Sailboat Acoustics / Resonances Research

By Alan B. Richmond Jr.

Initial observations on phase, frequency, and other such relationships at stereo contact microphones (L/R) on the bow fiberglass deck (approximately 1-2 feet from foremost bow point / seam), with stereo width separation of approximately 3-4 feet)

Wind drag can be heard on the windward side / and the leeward side, on both the sail sheets heard through the deck mounted blocks resonating on deck (leeward), as well as on the surface of the fiberglass hull itself (windward). Upon this initial phase of examination and investigation, I am finding some difficulty in deciphering windward / leeward directions, as there is so much sonic activity from the hull, water wave surface, and sail sheets / blocks on deck. From observation, it sounds as though there is contrast of similar lower resonances of ‘drag’ coming from opposing sides, one from the sail, sheets, and blocks taking wind on the leeward, the other from the windward hull side, which exhibit similarities in frequency range, character, and sustain / decay. To add, there is also some subtle drag coming from the leeward side, from the hull that is heeled deeper into the water surface, where impacted waves and heel activity have a constancy of subsequent surface grazing activity. Interesting anomalies at this time have been discovered as opposing frequency ranges, seemingly with the windward facing hull sonics exhibiting deeper, more broad frequency ranges, as well as narrower higher frequency range hyper activity of wave impacts, splashes, and the like, where as the opposing leeward side that is heeled into the water surface is a higher frequency range due to less surface area resonating (much like pipe organ sizes that resonate at lower pitches in larger length, and higher pitches in shorter lengths, or kalimba and other instruments with tines at longer lengths having deeper frequencies, and those of shorter length having higher).

Also, there are some interesting phase relationships identified thus far, as would be expected similarly in any architectural acoustic setting, whereby waves, in this case hydro, are reaching hull sides off the bow at very slightly different timeframes (milliseconds) before taking on the aforementioned noticeably different characteristics. By slowing down the speed of audio playback, it creates longer timeframes and slightly better differentiation, some of which can be detected audibly and by seeing the L/R dB meters spike at very slightly different times for the same impact event, indicating the impact side, and the drag side (most often corresponding to windward / leeward sides). Slowing playback too much creates exaggerated artifacts and makes such differentiation difficult, so finding a proper speed / balance here is important. Confirming such activity and characteristics at normal playback speed can aid in this process, and reinforce ability to decipher such activity at normal speed, pace, and event timelines, as well as present accurate frequency pitches and ranges recorded and their structural and material relationships . Through further examination and investigation, it could be discovered that this analysis is incorrect and perhaps opposite these origin findings, but identifying such differentiation in this stage is helpful in such overall and correct determination and findings.

samples of such phenomena from the investigation archive file will be added to this published written analysis at a future time for reference.

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Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017.

Bauhaus Dessau Building Main Stairwell (preliminary) 3:01 min:

RT60: The Authenticity Of Space Through Sound, by Alan B. Richmond Jr. (formerly Alan B. Brock-Richmond)

Bauhaus Dessau Building Main Stairwell (preliminary) 3:01 min:

3:01 minute edit of a 16 minute preliminary composition produced from material and structural sounds and impulse responses from the Bauhaus Dessau Main Building Staircase, one of several spaces sampled and archived at Bauhaus Dessau, whereby such attributes can be clearly heard and identified, abstracted, and ultimately culminate into a resonant drone of complex fragmenting and sustained spacial, structural, and material frequencies. It should be noted that the long reverberation time of over 8 seconds is that of an archive detailed high fidelity impulse response of the space produced through convolution technology, and not audio of the space itself. Other sounds are partially processed or not at all, to provide a sense of depth and ability to peer sonically into the structure and materials. Such materials and structural elements include acoustic locations on stairwell and at upper and mid level bases, handrails, the large stairwell glass window panes, glass window opening mechanical apparatus (manual chain and sprocket), nearest radiator heater (proportional), and the leather seat, back, and armrests of the Model B3 Chair (Wassily Chair) of Marcel Breuer (1925/26) in the lounging area at uppermost stairwell tier level.

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved, Copyright 2107

With funding assistance through a Research and Development Grant (2013) from The Graham Foundation for Advanced Studies in the Fine Arts, and support from Bauhaus Dessau Foundation

Sailboat Acoustics / Resonances Research

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Sailboat Acoustics / Resonances Research, affixing a contact microphone to the mast (as well as other forms and surfaces) and recording sailing mechanics, the transducer qualities of sails, instrument string like qualities of shrouds (mast stays), and resonant chamber qualities and effects of the hull and cabin. Light winds, (estimating less than 10 knots with occasional gusts to approx. 10), 5.2 knots recorded fastest speed of travel. #audioeins #nautical #sailboat #sailboatstudio

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017.

crazed cabin windows

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‘crazed cabin windows’ The aesthetics and even most minute of nuanced attributes of environment and architecture are relative, holistic, and influential regarding mood, themes, and states of existence. This has been emphasized through various movements of architecture, and especially noticeable in reductionist or minimalist modern movements, where structural and environmental attributes are very carefully and attentively selected, particularly regarding transparency and emphasis of space, nature, and openness, efficiency of design, and aversion to the frivolous. Since living in this bay and marina for the past 9 months, my work has exhibited transformation from minimal, highly ordered, structured, often clean or pristine formalist quality, to one of contrasting chaos, disruption, irregularity, exacerbated distortion, and unpredictability / unreliability of form, as seen and heard in further stacked walls of sound, my linear sonic illustrations and mapping, recent carvings, and these new ‘crazed cabin windows’ series, a natural phenomena (crazing) of the plastic window sheeting fracturing into multitudes of tiny cracks. When i first acquired the boat, these windows were mostly clear, and due to weather, age of materials, temperature differences of interior / exterior, and other natural wear, stress, and degradation, have in this short timeframe become almost opaque and frosted, no longer allowing for clear visibility. Nonetheless, i would imagine that their daily visual motif, quite congruent to the dominance of ‘noise’ (guitar, environmental, social, political, emotional, neurological, other) has even on a subconscious level propagated itself. Or, through practical and mystical means, perhaps form is following function, and the vibrations of time and place manifest such emanations of congruence. #audioeins #architecture #existential #experiential #formality #nautical #sea

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017.

cleaning wings

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cleaning wings. Series. Washing 4 moldy wadded unfolded sails. After washing by hand in a marina cart (lined with plastic), the sail hangs freely by the mainsail halyard line leaning against the mast and back shrouds while drying in a slight warm sunny breeze which held it in place while the symmetrical corners were affixed to the lifeline stanchions and the mid section draped over the boom. This was the most painful and frustrating boat task yet. #nautical #sea #sailboat #breakingfurtherabackalreadybroken

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017.

weak signals chart 1.

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weak signals chart 1. social noise, surveillance, harassment, and other frequencies. #harassment #violation #aclu #civilliberties #organizedcrime #gangstalking #surveillance

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017

When beauty turns into noise,

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‘when beauty turns into noise, with frequencies far from those of flight, and painstaking care becomes the unconcerned’, a series of cabin illustration etchings. #nautical #noise #harassment #surveillance #socialabuses #coercion #gesture

 

Alan B. Richmond Jr. / www.audioeins.com

Copyright 2017. All Rights Reserved.

Coastal Acoustics Series

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Coastal Acoustic Frequencies, Dispersion, And Reflections, a linear interpretation, number 2. Alan B. Richmond Jr. / audioeins, Copyright 2017. #audioeins #acoustics #sound #sea #nature #nautical #coastal #reverberation #ambience #soundscape

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017.

Coastal Acoustics Series

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Coastal Acoustic Frequencies, Dispersion, And Reflections, a linear interpretation, number 1. Alan B. Richmond Jr. / audioeins, Copyright 2017. #audioeins #acoustics #sound #sea #nature #nautical #coastal #reverberation #ambience #soundscape

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017

Shrouded Strings

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Shrouded Strings, a forthcoming release, is a sonic investigation and resultant composition constructed from the sound of resonating sailboat mast and mast stays, which support the mast and keep it standing stable and straight during gusty occurrences, shifting tides, and rolling seas, and it serves to support the forces of fore and main sail systems, which are large transducers. Like the strings of a guitar bridge, especially like that of my telecaster which has a string through body suspension system, these steel wire shrouds stem from different points on the mast and reach to the deck at dispersed angles. One of these fixed deck points reaches through the deck to suspension rods within the cabin interior, thus securing them further with the hull of the boat. And much like the strings of a chambered guitar, or any chambered string instrument, vibrate and conduct resonances throughout the string points, cabin, and hull of the boat as well as from the mast which in this case is likened to the neck and fretboard of a guitar. Alan B. Richmond Jr. / audioeins Copyright 2017. #audioeins #sailboatstudio #nautical #shrouds #maststays #sailboatinstrument #acoustics #experimentalsound #pacificnorthwest #usa

Alan B. Richmond Jr. / www.audioeins.com

All Rights Reserved. Copyright 2017.