Illustrated Physics
physics, drawn
Concept

Node — where it appears

A place where a standing wave has no displacement at all, fixed in position while everything around it oscillates. Anything placed at a node takes no part in the motion, which is why a mass added there changes the frequency by exactly nothing rather than by a small amount.

Named by 3 essays across one field — each of them below, with the objects they name alongside it.

Four modes of a string that is heavier in one place. The first four modes of a string whose mass per unit length rises to 5 times the light end's over a smooth bump centred 62 per cent of the way along, drawn beneath them. Nothing is symmetric any more: the shapes bunch up over the heavy region, where the local wavelength is shorter, and the amplitudes there are smaller. The frequencies are 1.70, 4.01, 6.10, 8.12, which are in the ratios 1.000, 2.361, 3.590, 4.779 rather than 1, 2, 3, 4 — this string has no harmonics and would sound like a bell rather than a violin. What has not changed is the one thing an ordering needs: the interior zeros, marked, run 0, 1, 2, 3 exactly as they do on a uniform string. That is Sturm's theorem, and the nodes here are counted on the computed shapes rather than assumed.

The count that cannot be cheated

A string with a lump in it has no harmonics, no symmetry and no obvious order to its modes. It has one thing left: the nth mode crosses the axis exactly n−1 times, whatever the string is made of. Ordering by frequency and ordering by node count turn out to be the same operation, and in two dimensions the equality quietly becomes an inequality.

waves · Standing waves Where a small weight is felt, and where it is not. The fractional change in the frequency of harmonic 3 of a stretched string when a point mass of 0.06 of the string's own mass is placed at each position along it. The solid curve is the exact answer, found by solving the string's frequency equation for the loaded string at each position; the dashed curve is the first-order prediction, minus the mass fraction times the square of the mode shape. The two agree to 10.4 per cent at the antinode, where the shift is largest. Every node is a place where the exact shift is zero to better than a part in a thousand million, and that is not an approximation: a mass at a node is never moved by the mode, so it takes no part in the motion and cannot change its rate. Between the nodes the shift follows the square of the displacement, which is the square of the amplitude — the mass is felt in proportion to the kinetic energy the mode was already keeping there.

The dent that raises the note

Push a wall of a resonator inwards and the pitch goes up or down depending entirely on where the wall is pushed. A mass added at a node changes nothing at all; the same mass at an antinode changes as much as it can. One rule covers a loaded string, a tuned microwave cavity and a bead drawn through a resonator to read out its field.

waves · Standing waves Light added to its own reflection. Green light of 550 nm in an emulsion of refractive index 1.5, falling on a metal mirror at the left and adding to its reflection, which comes back inverted. Thin lines: the total electric field across the first 750 nm at three moments; heavy line: its envelope, 2|sin kz|; dashed: the envelope of the magnetic field, 2|cos kz|. The sum does not travel. Its electric field is zero at the mirror at every instant and again every 183 nm, half a wavelength in the emulsion, with maxima between; the magnetic field is largest exactly where the electric field vanishes. A light-sensitive layer anywhere in that space is exposed in sheets parallel to the mirror, and which field it responds to decides whether the first sheet lies at the mirror or a quarter-wavelength above it.

The photograph that keeps the spectrum

Light falling on a mirror adds to its own reflection, and the sum does not travel: it stands, with sheets of darkness every half-wavelength. Otto Wiener photographed those sheets in 1890 and found the film clear where it touched the mirror, which settled which of light's two fields acts on matter. A year later Gabriel Lippmann recorded the sheets through the depth of an emulsion and developed them into stacked layers that, lit with white light, send back exactly the colours that wrote them. His photographs store the spectrum itself, so they can tell apart two yellows that every colour film and every eye records as one.

waves · Superposition

Named alongside it

The objects these essays reach for when they reach for this one.

Boundary conditionDegeneracyEigenvalueSpectrumStanding waveAntinodeCavityGround stateInhomogeneous mediumInterferenceMode shapeNodal domain

All concepts