acoustics

research-roundup:-7-stories-we-almost-missed

Research roundup: 7 stories we almost missed


Ping-pong bots, drumming chimps, picking styles of two jazz greats, and an ancient underground city’s soundscape

Time lapse photos show a new ping-pong-playing robot performing a top spin. Credit: David Nguyen, Kendrick Cancio and Sangbae Kim

It’s a regrettable reality that there is never time to cover all the interesting scientific stories we come across each month. In the past, we’ve featured year-end roundups of cool science stories we (almost) missed. This year, we’re experimenting with a monthly collection. May’s list includes a nifty experiment to make a predicted effect of special relativity visible; a ping-pong playing robot that can return hits with 88 percent accuracy; and the discovery of the rare genetic mutation that makes orange cats orange, among other highlights.

Special relativity made visible

The Terrell-Penrose-Effect: Fast objects appear rotated

Credit: TU Wien

Perhaps the most well-known feature of Albert Einstein’s special theory of relativity is time dilation and length contraction. In 1959, two physicists predicted another feature of relativistic motion: an object moving near the speed of light should also appear to be rotated. It’s not been possible to demonstrate this experimentally, however—until now. Physicists at the Vienna University of Technology figured out how to reproduce this rotational effect in the lab using laser pulses and precision cameras, according to a paper published in the journal Communications Physics.

They found their inspiration in art, specifically an earlier collaboration with an artist named Enar de Dios Rodriguez, who collaborated with VUT and the University of Vienna on a project involving ultra-fast photography and slow light. For this latest research, they used objects shaped like a cube and a sphere and moved them around the lab while zapping them with ultrashort laser pulses, recording the flashes with a high-speed camera.

Getting the timing just right effectively yields similar results to a light speed of 2 m/s. After photographing the objects many times using this method, the team then combined the still images into a single image. The results: the cube looked twisted and the sphere’s North Pole was in a different location—a demonstration of the rotational effect predicted back in 1959.

DOI: Communications Physics, 2025. 10.1038/s42005-025-02003-6  (About DOIs).

Drumming chimpanzees

A chimpanzee feeling the rhythm. Credit: Current Biology/Eleuteri et al., 2025.

Chimpanzees are known to “drum” on the roots of trees as a means of communication, often combining that action with what are known as “pant-hoot” vocalizations (see above video). Scientists have found that the chimps’ drumming exhibits key elements of musical rhythm much like humans, according to  a paper published in the journal Current Biology—specifically non-random timing and isochrony. And chimps from different geographical regions have different drumming rhythms.

Back in 2022, the same team observed that individual chimps had unique styles of “buttress drumming,” which served as a kind of communication, letting others in the same group know their identity, location, and activity. This time around they wanted to know if this was also true of chimps living in different groups and whether their drumming was rhythmic in nature. So they collected video footage of the drumming behavior among 11 chimpanzee communities across six populations in East Africa (Uganda) and West Africa (Ivory Coast), amounting to 371 drumming bouts.

Their analysis of the drum patterns confirmed their hypothesis. The western chimps drummed in regularly spaced hits, used faster tempos, and started drumming earlier during their pant-hoot vocalizations. Eastern chimps would alternate between shorter and longer spaced hits. Since this kind of rhythmic percussion is one of the earliest evolved forms of human musical expression and is ubiquitous across cultures, findings such as this could shed light on how our love of rhythm evolved.

DOI: Current Biology, 2025. 10.1016/j.cub.2025.04.019  (About DOIs).

Distinctive styles of two jazz greats

Wes Montgomery (left)) and Joe Pass (right) playing guitars

Jazz lovers likely need no introduction to Joe Pass and Wes Montgomery, 20th century guitarists who influenced generations of jazz musicians with their innovative techniques. Montgomery, for instance, didn’t use a pick, preferring to pluck the strings with his thumb—a method he developed because he practiced at night after working all day as a machinist and didn’t want to wake his children or neighbors. Pass developed his own range of picking techniques, including fingerpicking, hybrid picking, and “flat picking.”

Chirag Gokani and Preston Wilson, both with Applied Research Laboratories and the University of Texas, Austin, greatly admired both Pass and Montgomery and decided to explore the underlying the acoustics of their distinctive playing, modeling the interactions of the thumb, fingers, and pick with a guitar string. They described their research during a meeting of the Acoustical Society of America in New Orleans, LA.

Among their findings: Montgomery achieved his warm tone by playing closer to the bridge and mostly plucking at the string. Pass’s rich tone arose from a combination of using a pick and playing closer to the guitar neck. There were also differences in how much a thumb, finger, and pick slip off the string:  use of the thumb (Montgomery) produced more of a “pluck” compared to the pick (Pass), which produced more of a “strike.” Gokani and Wilson think their model could be used to synthesize digital guitars with a more realistic sound, as well as helping guitarists better emulate Pass and Montgomery.

Sounds of an ancient underground city

A collection of images from the underground tunnels of Derinkuyu.

Credit: Sezin Nas

Turkey is home to the underground city Derinkuyu, originally carved out inside soft volcanic rock around the 8th century BCE. It was later expanded to include four main ventilation channels (and some 50,000 smaller shafts) serving seven levels, which could be closed off from the inside with a large rolling stone. The city could hold up to 20,000 people and it  was connected to another underground city, Kaymakli, via tunnels. Derinkuyu helped protect Arab Muslims during the Arab-Byzantine wars, served as a refuge from the Ottomans in the 14th century, and as a haven for Armenians escaping persecution in the early 20th century, among other functions.

The tunnels were rediscovered in the 1960s and about half of the city has been open to visitors since 2016. The site is naturally of great archaeological interest, but there has been little to no research on the acoustics of the site, particularly the ventilation channels—one of Derinkuyu’s most unique features, according to Sezin Nas, an architectural acoustician at Istanbul Galata University in Turkey.  She gave a talk at a meeting of the Acoustical Society of America in New Orleans, LA, about her work on the site’s acoustic environment.

Nas analyzed a church, a living area, and a kitchen, measuring sound sources and reverberation patterns, among other factors, to create a 3D virtual soundscape. The hope is that a better understanding of this aspect of Derinkuyu could improve the design of future underground urban spaces—as well as one day using her virtual soundscape to enable visitors to experience the sounds of the city themselves.

MIT’s latest ping-pong robot

Robots playing ping-pong have been a thing since the 1980s, of particular interest to scientists because it requires the robot to combine the slow, precise ability to grasp and pick up objects with dynamic, adaptable locomotion. Such robots need high-speed machine vision, fast motors and actuators, precise control, and the ability to make accurate predictions in real time, not to mention being able to develop a game strategy. More recent designs use AI techniques to allow the robots to “learn” from prior data to improve their performance.

MIT researchers have built their own version of a ping-pong playing robot, incorporating a lightweight design and the ability to precisely return shots. They built on prior work developing the Humanoid, a small bipedal two-armed robot—specifically, modifying the Humanoid’s arm by adding an extra degree of freedom to the wrist so the robot could control a ping-pong paddle. They tested their robot by mounting it on a ping-pong table and lobbing 150 balls at it from the other side of the table, capturing the action with high-speed cameras.

The new bot can execute three different swing types (loop, drive, and chip) and during the trial runs it returned the ball with impressive accuracy across all three types: 88.4 percent, 89.2 percent, and 87.5 percent, respectively. Subsequent tweaks to theirrystem brought the robot’s strike speed up to 19 meters per second (about 42 MPH), close to the 12 to 25 meters per second of advanced human players. The addition of control algorithms gave the robot the ability to aim. The robot still has limited mobility and reach because it has to be fixed to the ping-pong table but the MIT researchers plan to rig it to a gantry or wheeled platform in the future to address that shortcoming.

Why orange cats are orange

an orange tabby kitten

Cat lovers know orange cats are special for more than their unique coloring, but that’s the quality that has intrigued scientists for almost a century. Sure, lots of animals have orange, ginger, or yellow hues, like tigers, orangutans, and golden retrievers. But in domestic cats that color is specifically linked to sex. Almost all orange cats are male. Scientists have now identified the genetic mutation responsible and it appears to be unique to cats, according to a paper published in the journal Current Biology.

Prior work had narrowed down the region on the X chromosome most likely to contain the relevant mutation. The scientists knew that females usually have just one copy of the mutation and in that case have tortoiseshell (partially orange) coloring, although in rare cases, a female cat will be orange if both X chromosomes have the mutation. Over the last five to ten years, there has been an explosion in genome resources (including complete sequenced genomes) for cats which greatly aided the team’s research, along with taking additional DNA samples from cats at spay and neuter clinics.

From an initial pool of 51 candidate variants, the scientists narrowed it down to three genes, only one of which was likely to play any role in gene regulation: Arhgap36. It wasn’t known to play any role in pigment cells in humans, mice, or non-orange cats. But orange cats are special; their mutation (sex-linked orange) turns on Arhgap36 expression in pigment cells (and only pigment cells), thereby interfering with the molecular pathway that controls coat color in other orange-shaded mammals. The scientists suggest that this is an example of how genes can acquire new functions, thereby enabling species to better adapt and evolve.

DOI: Current Biology, 2025. 10.1016/j.cub.2025.03.075  (About DOIs).

Not a Roman “massacre” after all

Two of the skeletons excavated by Mortimer Wheeler in the 1930s, dating from the 1st century AD.

Credit: Martin Smith

In 1936, archaeologists excavating the Iron Age hill fort Maiden Castle in the UK unearthed dozens of human skeletons, all showing signs of lethal injuries to the head and upper body—likely inflicted with weaponry. At the time, this was interpreted as evidence of a pitched battle between the Britons of the local Durotriges tribe and invading Romans. The Romans slaughtered the native inhabitants, thereby bringing a sudden violent end to the Iron Age. At least that’s the popular narrative that has prevailed ever since in countless popular articles, books, and documentaries.

But a paper published in the Oxford Journal of Archaeology calls that narrative into question. Archaeologists at Bournemouth University have re-analyzed those burials, incorporating radiocarbon dating into their efforts. They concluded that those individuals didn’t die in a single brutal battle. Rather, it was Britons killing other Britons over multiple generations between the first century BCE and the first century CE—most likely in periodic localized outbursts of violence in the lead-up to the Roman conquest of Britain. It’s possible there are still many human remains waiting to be discovered at the site, which could shed further light on what happened at Maiden Castle.

DOI: Oxford Journal of Archaeology, 2025. 10.1111/ojoa.12324  (About DOIs).

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

Research roundup: 7 stories we almost missed Read More »

falcon-9-sonic-booms-can-feel-more-like-seismic-waves

Falcon 9 sonic booms can feel more like seismic waves

Could the similarities confuse California residents who might mistake a sonic boom for an earthquake?  Perhaps, at least until residents learn otherwise. “Since we’re often setting up in people’s backyard, they text us the results of what they heard,” said Gee. “It’s fantastic citizen science. They’ll tell us the difference is that the walls shake but the floors don’t. They’re starting to be able to tell the difference between an earthquake or a sonic boom from a launch.”

Launch trajectories of Falcon 9 rockets along the California coast. Credit: Kent Gee

A rocket’s trajectory also plays an important role. “Everyone sees the same thing, but what you hear depends on where you’re at and the rocket’s path or trajectory,” said Gee, adding that even the same flight path can nonetheless produce markedly different noise levels. “There’s a focal region in Ventura, Oxnard, and Camarillo where the booms are more impactful,” he said. “Where that focus occurs changes from launch to launch, even for the same trajectory.” That points to meteorology also being a factor: certain times of year could potentially have more impact than others as weather conditions shift, with wind shears, temperature gradients, and topography, for instance, potentially affecting the propagation of sonic booms.

In short, “If you can change your trajectory even a little under the right meteorological conditions, you can have a big impact on the sonic booms in this region of the country,” said Gee. And it’s only the beginning of the project; the team is still gathering data. “No two launches look the same right now,” said Gee. “It’s like trying to catch lightning.”

As our understanding improves, he sees the conversation shifting to more subjective social questions, possibly leading to the development of science-based local regulations, such as noise ordinances, to address any negative launch impacts. The next step is to model sonic booms under different weather conditions, which will be challenging due to coastal California’s microclimates. “If you’ve ever driven along the California coast, the weather changes dramatically,” said Gee. “You go from complete fog at Vandenburg to complete sun in Ventura County just 60 miles from the base.”

Falcon 9 sonic booms can feel more like seismic waves Read More »

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Monkeys are better yodelers than humans, study finds

Monkey see, monkey yodel?

That’s how it works for humans, but when it comes to the question of yodeling animals, it depends on how you define yodeling, according to bioacoustician Tecumseh Fitch of the University of Vienna in Austria, who co-authored this latest paper. Plenty of animal vocalizations use repeated sudden changes in pitch (including birds), and a 2023 study found that toothed whales can produce vocal registers through their noses for echolocation and communication.

There haven’t been as many studies of vocal registers in non-human primates, but researchers have found, for example, that the “coo” call of the Japanese macaque is similar to a human falsetto; the squeal of a Syke monkey is similar to the human “modal” register; and the Diana monkey produces alarm calls that are similar to “vocal fry” in humans.

It’s known that non-human primates have something humans have lost over the course of evolution: very thin, light vocal membranes just above the vocal folds. Scientists have pondered the purpose of those membranes, and a 2022 study concluded that this membrane was crucial for producing sounds. The co-authors of this latest paper wanted to test their hypothesis that the membranes serve as an additional oscillator to enable such non-human primates to achieve the equivalent of human voice registers. That, in turn, would render them capable in principle of producing a wider range of calls—perhaps even a yodel.

The team studied many species, including black and gold howler monkeys, tufted capuchins, black-capped squirrel monkeys, and Peruvian spider monkeys. They took CT scans of excised monkey larynxes housed at the Japan Monkey Center, as well as two excised larynxes from tufted capuchin monkeys at Kyoto University. They also made live recordings of monkey calls at the La Senda Verde animal refuge in the Bolivian Andes, using non-invasive EGG to monitor vocal fold vibrations.

Monkeys are better yodelers than humans, study finds Read More »

paleolithic-deep-cave-compound-likely-used-for-rituals

Paleolithic deep-cave compound likely used for rituals

Archaeologists excavating a paleolithic cave site in Galilee, Israel, have found evidence that a deep-cave compound at the site may have been used for ritualistic gatherings, according to a new paper published in the Proceedings of the National Academy of Sciences (PNAS). That evidence includes the presence of a symbolically carved boulder in a prominent placement, and well as the remains of what may have been torches used to light the interior. And the acoustics would have been conducive to communal gatherings.

Dating back to the Early Upper Paleolithic period, Manot Cave was found accidentally when a bulldozer broke open its roof during construction in 2008. Archaeologists soon swooped in and recovered such artifacts as stone tools, bits of charcoal, remains of various animals, and a nearly complete human skull.

The latter proved to be especially significant, as subsequent analysis showed that the skull (dubbed Manot 1) had both Neanderthal and modern features and was estimated to be about 54,700 years old. That lent support to the hypothesis that modern humans co-existed and possibly interbred with Neanderthals during a crucial transition period in the region, further bolstered by genome sequencing.

The Manot Cave features an 80-meter-long hall connecting to two lower chambers from the north and south. The living section is near the entrance and was a hub for activities like flint-knapping, butchering animals, eating, and other aspects of daily life. But about eight stories below, there is a large cavern consisting of a high gallery and an adjoining smaller “hidden” chamber separated from the main area by a cluster of mineral deposits called speleothems.

That’s the area that is the subject of the new PNAS paper. Unlike the main living section, the authors found no evidence of daily human activities in this compound, suggesting it served another purpose—most likely ritual gatherings.

Paleolithic deep-cave compound likely used for rituals Read More »

we’re-closer-to-re-creating-the-sounds-of-parasaurolophus

We’re closer to re-creating the sounds of Parasaurolophus

The duck-billed dinosaur Parasaurolophus is distinctive for its prominent crest, which some scientists have suggested served as a kind of resonating chamber to produce low-frequency sounds. Nobody really knows what Parasaurolophus sounded like, however. Hongjun Lin of New York University is trying to change that by constructing his own model of the dinosaur’s crest and its acoustical characteristics. Lin has not yet reproduced the call of Parasaurolophus, but he talked about his progress thus far at a virtual meeting of the Acoustical Society of America.

Lin was inspired in part by the dinosaur sounds featured in the Jurassic Park film franchise, which were a combination of sounds from other animals like baby whales and crocodiles. “I’ve been fascinated by giant animals ever since I was a kid. I’d spend hours reading books, watching movies, and imagining what it would be like if dinosaurs were still around today,” he said during a press briefing. “It wasn’t until college that I realized the sounds we hear in movies and shows—while mesmerizing—are completely fabricated using sounds from modern animals. That’s when I decided to dive deeper and explore what dinosaurs might have actually sounded like.”

A skull and partial skeleton of Parasaurolophus were first discovered in 1920 along the Red Deer River in Alberta, Canada, and another partial skull was discovered the following year in New Mexico. There are now three known species of Parasaurolophus; the name means “near crested lizard.” While no complete skeleton has yet been found, paleontologists have concluded that the adult dinosaur likely stood about 16 feet tall and weighed between 6,000 to 8,000 pounds. Parasaurolophus was an herbivore that could walk on all four legs while foraging for food but may have run on two legs.

It’s that distinctive crest that has most fascinated scientists over the last century, particularly its purpose. Past hypotheses have included its use as a snorkel or as a breathing tube while foraging for food; as an air trap to keep water out of the lungs; or as an air reservoir so the dinosaur could remain underwater for longer periods. Other scientists suggested the crest was designed to help move and support the head or perhaps used as a weapon while combating other Parasaurolophus. All of these, plus a few others, have largely been discredited.

We’re closer to re-creating the sounds of Parasaurolophus Read More »

study:-yes,-tapping-on-frescoes-can-reveal-defects

Study: Yes, tapping on frescoes can reveal defects

The US Capitol building in Washington, DC, is adorned with multiple lavish murals created in the 19th century by Italian artist Constantino Brumidi. These include panels in the Senate first-floor corridors, Room H-144, and the rotunda. The crowning glory is The Apotheosis of Washington on the dome of the rotunda, 180 feet above the floor.

Brumidi worked in various mediums, including frescoes. Among the issues facing conservators charged with maintaining the Capitol building frescoes is delamination. Artists apply dry pigments to wet plaster to create a fresco, and a good fresco can last for centuries. Over time, though, the decorative plaster layers can separate from the underlying masonry, introducing air gaps. Knowing precisely where such delaminated areas are, and their exact shape, is crucial to conservation efforts, yet the damage might not be obvious to the naked eye.

Acoustician Nicholas Gangemi is part of a research group led by Joseph Vignola at the Catholic University of America that has been using laser Doppler vibrometry to pinpoint delaminated areas of the Capitol building frescoes. It’s a non-invasive method that zaps the frescoes with sound waves and measures the vibrational signatures that reflect back to learn about the structural conditions. This in turn enables conservators to make very precise repairs to preserve the frescoes for future generations.

It’s an alternative to the traditional technique of gently knocking on the plaster with knuckles or small mallets, listening to the resulting sounds to determine where delamination has occurred. Once separation occurs, the delaminated part of the fresco acts a bit like the head of a drum; tapping on it produces a distinctive acoustic signature.

But the method is highly subjective. It takes years of experience to become proficient at this method, and there are only a small number of people who can truly be deemed experts. “We really wanted to put that experience and knowledge into an inexperienced person’s hands,” Gangemi said during a press briefing at a virtual meeting of the Acoustical Society of America. So he and his colleagues decided to put the traditional knocking method to the test.

Study: Yes, tapping on frescoes can reveal defects Read More »

study:-why-aztec-“death-whistles”-sound-like-human-screams

Study: Why Aztec “death whistles” sound like human screams

Aztec death whistles don’t fit into any existing Western classification for wind instruments; they seem to be a unique kind of “air spring” whistle, based on CT scans of some of the artifacts. Sascha Frühholz, a cognitive and affective neuroscientist at the University of Zürich, and several colleagues wanted to learn more about the physical mechanisms behind the whistle’s distinctive sound, as well as how humans perceive said sound—a field known as psychoacoustics. “The whistles have a very unique construction, and we don’t know of any comparable musical instrument from other pre-Columbian cultures or from other historical and contemporary contexts,” said Frühholz.

A symbolic sound?

Human sacrifice with original skull whistle (small red box and enlarged rotated view in lower right) discovered 1987–89 at the Ehecatl-Quetzalcoatl temple in Mexico City, Mexico.

Human sacrifice with original skull whistle (small red box and enlarged rotated view in lower right) discovered 1987–89 at the Ehecatl-Quetzalcoatl temple in Mexico City. Credit: Salvador Guillien Arroyo, Proyecto Tlatelolco

For their acoustic analysis, Frühholz et al. obtained sound recordings from two Aztec skull whistles excavated from Tlatelolco, as well as from three noise whistles (part of Aztec fire snake incense ladles). They took CT scans of whistles in the collection of the Ethnological Museum in Berlin, enabling them to create both 3D digital reconstructions and physical clay replicas. They were also able to acquire three additional artisanal clay whistles for experimental purposes.

Human participants then blew into the replicas with low-, medium-, and high-intensity air pressure, and the ensuing sounds were recorded. Those recordings were compared to existing databases of a broad range of sounds: animals, natural soundscapes, water sounds, urban noise, synthetic sounds (as for computers, pinball machines, printers, etc.), and various ancient instruments, among other samples. Finally, a group of 70 human listeners rated a random selection of sounds from a collection of over 2,500 samples.

The CT scans showed that skull whistles have an internal tube-like air duct with a constricted passage, a counter pressure chamber, a collision chamber, and a bell cavity. The unusual construction suggests that the basic principle at play is the Venturi effect, in which air (or a generic fluid) speeds up as it flows through a constricted passage, thereby reducing the pressure. “At high playing intensities and air speeds, this leads to acoustic distortions and to a rough and piercing sound character that seems uniquely produced by the skull whistles,” the authors wrote.

Study: Why Aztec “death whistles” sound like human screams Read More »

how-do-you-pronounce-“hockey”?-us-players-say-it-with-“fake-canadian”-accent.

How do you pronounce “hockey”? US players say it with “fake Canadian” accent.

Seriously, what’s that aboot, eh? —

They don’t want to sound Canadian, but like a hockey player—a “linguistic persona.”

hockey player in yellow jersey front and center, surrounded by players in red jerseys, all on the ice

University of Rochester linguist Andrew Bray started out studying the evolution of the trademark sports jargon used in hockey for his master’s thesis. For instance, a hockey arena is a “barn,” while the puck is a “biscuit.” When he would tell people about the project, however, they kept asking if he was trying to determine why American hockey players sound like “fake Canadians.” Intrigued, Bray decided to shift his research focus to find out if hockey players did indeed have distinctively Canadian speech patterns and, if so, why this might be the case.

He discovered that US hockey players borrow certain aspects of the Canadian English accent, particularly when it comes to hockey jargon. But they don’t follow the typical rules of pronunciation. In short, “American hockey players are not trying to shift their speech to sound more Canadian,” Bray said during a press briefing. “They’re trying to sound more like a hockey player. That’s why it’s most evident in hockey-specific terms.”

It’s a concept known as a “linguistic persona,” a means of communicating how one identifies—in this case, as a hockey player— through speech. Bray gave a talk about his research today at a meeting of the Acoustical Society of America in Ottawa, Canada, held in conjunction with the Canadian Acoustical Association.

Bray first had to figure out how to design a study to examine this question. “What does it even mean to sound like a ‘fake’ Canadian?” he said. The stereotypical Canadian speech patterns are well-known: pronouncing “out” as “oot,” for example, or “about” as “aboot,” not to mention adding a questioning “eh?” at the end of sentences. According to Bray, there are three common linguistic variables typical of Canadian English.

One is called the lower back merger shift, which involves lowering the tongue to pronounce the vowels in words like “bit” (ih), “bet” (eh), and “bat” (ah). The second is called Canadian raising, in which the body of the tongue is raised to pronounce the vowels in words like “tight” and “doubt.” Finally, there are the vowels in words like “bait” and “boat.” Canadians pronounce these vowels with only one configuration of the tongue, known as a monophthongal pronunciation. (If the tongue moves to a secondary configuration, that would be a diphthongal pronunciation.)

Bray thought the American players might be exhibiting some Canadian English variables in their speech but to different degrees, such that their pronunciations sounded just a wee bit off—i.e., “fake.” He opted to focus on the monophthongal component since he thought those pronunciations were likely to be the most prevalent in “fake Canadian” speech among US hockey players.

Bray used to play hockey for the University of Georgia Ice Dawgs, shown here in 2016.

Enlarge / Bray used to play hockey for the University of Georgia Ice Dawgs, shown here in 2016.

University of Georgia Ice Dawgs

Next, Bray had to build his own “corpus of hockey player speech” focused on American-born hockey players. That required extensive interviews with players. Professional National League Hockey (NHL) players might not have the time to participate, so he focused on the American Hockey League (AHL) and East Coast Hockey League (ECHL), narrowing his pool to four teams: the Charlotte Checkers, the Greenville Swamp Rabbits, the Rochester Americans, and the South Carolina Stingrays.

Bray played hockey for the University of Georgia Ice Dawgs, which helped him quickly establish a rapport with his subjects over their shared interest and get them talking at length about their hockey career trajectories. Among other benefits, it helped him avoid the dreaded “observer’s paradox,” in which asking someone to talk about their speech makes them self-conscious and subtly changes how they would normally talk. He collected data from 20 such interviews, conducted between 2017 and 2019, each lasting about 30 minutes.

He then turned those interviews into a database of “formants”—resonant frequencies that amplify some groups of harmonics above others in speech. Bray’s ASA presentation focused on two common vowel formants. The first formant (F1) roughly corresponds to tongue height, while the second (F2) corresponds to how far forward or retracted the tongue is during pronunciation.

In the case of “bait”-like vowel sounds, Bray found some evidence among his US hockey players of a monophthongal pronunciation (minimal tongue movement), as one would expect in Canadian English and perhaps parts of the upper Midwest, but which would not otherwise be present in American English dialects. “Boat”-like vowel sounds seemed more “pseudo-monophthongal” in nature. But when these were compared with benchmark expectations for Canadian English F1 and F2 formants, US hockey players came close but fell just a bit short of the mark. Nor are their pronunciations in line with standard American English dialects.

“This might be why they sound ‘fake,'” said Bray. “I’m arguing that this is the construction of a linguistic variant uniquely linked to hockey. It’s influenced by Canadian English, but it’s not entirely Canadian.” And the way the US players in his dataset pronounced “hockey” seems to be “an entirely novel pronunciation of a word linked to this community.” Bray suspects this influence will be relevant to his initial research on hockey slang, expecting to find that “hockey slang terms are pronounced differently than you’d expect for the other non-hockey related terms.”

Bray suspects this happens via some sort of “lexical diffusion.” At the junior league level (around 14 to 20 years of age), US players might not have these distinctive speech patterns, but their pronunciations may gradually shift over time the longer they play and pick up hockey slang terms. The more strongly they self-identify as hockey players, the more they will sound like “fake Canadians.”

How do you pronounce “hockey”? US players say it with “fake Canadian” accent. Read More »

how-you-can-make-cold-brew-coffee-in-under-3-minutes-using-ultrasound

How you can make cold-brew coffee in under 3 minutes using ultrasound

Save yourself a few hours —

A “sonication” time between 1 and 3 minutes is ideal to get the perfect cold brew.

UNSW Sydney engineers developed a new way to make cold brew coffee in under three minutes without sacrificing taste.

Enlarge / UNSW Sydney engineers developed a new way to make cold brew coffee in under three minutes without sacrificing taste.

University of New South Wales, Sydney

Diehard fans of cold-brew coffee put in a lot of time and effort for their preferred caffeinated beverage. But engineers at the University of New South Wales, Sydney, figured out a nifty hack. They rejiggered an existing espresso machine to accommodate an ultrasonic transducer to administer ultrasonic pulses, thereby reducing the brewing time from 12 to 24 hours to just under three minutes, according to a new paper published in the journal Ultrasonics Sonochemistry.

As previously reported, rather than pouring boiling or near-boiling water over coffee grounds and steeping for a few minutes, the cold-brew method involves mixing coffee grounds with room-temperature water and letting the mixture steep for anywhere from several hours to two days. Then it is strained through a sieve to filter out all the sludge-like solids, followed by filtering. This can be done at home in a Mason jar, or you can get fancy and use a French press or a more elaborate Toddy system. It’s not necessarily served cold (although it can be)—just brewed cold.

The result is coffee that tastes less bitter than traditionally brewed coffee. “There’s nothing like it,” co-author Francisco Trujillo of UNSW Sydney told New Scientist. “The flavor is nice, the aroma is nice and the mouthfeel is more viscous and there’s less bitterness than a regular espresso shot. And it has a level of acidity that people seem to like. It’s now my favorite way to drink coffee.”

While there have been plenty of scientific studies delving into the chemistry of coffee, only a handful have focused specifically on cold-brew coffee. For instance, a 2018 study by scientists at Thomas Jefferson University in Philadelphia involved measuring levels of acidity and antioxidants in batches of cold- and hot-brew coffee. But those experiments only used lightly roasted coffee beans. The degree of roasting (temperature) makes a significant difference when it comes to hot-brew coffee. Might the same be true for cold-brew coffee?

To find out, the same team decided in 2020 to explore the extraction yields of light-, medium-, and dark-roast coffee beans during the cold-brew process. They used the cold-brew recipe from The New York Times for their experiments, with a water-to-coffee ratio of 10:1 for both cold- and hot-brew batches. (Hot brew normally has a water-to-coffee ratio of 20:1, but the team wanted to control variables as much as possible.) They carefully controlled when water was added to the coffee grounds, how long to shake (or stir) the solution, and how best to press the cold-brew coffee.

The team found that for the lighter roasts, caffeine content and antioxidant levels were roughly the same in both the hot- and cold-brew batches. However, there were significant differences between the two methods when medium- and dark-roast coffee beans were used. Specifically, the hot-brew method extracts more antioxidants from the grind; the darker the bean, the greater the difference. Both hot- and cold-brew batches become less acidic the darker the roast.

The new faster cold brew system subjects coffee grounds in the filter basket to ultrasonic sound waves from a transducer, via a specially adapted horn.

Enlarge / The new faster cold brew system subjects coffee grounds in the filter basket to ultrasonic sound waves from a transducer, via a specially adapted horn.

UNSW/Francisco Trujillo

That gives cold brew fans a few handy tips, but the process remains incredibly time-consuming; only true aficionados have the patience required to cold brew their own morning cuppa. Many coffee houses now offer cold brews, but it requires expensive, large semi-industrial brewing units and a good deal of refrigeration space. According to Trujillo, the inspiration for using ultrasound to speed up the process arose from failed research attempts to extract more antioxidants. Those experiments ultimately failed, but the setup produced very good coffee.

Trujillo et al. used a Breville Dual Boiler BES920 espresso machine for their latest experiments, with a few key modifications. They connected a bolt-clawed transducer to the brewing basket with a metal horn. They then used the transducer to inject 38.8 kHz sound waves through the walls at several different points, thereby transforming the filter basket into a powerful ultrasonic reactor.

The team used the machine’s original boiler but set it up to be independently controlled it with an integrated circuit to better manage the temperature of the water. As for the coffee beans, they picked Campos Coffee’s Caramel & Rich Blend (a medium roast). “This blend combines fresh, high-quality specialty coffee beans from Ethiopia, Kenya, and Colombia, and the roasted beans deliver sweet caramel, butterscotch, and milk chocolate flavors,” the authors wrote.

There were three types of samples for the experiments: cold brew hit with ultrasound at room temperature for one minute or for three minutes, and cold brew prepared with the usual 24-hour process. For the ultrasonic brews, the beans were ground into a fine grind typical for espresso, while a slightly coarser grind was used for the traditional cold-brew coffee.

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these-scientists-explored-the-good-vibrations-of-the-bundengan-and-didgeridoo

These scientists explored the good vibrations of the bundengan and didgeridoo

On the fifth day of Christmas —

Their relatively simple construction produces some surprisingly complicated physics.

Indonesian performers onstage with one playing a bundengan

Enlarge / The bundengan (left) began as a combined shelter/instrument for duck hunters but it is now often played onstage.

There’s rarely time to write about every cool science-y story that comes our way. So this year, we’re once again running a special Twelve Days of Christmas series of posts, highlighting one science story that fell through the cracks in 2020, each day from December 25 through January 5. Today: the surprisingly complex physics of two simply constructed instruments: the Indonesian bundengan and the Australian Aboriginal didgeridoo (or didjeridu).

The bundengan is a rare, endangered instrument from Indonesia that can imitate the sound of metallic gongs and cow-hide drums (kendangs) in a traditional gamelan ensemble. The didgeridoo is an iconic instrument associated with Australian Aboriginal culture that produces a single, low-pitched droning note that can be continuously sustained by skilled players. Both instruments are a topic of scientific interest because their relatively simple construction produces some surprisingly complicated physics. Two recent studies into their acoustical properties were featured at an early December meeting of the Acoustical Society of America, held in Sydney, Australia, in conjunction with the Australian Acoustical Society.

The bundengan originated with Indonesian duck hunters as protection from rain and other adverse conditions while in the field, doubling as a musical instrument to pass the time. It’s a half-dome structure woven out of bamboo splits to form a lattice grid, crisscrossed at the top to form the dome. That dome is then coated with layers of bamboo sheaths held in place with sugar palm fibers. Musicians typically sit cross-legged inside the dome-shaped resonator and pluck the strings and bars to play. The strings produce metallic sounds while the plates inside generate percussive drum-like sounds.

Gea Oswah Fatah Parikesit of Universitas Gadja Mada in Indonesia has been studying the physics and acoustics of the bundengan for several years now. And yes, he can play the instrument. “I needed to learn to do the research,” he said during a conference press briefing. “It’s very difficult because you have two different blocking styles for the right and left hand sides. The right hand is for the melody, for the string, and the left is for the rhythm, to pluck the chords.”

Much of Parikesit’s prior research on the bundengan focused on the unusual metal/percussive sound of the strings, especially the critical role played by the placement of bamboo clips. He used computational simulations of the string vibrations to glean insight on how the specific gong-like sound was produced, and how those vibrations change with the addition of bamboo clips located at different sections of the string. He found that adding the clips produces two vibrations of different frequencies at different locations on the string, with the longer section having a high frequency vibration compared to the lower frequency vibration of the shorter part of the string. This is the key to making the gong-like sound.

This time around, Parikesit was intrigued by the fact many bundengan musicians have noted the instrument sounds better wet. In fact, several years ago, Parikesit attended a bundengan concert in Melbourne during the summer when it was very hot and dry—so much so that the musicians brought their own water spray bottles to ensure the instruments stayed (preferably) fully wet.

A bundengan is a portable shelter woven from bamboo, worn by Indonesian duck herders who often outfit it to double as a musical instrument.

Enlarge / A bundengan is a portable shelter woven from bamboo, worn by Indonesian duck herders who often outfit it to double as a musical instrument.

Gea Oswah Fatah Parikesit

“A key element between the dry and wet versions of the bundengan is the bamboo sheaths—the material used to layer the wall of the instrument,” Parokesit said. “When the bundengan is dry, the bamboo sheaths open and that results in looser connections between neighboring sheaths. When the bundengan is wet, the sheaths tend to form a curling shape, but because they are held by ropes, they form tight connections between the neighboring sheaths.”

The resulting tension allows the sheaths to vibrate together. That has a significant impact on the instrument’s sound, taking on a “twangier” quality when dry and a more of metallic gong sound when it is wet. Parikesit has tried making bundengans with other materials: paper, leaves, even plastics. But none of those produce the same sound quality as the bamboo sheaths. He next plans to investigate other musical instruments made from bamboo sheaths.“As an Indonesian, I have extra motivation because the bundengan is a piece of our cultural heritage,” Parikesit said. “I am trying my best to support the conservation and documentation of the bundengan and other Indonesian endangered instruments.”

Coupling with the human vocal tract

Meanwhile, John Smith of the University of New South Wales is equally intrigued by the physics and acoustics of the didgeridoo. The instrument is constructed from the trunk or large branches of the eucalyptus tree. The trick is to find a live tree with lots of termite activity, such that the trunk has been hollowed out leaving just the living sapwood shell. A suitably hollow trunk is then cut down, cleaned out, the bark removed, the ends trimmed, and the exterior shaped into a long cylinder or cone to produce the final instrument. The longer the instrument, the lower the pitch or key.

Players will vibrate their lips to play the didgeridoo in a manner similar to lip valve instruments like trumpets or trombones, except those use a small mouthpiece attached to the instrument as an interface. (Sometimes a beeswax rim is added to a didgeridoo mouthpiece end.) Players typically use circular breathing to maintain that continuous low-pitched drone for several minutes, basically inhaling through the nose and using air stored in the puffed cheeks to keep producing the sound. It’s the coupling of the instrument with the human vocal tract that makes the physics so complex, per Smith.

Smith was interested in investigating how changes in the configuration of the vocal tract produced timbral changes in the rhythmic pattern of the sounds produced. To do so, “We needed to develop a technique that could measure the acoustic properties of the player’s vocal tract while playing,” Smith said during the same press briefing. “This involved injecting a broadband signal into the corner of the player’s mouth and using a microphone to record the response.” That enabled Smith and his cohorts to record the vocal tract impedance in different configurations in the mouth.

Producing complex sounds with the didjeridu requires creating and manipulating resonances inside the vocal tract.

Enlarge / Producing complex sounds with the didjeridu requires creating and manipulating resonances inside the vocal tract.

Kate Callas

The results: “We showed that strong resonances in the vocal tract can suppress bands of frequencies in the output sound,” said Smith. “The remaining strong bands of frequencies, called formants, are noticed by our hearing because they fall in the same ranges as the formants we use in speech. It’s a bit like a sculptor removing marble, and we observe the bits that are left behind.”

Smith et al. also noted that the variations in timbre arise from the player singing while playing, or imitating animal sounds (such as the dingo or the kookaburra), which produces many new frequencies in the output sound. To measure the contact between vocal folds, they placed electrodes on either side of a player’s throat and zapped them with a small high frequency electric current. They simultaneously measured lip movement with another pair of electrics above and below the lips. Both types of vibrations affect the flow of air to produce the new frequencies.

As for what makes a desirable didgeridoo that appeals to players, acoustic measurements on a set of 38 such instruments—with the quality of each rated by seven experts in seven different subjective categories—produced a rather surprising result. One might think players would prefer instruments with very strong resonances but the opposite turned out to be true. Instruments with stronger resonances were ranked the worst, while those with weaker resonances rated more highly.  Smith, for one, thinks this makes sense. “This means that their own vocal tract resonance can dominate the timbre of the notes,” he said.

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