
Do not use the printed manual for this part.
Fourier Analysis applet shows the real Fourier
coefficients for square wave.
Lab 6: Fourier Analysis
Computer
Fourier Analysis
Experiment 3 (Online Manual)
USB
Sound Interface Cable
Sound Interface Device
(SoundBlaster)
MIC
8
Volume
Rear Panel
MIC IN
Front Panel
*** Do not move or strain
Sound Interface Device –
use a long BNC cable and
adapter to extend reach!
BNC Cable, 60"
Microphone
Lab 6: Problems Solved
•
Audio Input:
–
–
–
The printed version of the manual ask students to connect the PASCO Fourier synthesizer or the function
generator to the computer for the Fourier analysis. So far, I do not see any ways to make the connection work.
The two major problems are the possible overloading of the audio input and the distortion of the non-sinusoidal
signal.
***Do NOT let students connect the devices to the computer.
There is a DC offset in the audio input internal circuit on the computer motherboard.
•
•
Speaker and Microphone:
–
•
•
there is no way to fix this hardware problem so we removed the lowest 20 Hz from the Fourier spectrum in Fourier Analyzer
java applet.
Use the loudspeaker (box speaker) to listen to the computer generated sound. The internal speaker on the
DELL GX260 computer, when sounding together with other computers', is rather useless. To do this lab using
computers, connect the loudspeaker to the right channel speaker output on the computer using the BNC-audio
plugs used for microphones. As of 11/27/05, three of the computers have individual cable for the speaker and
the microphone. Other four don't.
***We need 5 more BNC-audio cables so that we could connect the microphone and the
loudspeakers to the computer at the same time.
Noises:
–
60 Hz noise appears if the unconnected BNC plug is floating
•
solution: physically attach the BNC ground to the microphone block
Lab 6: Fourier Analysis
• Computer in general:
– Use (check) MIC Boost for recording control
•
•
•
•
•
•
•
•
control panel
sounds and audio devices
audio tab
sound recording - volume
options - advanced controls
microphone - advanced
other controls - MIC Boost
microphone volume – maximum
Musical Scales
Lab 7
Lab 7: Musical Scales
The Just Scale
1.
2.
3.
4.
5.
Tuning Triads
Sensitivity to Tuning
The Black Keys of the Keyboard
The Missing Black Keys
Problems With the Just Scale
The Tempered Scale
Transposition
1.
2.
Major Scale
Minor Scale
Lab 7: Musical Scales
Frequency Counter (UW)
Loudspeaker
Press Default Setup
Oscilloscope: TRIGGER
Source – Ch 1 or EXT
Coupling – HF Reject
Press "SET TO 50%" button
Freq A
A
BNC Cable, 36"
BNC Cable, 48"
Oscilloscope
(Tektronics TDS 2002)
CH 1
EXT
BNC Cable, 36"
BNC Cable, 36"
Power Switch for Keyboard Tuner (back panel)
Keyboard Tuner (UW)
Keyboard
Keyboard cable
Power Switch for Keyboard
Musical Instruments
Lab 8
Lab 8: Musical Instruments
The Voice (FA)
1.
2.
3.
4.
Source of Sound
Formant
Same Vowel – Different Pitch
Different Vowel – Same Pitch
Guitar
1.
2.
3.
Why Frets?
Placement of Frets
Semitone Intervals on Guitar
Timbre of Bowed String – Violin (FA)
Piano Hammers
Wind Instruments
1.
2.
3.
4.
Excitation Mechanism
Length of Pipe
Natural Scale
Changing the Length of the Pipe with Valves
Tympani (Kettle Drum)
Lab 8: Precautions
•
Tuning and adjustment of instruments
–
–
•
The reeds for Clarinet, Oboe, and Saxophone must be wet before they are used
–
•
Ask all students to clean any reeds after their use
Don't use ethanol on varnished surfaces
We only have a limited number of reeds
–
–
•
Bring in a gallon bottle of distilled water and two beakers for this purpose
The pink-colored germicide, obtained from a music store, or the ethanol can be used for
disinfection purposes
–
–
•
Must be done by those who play that particular instrument
A Double Base player actually damaged the hair on the bow for Viola
Two or three reeds are enough for one semester
Don't let students take these reeds with them
Use the masking tape to close the f-holes on Viola or Violin
–
–
Masking tapes should stick better and leaves less glue on the surface
And *hide* the scotch tapes (scotch tapes are bad!!!)
•
So that students will not use them “accidentally”
Lab 8: Musical Instruments
Computer
USB
Sound Interface Cable
Sound Interface Device
(SoundBlaster)
MIC
8
Volume
Rear Panel
Rear Panel
MIC IN
Front Panel
BNC Cable, 60"
Microphone
Reflection and Refraction
Lab 9
Lab 9: Reflection and
Refraction
–
–
Law of Reflection
Law of Refraction (Snell’s Law)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Index of Refraction
The Critical Angle
Total Internal Reflection
Dispersion
Light Passing through a Window Pane or Prism
How Large does a Mirror Need to be?
Location of Mirror Image
Rainbows
Corner Reflectors
Fiber Optics
Polarization by Reflection
Lab 9: Reflection and
Refraction
–
–
Law of Reflection
Law of Refraction (Snell’s Law)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Index of Refraction
The Critical Angle
Total Internal Reflection
Dispersion
Light Passing through a Window Pane or Prism
How Large does a Mirror Need to be?
Location of Mirror Image
Rainbows
Corner Reflectors
Fiber Optics
Polarization by Reflection
Lab 9: Reflection and
Refraction
–
–
Law of Reflection
Law of Refraction (Snell’s Law)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Index of Refraction
The Critical Angle
Total Internal Reflection
Dispersion
Light Passing through a Window Pane or Prism
How Large does a Mirror Need to be?
Location of Mirror Image
Rainbows
Corner Reflectors
Fiber Optics
Polarization by Reflection
Lab 9: Precautions
•
For semesters in which both Reflection and Refraction labs are covered in one
lab session
– Ask professors to assign priorities to experiments
– Write the order of experiments on the board
• Simply tell students that experiments had better be done in the order
• Never tell them some experiments are not important
Lab 9: Reflection
Light Unit
Slits on front side
Component
Square Nut
Light Unit
Light Unit
Normal
Light Unit
Light Unit
Power Jack
Light ray aligned on Normal line
If light ray misses Normal line –
Lab 9: Reflection
Half-Coated
Mirror
Lab Door
Flat Mirror
Warn students about
laser!
Also, block all possible
paths for stray beams
around the corner mirror
12" × 12" Glass Plate
Circular Polarizer
Lab 9: Reflection
The front coated mirror is the ideal
mirror but is prone to scratch and
grease. For this reason, we have
not found a useful front surface
mirror for use in our laboratory.
Component
The refraction in the front glass –
the mirror is a back surface
(second surface) mirror – shifts
the real reflection point from the
Normal line on the Ray Table. As
a result, careful measurement of
both angles on the Ray Table are
not the same at all incident
angles. Only careless
measurements would show that
both angles are the same for all
incident angles.
i
Normal
r'
r
i  r'
i=r
Lab 9: Refraction
Light Unit
Component
Face grounded side down
Light Unit
Light Unit
Normal
Light Unit
Light Unit
Power Jack
Light ray aligned on Normal line
If light ray misses Normal line –
Lab 9: Refraction
http://www.rosco.com/images/filters/roscolux.jpg
Expt 1: Index of Refraction
Not only the light ray must go
through the center of the
semicircle, but also the center of
the Ray Table must coincide with
the center of the semicircle.
Component
A small misalignment of
semicircle results in a large error
in the index of refraction.
Light Unit
Normal
Normal
Component
Expt 2: The Critical Angle
Expt 3: Total Internal Reflection
Light Unit
Expt 4: Dispersion
Light Unit
Expt 5: Light Passing through a
Window Pane or Prism
Normal
Component
Light Unit
Light Unit
Normal
Component
Window Pane
Prism
Lenses
Lab 10
Lab 10: Lenses
1.
2.
3.
4.
5.
6.
7.
8.
9.
Focal Length
Magnification
Lens Equation
Depth of Field
Spherical Aberrations and Curved Focal Plane
Chromatic Aberration
Astigmatism
Barrel and Pin Cushion Distortion
Diverging Lenses
PASCO
Tape
Lab 10: Lenses
Light Unit
http://www.rosco.com/images/filters/roscolux.jpg
#1
S
P
D
Lens #1
Lens #2
Converging Lens
Diverging Lens
mm
Screen
Light Unit
Aperture
Peripheral Mask
Central Mask
Optical Bench
PASCO Lens Focal Lengths
Label size on PASCO lenses: W1.0"  H0.5"
+200 mm
(#1)
+100 mm
(S or #2)
+250 mm
(P)
-150 mm
(D)
#1
S
P
D
#1
S
P
D
Lens #1
Lens #2
Converging Lens
Diverging Lens
Light Unit
mm
Plastic ruler is on the light source!
Inner circle diameter: 10 mm
Expt 1: Focal Length
Separate more than 10 m – this arrangement gives
only a few % error in the absence of aberrations
Top view
Parallel rays from light
source at o = “"
0
Lens
Screen
Expt 2: Magnification
Expt 3: Lens Equation
Screen
mm
Lens #1 & #2
0
Light Unit
Light Unit
Power Jack
Expt 4: Depth of Focus (Field)
Move screen
Aperture
Light Unit
Lens # 2?
Find the range (depth) of good focus
Expt 5: Spherical Aberrations and
Curved Focal Plane
Aperture
Screen
Light Unit
Lens # 1?
Examine image qualities
Move lightly
Aperture
and
Peripheral Mask
Central Mask
Expt 6: Chromatic Aberration
Adjust screen
Aperture
Light Unit
Lens # 2?
Roscolux
Color Filters
Compare the position of good focus
#27 Medium Red
#83 Medium Blue
if they are too dark, try
#26 Light Red
#80 Primary Blue
Photography
Lab 11 & 12 to be Done in a Single
Session
Lab 11: Photography (I)
•
Taking a Picture – Proper Exposure
1.
2.
3.
4.
5.
6.
Film Sensitivity – ISO
F-Number (F-Stop)
Shutter and Exposure Time
Light Meters
Choice of Exposure Time vs. F-Number
Take a Picture and Develop the Film
Lab 12: Photography (II)
•
Making an Enlargement
1.
2.
3.
4.
5.
The Enlarger
Photographic Paper
Exposing a Test Strip
Developing the Test Strips
Making the Enlargement
Lab 11 & 12: Precautions
•
Lighting units are equipped with unprotected halogen lamps
–
•
Avoid prolonged skin contact with the developer chemicals
–
•
Warn students NOT to touch the bulbs at all times
Use tongs to minimize the exposure
Instruct students to wash their hands after they are done with
developing films and prints
Lab 11 & 12: Notes
•
Demonstrate Using Camera (slide) part to students
–
–
Use the demo cartridge loaded with exposed film on two sides
Apply the basic concepts – illumination, focal plane, ISO number,
exposure time and ƒ/ – introduced in lecture
Processes and Timeline
1.
2.
3.
4.
Take pictures with proper exposure on film
•
20 ~ 30 min (lab)
Develop and fix negative image on film
•
20 ~ 30 min (dark room)
Dry film / Write up
•
20 ~ 30 min (lab)
Make enlargements of negative images
•
20 ~ 30 min (dark rooms with enlargers)
Lab 11: Equipment (1)
Quick Release Plate with 3/8" Screw
http://www.bhphotovideo.com/bnh/controller/h
ome?O=details_accessories&A=details&Q=&s
ku=5294&is=REG&addedTroughValue=5280_
REG&addedTroughType=accessory_detail
http://www.manfrotto.com/webdav/site/manfrotto/shared/_i
mages/Manfrotto/product_images/475_closeda.jpg
http://www.manfrotto.com/webdav/site/manfrotto/shared/_i
mages/Manfrotto/product_images/zoom/normal/229.jpg
Our units are equipped
with unprotected
halogen bulb
http://www.smithvictor.com/images/products/
large/401017.jpg
http://www.smithvictor.com/images/products/la
rge/401461C.jpg
Graphic Camera
Button may be here
• Pacemaker Speed Graphic and Pacemaker Crown Graphic
– Manufactured by Graflex in the 50’s ~ 70’s
– focal length
• ƒ = 135 mm
– ƒ/ range
• 4.7 5.6 8 11 16 22 32
– exposure time
• T B 1 2 5 10 25 50 100 200 400
– Lens cover plate flips open when a hidden button is pressed
• the button is underneath the leather covering of the camera
• the button is either on the top or side – you can feel a small
bump (a half inch diameter)
Button may be here
Camera Setup
then
http://www.manfrotto.com/webdav/site/manfrotto/shared/_i
mages/Manfrotto/product_images/475Ba.jpg
http://www.manfrotto.com/webdav/site/manfrotto/shared/_i
mages/Manfrotto/product_images/zoom/normal/229.jpg
Films
Emulsion Side
• ILFORD Ortho Plus
– ISO 40 (Tungsten) ~ 80 (daylight)
– safe under ILFORD 906 filtered safelight
(dark red) 1.2m/4ft away
The emulsion
faces the user
when sheet
film is held in
the position
shown
Back Side
Notch
• KODAK Kodalith Ortho 2556, Type 3
–
–
–
–
Students should not use this film
ISO 8 (Tungsten) ~ 25 (daylight)
Safe under KODAK 1A filtered safelight
ISO 8 seems to work best in unofficial
testing...
No notch...
Less
saturated
color
Emulsion Side
Back Side
Film Cassette
• Load 4"  5" sheet film
• Load in total darkness or under indirect KODAK 1A filtered safelight
• Emulsion side facing “dark slide”
• Double sided
• Load up to two films on one cassette
White strip for
unexposed film
Black Strip for
exposed film
dark slide
Use reverse
side of dark
slide to indicate
the film is
exposed to light
Emulsion Side
Emulsion Side
flip open
45 Film Holder by Fidelity manufacturing
company, Sun Valley Ca.
Using Camera
1.
2.
3.
Arrange object
Use light meter
Setup camera
–
–
Open shutter
Set the smallest f/
•
–
–
–
–
Focus better on subject
Focus image on groundglass plate
Set f/ & exposure time
Arrange perfect picture
Close shutter
4.
Load cassette
–
–
5.
6.
Insert cassette
Remove dark slide on the
object side
Take picture
Unload cassette
–
–
–
Flip and replace dark slide
cover
Lock dark slides
Unload cassette
Using Light Meter
f-number
•
•
Set ISO and exposure time
Measure ambient light near object
–
–
•
Slide the diffuser over until the photodetector is covered
Control illumination using the lighting units
Measure direct light from object
–
With the exposed photodetector surface normal toward object
1.
2.
•
•
•
•
Diffuser
At close distance from the object
Near the camera lens
If both are similar, use the settings read near the camera lens
If not, good luck... or add more lighting as needed
Read f/
Change to desired f/ or exposure time
ISO button
Inverse of "Exposure Time"
Developer Solution Setup
Film Developer
•
•
See “Developers.doc” for more information
KODAK Professional D-76 Developer
–
–
Net wt. 415g, 14.5 oz
To make 3.8 L (1 gal) stock solution (in a tinted gallon-size bottle)
1.
2.
3.
–
50~55C (122~133F) 3000 mL water
Add powder and stir until dissolved
Add water to make 3.8 L
Working developing solution for each lab session (in a tray)
•
Stock solution:Water = 1:1
Paper Developer
•
•
See “Developers.doc” for more information
KODAK Dektol Developer
–
To make 3.8 L stock solution (in a tinted gallon-size bottle)
1.
2.
3.
–
3.32 L (3.5 Qt.) water at 32~38C (90~100F)
Mix and stir
Add enough water to make 3.8 L
Working developing solution for each lab session (in a tray)
•
•
Stock solution:Water = 1:2
Recommended Development Temp = 20C (68F)
Fixer
•
KODAK Rapid Fixer (with hardener)
–
Net 35 fl. oz (1 U.S. Qt. 3 fl. oz/ 1.05 L), Solution A (946 mL/ 32 fl. oz), Solution
B (hardener) (104 mL/ 3 ½ fl. oz)
To make 1 U.S. gal (3.8 L) Fixer (in a gallon-size bottle)
–
1.
2.
Start from 1.9 L (1/2 gal) water @ 16~27C (60~80F)
Add Solution A
•
•
3.
Add Solution B with rapid agitation
•
•
4.
–
For Film and Plate, 946 mL
For Paper, 473 mL
For Film and Plate, 104 mL
For Paper, 52 mL
Add water to make 3.8 L (1 gal)
Working Fixer solution for Films for each lab session (in a tray)
•
–
undiluted stock solution
Working Fixer solution for Paper for each lab session (in a tray)
•
Stock solution:Water = 1:1
Aides
• Washing Aide
– HG89 HEICO PERMAWASH
– One capful for a tray full of water
• Drying Aide
– KODAK Photo-Flo 200 Solution
• Net wt. 4 fl. oz (118 mL)
• CAT 146 4502
• Add contents to 6 U.S. gal (22.7L) water or dilute in the ratio of 1 part PhotoFlo Solution to 200 parts water
• 1 capful makes 20 oz (591 mL) or 3 capful makes ½ U.S. gal (1.9 L) of
working solution
• Drying – wash thoroughly, bathe films about 30 sec in diluted Photo-Flo
Solution, drain briefly, and hang up to dry
Develop Negatives
1.
Developer
•
•
2.
Stop bath
•
3.
Rinses off most of excess chemicals (running water)
Wash 2 (aide)
•
6.
Makes the developed image permanent
Wash 1
•
5.
Stops chemical reaction on developing film
Fixer
•
4.
Chemical reaction precipitates silver on film – creates contrast
Removes emulsion
Accelerates removal of residual Fixer solution (Permawash)
Wash 3 (aide)
•
•
Rinses off any excess chemicals (running water), or
Promotes faster drying (Photo-Flo, standing water)
Film Developing Trays
film goes through all trays in the order
Developer
Stop Bath
Fixer
Wash 1
Wash 2
Wash 3
~ 5 min
~ 30 sec
~ 4 min
~ 30 sec
~ 30 sec
~ 1 min
share with print development
Enlarger
• Beseler 45 MXT
• Two interchangeable lenses
• ƒ/5.6 to 32 ( for ƒ = 135mm)
• ƒ/4 to 22 (for ƒ = 80mm)
• Three independent controls for
i, o and focus (both i, o)
Light Source
Condenser
Negative
Enlarging Lens
& Aperture
o
• To change magnification,
M=i/o
• o + i = 80 cm max.
i
Photographic Paper
Photographic Paper
• ILFORD MULTI GRADE IV RC DE LUXE
–
–
–
–
Slightly better contrast than Polymax
100 sheets, 8" × 10", CAT1947962, MG4RCIM
Safe under KODAK 1A filtered safelight
Cut in right size
• Kodak Polymax II RC (Not available anymore)
– High contrast (F5) but not much gray scale
– Safe under KODAK 1A filtered safelight
– Cut in right size
Making an Enlargement
1.
Make test strips
•
2.
Measure proper exposure time for your film-paper combination
Expose paper
•
3.
Use full exposure time
Develop print
•
Go through print developing trays
Make Test Strips
• Measure proper exposure time for particular film & paper combination
• e.g. 2~4 sec with f/5.6?
– Focus using the smallest f/ (largest aperture diameter)
• This gives the brightest light and the smallest depth of focus
– If possible, expose with the largest f/ (smallest aperture diameter)
• The exposure time must be long enough for the light bulb to reach the
maximum temperature for the full intensity
8"  10"
4~6 test strips
4.5 s
4.0 s
3.5 s
3.0 s
2.5 s
2.0 s
1.5 s
Develop Prints
1.
2.
Developer
Stop bath
•
3.
Fixer
•
4.
rinses off most of excess chemicals (running water)
Wash 2 (aide)
•
6.
makes the developed print permanent
Wash 1
•
5.
stops chemical reaction on developing paper
accelerates removal of residual Fixer solution (Permawash)
Wash 3 (aide)
•
•
rinses off any excess chemicals (running water), or
promotes faster drying (Phot-Flo, standing water)
Print Developing Trays
paper goes through all trays in the order
Developer
Stop Bath
Fixer
Wash 1
Wash 2
Wash 3
~ 1 min
~ 10 sec
~ 2 min
~ 30 sec
~ 30 sec
~ 30 sec
share with film development
Safelight Filters
• KODAK 1A safelight filter (light red)
From KODAK Safelight Filters, TECHNICAL INFORMATION DATA SHEET, TI0845 Reissued 07-99
Additive Color Mixing
Lab 14
Lab 14: Additive Color Mixing
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Hue, Brightness ( intensity), Saturation (% white)
Calibration of Light Meters
White
Chromaticity Diagram or Color Triangle
Locating R, G, B on the Color Triangle
Adding Two Primaries: Blue and Green
Red Added to Green; Red Added to Blue
Complementary Hues
Color Matching
Matching Pigments
Spectral Colors – The Need for "Negative Intensities"
Are There Other Additive Primaries?
Lab 14: Precautions
•
TAs must always control the projector fan
–
–
–
•
TAs turn on the fan! And check if all units are working
TAs turn off the fan only after the projectors cooled down (2~3 minutes)
In the past, heat from the light bulb damaged many filters inside color projectors!!!
Announce that students:
–
–
•
should not control the fan at all
should dim projectors when not in use
Statistically, 5%~10% of white male are color blind
–
–
•
~95% of them are red/green color blind (HHMI)
Be prepared to take extra care for these students
Bring the following items to the electronics shop (3336 CH) when a projector bulb
burns out:
1.
2.
Projector unit
Appropriate projector light bulb in a box in PARTS/SUPPLIES/MISCELLANEOUS cabinet
•
•
Color projectors – 300 W bulb
White projectors – 500 W bulb
Lab 14: Notes to Students
•
•
Let TAs turn on/off the fan
Dim projectors when not in use
Lab 14: Projector Setup
Power Strip
Spectroscope
Projector
Adaptor
Aperture
BNC L-shape
Adaptor
White and Color Projectors
Plastic Color Filters Gray Filters
Projector Screen &
Projector Screen Stand
Power Extension Cable
http://www.rosco.com/images/filters/roscolux.jpg
Projector Controller
Stool
Lab 14: Projector Setup
BNC L-shape adaptor
BNC cable, 48"
Black Cable for Bulb
To Dimmer
Controller
Gray Cable for Fan
To Power Strip
Used by
computer at
the table
Lab 14: Projector Setup
Projector
Screen
Give enough separation to make the focused spot on the screen
Screw
Lock
Adjustable Leg
Projector Screen Stand
on A-Base
Stool
Lab 14: Projector Setup
White Projector
Side View
Face View
Gray Filter
Projector Adaptor
Side View
Face View
Reducing the light intensity by dimmer lowers the filament
temperature – shifts the spectral distribution toward red.
You can use neutral density filters on the projector adaptor
or use the PASCO aperture hang on the projector adaptor.
Aperture can be used to reduce
the intensity of white light as well
Subtractive Color: Filters & Paint
Lab 13
Lab 13: Subtractive Color:
Filters & Paint
1.
2.
3.
4.
Experiments with Filters:
Color Samples & Paints (“Pigments”)
Mixing Paint
Spectra of Light Sources
fzx31241.pwe
xxx.xxx.xxx.91
Ocean Optics Spectrophotometer
fzx31241
USB2G11391
USB Serial Number
Table
1
2
3
4
5
6
7
8
Computer
fzx31241
fzx31242
fzx31243
fzx31244
fzx31245
fzx31246
fzx31247
fzx31248
USB Serial Numbers
USB2G11391
USB2G11348
USB2G11347
USB2G11354
USB2G7546
USB2G11353
USB2G11351
USB2G11364
Spectrophotometer Box
•
Match the computer and spectrophotometer by USB serial number
–
–
fzx31241
USB2G11391
All computers are deep frozen and only remember the USB ports used during the
device setup
The software remembers the calibration data for the specific spectrophotometer
Lab 13: Spectrophotometer Setup
Snapshot Button
Computer
Halogen Lamp Switch
USB Cable (White)
fzx31241
USB2G11391
Spectrophotometer
15 W Halogen Lamp &
Heat Absorbing Glass
OOI Base32
Probe Tip &
Probe Cover (Red Cap)
Lab 13: Precautions
•
Probe Cover (Red Cap)
– First TA of the day removes it from the probe tip
– Last TA of the day replaces it
•
Specular Reflection
– Misalign the probe slightly to avoid it
•
Polished Surface on Probe Tip
– Avoid contact by finger
– Avoid contact with paint
• Clean using a lens paper and ethanol when accident happens...
•
Heat from Halogen Bulb Have Damaged Gray Filters
– So we installed the heat absorbing glass before Fall 2006 semester and it may be
working
– But use the snapshot feature in software to freeze the screen
– Then remove the filter from the holder
Lab 13: Notes to Students
• Polished Surface on Probe Tip
– Avoid contact by finger
– Avoid contact with paint
• Use the snapshot feature in software
– Freeze the screen
– Then remove the filter from the holder
Lab 13: Using OOIBase32
1.
Settings
–
–
–
2.
3.
Integ. time = 25 ms or make intensity ~3000
Average = Boxcar =10
Check "Correct for Elect. Dark"
Setup reference surface
In scope (S) mode
–
Take dark reference
•
–
Take reference surface spectrum
•
4.
Press “Store Dark” button while source light is off
Press “Store Reference” button while source light is on
In Specular reflection (R) or Transmission (T) mode
–
5.
Check if reflection or transmission is 100%
Measure filter or pigment
–
Use snapshot feature to avoid prolonged exposure of plastic filters under the
halogen lamp
Lab 13: Subtractive Color: Filters
& Paint
Gray Filters
(0.3 Optical Density & others)
Plastic Magenta Filters
Dichroic (Ideal) Filters
Plastic Color (Real) Filters
Paints
Daler-Rowney System 3 Acrylic Paints
Process Yellow 675, Process Cyan 120 & Fluorescent Pink (instead of Process Magenta 412)
CHROMA A2® Acrylic Paints
Titanium White & Carbon Black
See "Paint_Mixing_Lab_Solution.pdf" for solutions to the paint mixing part of the lab. The results
of mixing the black and white do not follow the rules explained by pupa's paint addition method.
Pupa Gilbert and Willy Haeberli are publishing an article on this paint mixing. It might explain
some of the reasons.
Assorted Color Papers
Need: Yellows – high & low saturation
Need: Red & Pink
Need: Orange & Brown
and any other colors
Spectroscope
http://www.rosco.com/images/filters/roscolux.jpg
Lab 13: Subtractive Color: Paint
Lab 13: Subtractive Color: Paint
Lab 13: Subtractive Color: Paint
Neutral Density Filters
x
y
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
0.9
79.43 63.10 50.12 39.81 31.62 25.12 19.95 15.85 12.59
y  10 2  x 
1.0
10
x: Density
y: % Transmission
z: Transmittance
z  10  x
Density
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
0.9
1.0
# in lab
5
5
0
0
9
5
5
4
8
4
TAs:
1. update the number of filters
2. check for any signs of heat damage like hardening and cracks
Safelight Filters
For Photography Lab
For Dark Rooms
Safelight Filters
• KODAK OC safelight filter (Light amber)
From KODAK Safelight Filters, TECHNICAL INFORMATION DATA SHEET, TI0845 Reissued 07-99
Safelight Filters
• KODAK 1 safelight filter (red)
From KODAK Safelight Filters, TECHNICAL INFORMATION DATA SHEET, TI0845 Reissued 07-99
Safelight Filters
• KODAK 2 safelight filter (dark red)
From KODAK Safelight Filters, TECHNICAL INFORMATION DATA SHEET, TI0845 Reissued 07-99
Safelight Filters
• ILFORD 902 filtered safelight (light brown)
– comparable to KODAK OC safelight filter
ILFORD FACT SHEET, SAFELIGHT FILTERS AND DARKROOM LAMPS, October 2002
Safelight Filters
• ILFORD 906 filtered safelight (dark red)
– comparable to KODAK 2 safelight filter
ILFORD FACT SHEET, SAFELIGHT FILTERS AND DARKROOM LAMPS, October 2002
Spectra of Light Sources
For Subtractive Color Lab
For Spectra of Light Sources
Discharge Lamps
Gas
H2
Color
Wavelength (Å)
Violet
Violet
Blue
Red
Red
4200
4400
4900
6700
6700
Violet
Violet
Violet
Blue
Blue
Blue
Blue
Green
Green
Yellow
Red
Red
Red
4000
4400
4400
4500
4550
4550
4800
5000
5100
5850
6500
6800
7200
He
Gas
Water
Color
Wavelength (Å)
Violet
Violet
Blue
Green
Green
Green
Green
Red
Red
Red
4300
4400
4900
5200
5400
5500
5600
6050
6100
6650
Information from ELECTRO-TECHNIC PRODUCTS INC.
manufacturer of the discharge lamps
Discharge Lamps
Prominent neon lines
 (nm) Color
Violet
Violet
Blue
Red
Red
4200
4400
4900
6700
6700
Hydrogen
Discharge Lamps
Helium
 (nm)
438.793
443.755
447.148
471.314
492.193
501.567
504.774
587.562
667.815
s=strong
m=med
w=weak
Intensity
w
w
s
m
m
s
w
s
m
Helium
Discharge Lamps
Prominent neon lines
 (nm) Color
540.1 green
585.2 yellow
588.2 yellow
603.0 orange
607.4 orange
616.4 orange
621.7 red-orange
626.6 red-orange
633.4 red
638.3 red
640.2 red
650.6 red
659.9 red
692.9 red
703.2 red
Neon
Discharge Lamps
Prominent mercury lines
 (nm) Color
435.835 blue
546.074 green
576.959
579.065 yellow-orange
404.656
407.781 blue
491.604 weak
Mercury
Filter Selections
For Lenses and Additive Color
Mixing Labs
®
Roscolux
•
•
•
•
•
•
•
•
•
 #10 Medium Yellow
#23 Orange
#26 Light Red
 #27 Medium Red
#337 True Pink
 #46 Magenta
#346 Tropical Magenta
#74 Night Blue
 #80 Primary Blue
Filter Colors
•
•
•
•
•
•
•
•
#83 Medium Blue
#89 Moss Green
#389 Chroma Green
#90 Dark Yellow Green
 #91 Primary Green
#92 Turquoise
#93 Blue Green
 #95 Medium Blue Green
#10 Medium Yellow
#23 Orange
#26 Light Red
#27 Medium Red
#337 True Pink, #46 Magenta
#346 Tropical Magenta
#74 Night Blue, #80 Primary
Blue, #83 Medium Blue
#89 Moss Green
#389 Chroma Green
#90 Dark Yellow Green
#91 Primary Green
#92 Turquoise, #93 Blue Green,
#95 Medium Blue Green
Equipment and Supplies
For various supplies and musical
instruments
Strings
• PASCO Elastic Wave Cord (do not use this elastic cord)
–
–
–
–
mass: 12.773 g
length: 305.0 cm
 : 0.04188 g/cm
when driven, the cord stretches and the linear mass density
decreases
Ward-Brodt Music
• 2200 West Beltline Highway, P.O. Box 259810, Madison,
WI 53725-9810
– 608-661-8600 or 800-369-6255
– <http://www.wardbrodt.com/>
• French Horn
– “Single” (we have this)
– “Double” (higher notes)
– Used ($500.00 – $700.00) with case & mouth piece
• Trombone
– “Tenor”
– “Bass”
Ward-Brodt Music
• Recorder
– Soprano (~$6.00, plastic $6.50-$7.50)
– Alto ($25.00, plastic)
• Irish Whistles (~$7.00)
• Saxophone
–
–
–
–
–
–
Sopranino (rare)
Soprano
Alto (we have this)
Tenor
Baritone
Bass sax
Ward-Brodt Music
• Clarinet
–
–
–
–
–
Sopranino (Eb)
Soprano (Bb) – we have this (most popular type)
Alto
Bass
Contra-Bass
• Oboe (only one type)
Ward-Brodt Music
• Reeds
– Soak 1~2 minutes in H2O before use
– Oboe (Double Reeds)(*)-Emerald
•
•
•
•
•
Soft
Medium Soft (*)
Medium (*), (we have this: ~$7.00 each)
Medium Hard
Hard
– Clarinet (Single Reeds), Alto Sax (Single Reeds)
• 1 (Soft),1_1/2,
2
• 2_1/2 (we have this for both Clarinet and Alto Saxophone – brand name
RICO)
• 3,
3_1/2,
4,
4_1/2,
5 (Hard)
Spruce Tree Music & Repair
• 851 E. Johnson St., Madison, WI 53703
– (608)255-2254
– <http://www.sprucetreemusic.com/>
– as of 03-19-01
• Violin (we have full size)
• Viola (we have 16")
• Guitars
– Aria/Korea/MDL AW-73N
– Yamaha/Japan/MDL F6-140
String thickness
String
Guitar
Violin
Viola
E5
(0.010)
A4
(0.026)
A4
(0.028)
D4
(0.0315)
G3
E4
(0.012)
D4
B3
(0.016)
G3
(0.024)
D3
(0.032)
C3
C3
A2
(0.042)
E2
(0.053)
Spectroscope
•
PATON HAWKSLEY EDUCATION LTD
– http://www.patonhawksley.co.uk/index.html
Red Filter for Slide Projector
• Melles Griot
– 03 FCG 503
Sharp Cutoff (Long-Pass) Filter
Material : RG 630
Unit Price: $34.00
– (http://shop.mellesgriot.com/products/optics/detail.asp?pf_id=03%
20FCG%20503&plga=079632&mscssid=)
Neutral Density Filters
• Kodak WRATTEN neutral density filters from Edmund
Optics (http://www.edmundoptics.com/onlinecatalog/DisplayProduct.cfm?productid=1327, home : online catalog : optics : filters
and diffusers : neutral density : film : Kodak Wratten Neutral Density Filters):
–
–
–
–
–
Description: FILTER ND WRATTEN 0.3 OD
Optical Density: 0.300
Transmission (%): 50
Stock Number: NT53-703
Price: $53.50
Density
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
0.9
1.0
#
5
5
0
0
9
5
5
4
8
4
Artist and Craftsman Supply
• 449 State St, Space D, Madison, WI 53703
– Phone: 866-848-2977, (608)251-2977, Fax: (608)251-2944
– Store hours: M-F 10a - 8p, Sat-Sun 10a - 6p
– Lily (Contact person)
• Daler-Rowney System 3 Acrylic Paints
–
–
–
–
Process Magenta 412, $2.49 (do not use this)
Fluorescent Pink
Process Yellow 675, $2.49
Process Cyan 120, $2.49
• CHROMA A2® Acrylic Paints
– Titanium White, $3.22
– Carbon Black, $3.22
Extras
2  2 Grids for ND Wratten
Filters
M
C
B
G
R
Y
M
C
B
G
R
Reflectance
Reflectance
Transmittance
Y
Wavelength (nm)
Y
M
C
Y
M
C
B
G
R
B
G
R
Reflectance
Transmittance
Wavelength (nm)
Wavelength (nm)
Wavelength (nm)
0
400 500 600 700
Wavelength (nm)
Color Triangle
fraction of green (g)
1
0.8
0.6
0.4
0.2
0
0
0.2
0.4
0.6
0.8
fraction of red (r)
1