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Ten Things You Should Do with a Tuning Fork
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10.1119/1.4792020
/content/aapt/journal/tpt/51/3/10.1119/1.4792020
http://aip.metastore.ingenta.com/content/aapt/journal/tpt/51/3/10.1119/1.4792020

Figures

Image of Fig. 1.
Fig. 1.

Once the tuning fork is vibrating, it will “sing” in several unwanted frequencies. Touching near the base reduces these, leaving the intended tone oscillating. It should be inaudible at an arm's length.

Image of Fig. 2.
Fig. 2.

Using a speaker cone as a simple microphone. This general arrangement is for investigating the frequency and intensity of a tuning fork.

Image of Fig. 3.
Fig. 3.

Where to expect the nodal planes. The plane between the tines is the loudest. Listen for these while holding a vibrating tuning fork near an ear and rotating it.

Image of Fig. 4.
Fig. 4.

Only the mounted fork on the right is struck. Both boxes have an opening where they are brought together. The fork on the left is sent into vibration because it shares the resonant frequency. This induced vibration is better demonstrated when a hanging ball is knocked outward.

Image of Fig. 5.
Fig. 5.

When a tuning fork is struck very hard, multiple vibrational modes are audible. With the help of an oscilloscope, this superposition is visually demonstrated.

Image of Fig. 6.
Fig. 6.

It is easy to clip a solar cell to a set of speakers. Obstructing the laser dot with a vibrating tuning fork can send its signal across the room and amplify the vibration for all to hear.

Image of Fig. 7.
Fig. 7.

A sine curve generated by reflection from a single vibrating 128-Hz tuning fork. This image was produced by rotating the fork while a laser was being reflected to a wall about three meters away.

Image of Fig. 8.
Fig. 8.

Arrangements that will produce Lissajous figures. Note that the tuning forks should be close to one another and that increasing the distance to the wall will improve the visibility by amplifying the trace.

Image of Fig. 9.
Fig. 9.

Fish-shaped Lissajous figure made by reflecting a diode laser from tiny mirrors hot-glued on the G 384-Hz and the C 256-Hz tuning forks, thus providing the signature trace of a 3:2 ratio. 11

Image of Fig. 10.
Fig. 10.

The three materials that allow one to immediately measure the speed of sound. Note that the height of the tube is 25 cm.

Image of Fig. 11.
Fig. 11.

These two identical tuning forks will no longer have identical frequencies.

Tables

Generic image for table
Table I.
Generic image for table
Table II.
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/content/aapt/journal/tpt/51/3/10.1119/1.4792020
2013-02-08
2014-04-23
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752b84549af89a08dbdd7fdb8b9568b5 journal.articlezxybnytfddd
Scitation: Ten Things You Should Do with a Tuning Fork
http://aip.metastore.ingenta.com/content/aapt/journal/tpt/51/3/10.1119/1.4792020
10.1119/1.4792020
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