Illustrated Physics
physics, drawn
Concept

Standing wave — where it appears

The fixed pattern formed when a wave interferes with its own reflection, existing only at the wavelengths the boundaries allow. Its nodes are places where the two travelling waves always cancel, and it carries no net energy along the medium — which is why a plucked string sounds and does not go anywhere.

Named by 25 essays across 4 fields — each of them below, with the objects they name alongside it.

Harmonics on a fixed string. Standing-wave patterns on a string clamped at both ends, at n = 1, 2, 3, 4. Only whole numbers of half-wavelengths fit, which is why the allowed frequencies are discrete.

Only some notes fit, and that is where discreteness comes from

A string clamped at both ends can vibrate at some frequencies and not others. A continuous object producing a whole-number list is the oldest quantisation in physics.

waves · Standing waves 50 Hz on two strings: 5.66 m and 2.83 m. The same 50 hertz note driven onto 2 strings at the same tension of 80 newtons but different thicknesses. The frequency is identical — it is the source's — while the wavelengths are 5.66 metres and 2.83 metres, because each string carries the wave at its own speed.

The medium decides the speed, and the source only decides the note

A wave's speed is not chosen by whatever made it. It is a property of the material the wave is crossing, fixed before the wave arrives, and the wavelength is whatever is left over after the division.

waves · Wave motion The states a box allows, drawn on their energies. A particle confined between two walls one unit apart. States 1, 2, 3 are drawn, each riding on a line at its own energy — 1E₁, 4E₁, 9E₁ — because the energies go as n². Each wavefunction has n − 1 places where it crosses zero inside the box: 0 for n = 1, 1 for n = 2, 2 for n = 3. Nothing about the particle's mass or the depth of the well appears in the shapes; only the count of half-wavelengths that fit does.

The box that allows only some energies

Confine a wave between two walls and only the shapes that fit survive. That is a fact about strings, organ pipes and drumheads, and applying it to a matter wave produces quantisation with no new assumption at all.

quantum · Standing waves Reflected upside down. A pulse arriving at a join where the impedance rises by a factor of 3, drawn at three moments. The amplitudes are read off the marched wave: the reflected pulse is -0.500 of the incident one and the transmitted pulse is 0.500, against (1−Z₂/Z₁)/(1+Z₂/Z₁) = -0.500 and 2/(1+Z₂/Z₁) = 0.500 from the two matching conditions. The reflection is inverted, which is the same fact as a pulse on a string flipping when it reaches a wall: a wall is a medium of infinite impedance, and the inversion is what keeps the displacement at the join equal to zero. Note that the transmitted amplitude exceeds one where the second medium is lighter, and that this is not a violation of anything: amplitude is not energy.

What happens where the medium changes

Two conditions at a join — the displacement is continuous, and so is the transverse force — fix the reflected and transmitted amplitudes completely. What decides them is one quantity, the impedance, and not the stiffness or the density separately: two quite different media with the same impedance are, to a wave, the same medium.

waves · Impedance Reflected upside down. A pulse arriving at a join where the impedance rises by a factor of 3, drawn at three moments. The amplitudes are read off the marched wave: the reflected pulse is -0.500 of the incident one and the transmitted pulse is 0.500, against (1−Z₂/Z₁)/(1+Z₂/Z₁) = -0.500 and 2/(1+Z₂/Z₁) = 0.500 from the two matching conditions. The reflection is inverted, which is the same fact as a pulse on a string flipping when it reaches a wall: a wall is a medium of infinite impedance, and the inversion is what keeps the displacement at the join equal to zero. Note that the transmitted amplitude exceeds one where the second medium is lighter, and that this is not a violation of anything: amplitude is not energy.

The equation that lets a shape travel

Newton's second law applied to a piece of string a millimetre long gives T·y″ = µ·ÿ, and the derivation never once asks what the string is made of. Two things fall out immediately: the speed is √(T/µ) and belongs to the medium, and the general solution holds two arbitrary functions rather than one. The second of them is the reflection, which is why a boundary condition can be met at all.

waves · Wave motion 6 modes of a drum, and their frequency ratios. Nodal-line diagrams for 6 modes of a circular membrane, each labelled with its frequency as a multiple of the lowest mode's. A mode (m, n) has m nodal diameters and n − 1 nodal circles, and the circles are drawn at the radii where the computed radial function J_m(j(m,n)·r/R) crosses zero — not at guessed fractions of the radius. The two tints are the two directions the head is moving in at that instant, and the lines between them are the parts of it that never move. The ratios are 1.000, 1.593, 2.136, 2.295, 2.653, 2.917: each one is a quotient of two zeros of Bessel functions, computed here from the power series and checked against their published values to 4.4e-7. Not one is a whole number, which is why a drum has no harmonic series and no pitch in the sense a string has one — and why these same ratios belong to every circular membrane ever stretched, whatever it is made of and however tightly it is pulled.

The drum that has no harmonics

A string's allowed frequencies are 1, 2, 3, 4 times its lowest, because counting half-wavelengths is arithmetic. Clamp a membrane round a circle and the same reasoning returns 1.000, 1.593, 2.136, 2.295 instead — zeros of Bessel functions, not integers. And those numbers belong to the shape of the boundary alone, which raises a question nobody could answer until 1992.

waves · Standing waves How many modes a square has below a given wavenumber. The number of vibration modes of a square with wavenumber below k, counted exactly — every eigenvalue of this region is a closed form, so the staircase is the true count and not an estimate. There are 265 of them below k = 60. The smooth curves are what Weyl's law predicts. The upper one is the leading term alone, the area times k² over 4π, and it is too high by 21.5 modes at the right-hand edge; the lower one subtracts the perimeter term, the perimeter times k over 4π, and is out by 2.4. The content of the law is that the count depends on the region through its area and its perimeter and — to this order — through nothing else at all: not through its shape, not through where its corners are, not through whether it is convex. The staircase's steps are the individual modes, and they cluster where two different pairs of indices give the same wavenumber. That the count is smooth in the large while being a staircase in the small is what makes a mode count usable in thermodynamics, where it appears as a density of states and never as a list.

How many ways there are to vibrate

A drum has infinitely many modes, and below any given frequency it has a finite number of them. That number turns out to depend on the drum's area and the length of its rim and — to the accuracy anybody uses — on nothing else about its shape. Almost every result in thermal physics that involves waves is an application of that count.

waves · Standing waves Minima that are not zeros. The amplitude along a line carrying a wave towards a load and its reflection back, for reflection magnitudes of 0, 0.35, 0.7, 1. With everything reflected the pattern touches zero and is a standing wave in the strict sense. With less than everything it does not: the minima sit at one minus the reflection and the maxima at one plus it, so the pattern is a partial standing wave sitting on a travelling one. The spacing is half a wavelength in every case, and the depth is the only thing that changes — which is why one number, the ratio of the maximum to the minimum, is enough to report the whole pattern.

The node that is not standing still

A wave meeting a perfect reflector makes a standing wave with real nodes. A partial reflection makes something that looks the same and is not: the minima are not zeros, energy flows steadily through them, and the depth of the pattern is a measurement of the load that caused it.

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 A beam of sound has a weight. The force a fully absorbed acoustic beam exerts, against its power, for 3 media. It is the power divided by the speed of sound and nothing else — a watt in water gives 675 micronewtons, which is the weight of 68 milligrams, and a watt in air gives 2.9 millinewtons because the sound is slower there. This is not an analogy with light: it is the same statement, that a wave carrying energy carries momentum, with a much smaller speed in the denominator. The consequence is that acoustic power is measured by weighing. A radiation-force balance — an absorbing target on a laboratory balance, with the transducer beneath it — is the primary standard for ultrasonic output, and every therapeutic and diagnostic transducer is calibrated against one.

Where the loudness goes

An absorption coefficient removes energy from a wave, and energy removed has to appear somewhere. It appears twice, from the same coefficient: as heat, and as momentum. So a beam of sound has a weight — a watt absorbed in water weighs sixty-eight milligrams — and acoustic power is measured by putting an absorber on a balance. The ratio of the force to the heating contains no intensity at all.

waves · Attenuation The four vortices a standing wave leaves behind. Streamlines of the steady flow that a standing sound wave sets up in a channel, over half an acoustic wavelength, with the horizontal axis in units of the wave's own phase and the vertical axis scaled to the channel. The sound itself is a back-and-forth motion that averages to nothing; this is what does not average to nothing. Four closed cells fill each wavelength, two above the centreline and two below, turning in opposite senses, with the fluid moving along the walls toward the velocity nodes and back along the centre. The boundary layer that generates all of it is 69 micrometres thick, which is 0.7 per cent of the channel and is thinner than the width of a line in this drawing. The cells are not in the layer; they fill the channel.

The drift a sound leaves behind

A sound wave moves fluid back and forth and puts it back where it started. Over many cycles it does not: a steady circulation appears, four cells to a wavelength, driven entirely from inside a boundary layer seventy micrometres thick. Its speed contains the sound speed and the amplitude, and it contains no viscosity at all — so making the fluid thinner does not make the drift weaker.

fluids · Viscosity 3 beams crossing: change the phases and the pattern only slides. The intensity where 3 plane waves of one wavelength cross in a plane, their directions spread evenly round the circle, for three different sets of relative phases, each panel spanning 2.2 wavelengths. Darkest shading is brightest, in five steps of a fifth of the peak. The three patterns are the same lattice of bright spots moved sideways: for each of the altered sets there is a shift that reproduces the first pattern to 2.0 per cent of the peak. With 3 beams in two dimensions there are 2 relative phases and 2 directions to slide in, so every change of phase is a slide.

The lattice no phase can bend

Cross a few laser beams of one colour and they paint a crystal of light in the space where they overlap. The beams' phases drift whenever a mirror trembles, and it would seem the pattern must tremble with them. Whether it does depends on a count. Three beams in a plane, or four in space, give a lattice whose shape no change of phase can alter — the phases can only slide it. One beam more and the phases decide the shape, and must be held still.

waves · Superposition The thickness fixes the area, and the design only moves it. How much a metal-backed resistive sheet 7.5 mm from the metal absorbs, measured as ln(1/|Γ|), against wavelength, for sheets of 150, 250, 377, 800 Ω per square. Rozanov's bound says the area under any such curve, over all wavelengths, can be at most 2π² times the thickness: 147.9 mm here. The areas computed are 147.9 mm for 150 Ω, 147.9 mm for 250 Ω, 147.9 mm for 377 Ω, 69.7 mm for 800 Ω. Every sheet up to the impedance of free space meets the bound exactly and only moves its area between wavelengths; the more resistive sheet wastes part of it.

The absorber whose bandwidth is its thickness

A metal plate reflects everything, and a surface that must swallow a radar wave instead has to be a match between free space and a short circuit. A resistive sheet a quarter-wave in front of the metal does it perfectly at one frequency. Widening the band takes more sheets and more depth, and a theorem says why that is not a failure of design: for any absorber backed by metal, the total absorption over all wavelengths is fixed by its thickness, and by nothing else except its permeability.

waves · Impedance A smooth swing that sharpens into pulses. The shape of a string whose far end moves back and forth by 1% of its length at 2 times its fundamental frequency, started swinging in its fundamental, after 0, 10, 20, 30, 40 round trips of a wave. The smooth arch gathers into two ever-narrower pulses running in opposite directions, drawn at the moments they cross in the middle, with their height unchanged and their sides ever steeper; each reaches the moving end just as it moves inwards fastest. The energy has become 1.00, 1.09, 3.15, 10.9, 38.3 times the starting value. Every shape is computed exactly from the moving end, with no approximation to the wall's motion.

The string whose end will not keep still

Move one end of a vibrating string slowly and each mode simply retunes. Move it quickly, at twice the note the string is sounding, and something else happens: the smooth swing gathers into pulses, the energy grows by the Doppler factor of the moving end on every round trip, and it climbs through the modes without stopping — because the modes of a string are evenly spaced, and a wall that couples one pair couples them all.

waves · Standing waves A seabed that reflects one wavelength. The fraction of a surface wave's amplitude reflected by a patch of sinusoidal sandbars 50 m apart and 0.8 m in amplitude, in 4 m of water, against the wavelength of the incoming wave, for 4 bars and 8 bars, from the shallow-water equations integrated through the patch. 4 bars reflect 56 per cent of the amplitude at 99.8 m; 8 bars reflect 86 per cent of the amplitude at 100.4 m, close to twice the bar spacing, where each bar's small reflection returns in step with the others. Away from that wavelength the reflections cancel, and the more bars there are, the narrower the band they reflect.

The sandbars that reflect the sea

A stack of alternating layers reflects the one colour whose half-wavelength matches the repeat. A row of sandbars on a gently sloping seabed is the same arrangement for ocean waves, and it does the same thing. Waves twice as long as the bar spacing are sent back out to sea, one small reflection per bar, all adding in step. A patch of eight bars can return most of the swell that meets it. The reflected wave, added to the incoming one, makes a standing pattern whose nodes are spaced exactly like the bars. Sand gathers in that pattern, so a field of bars can build its own next bar.

waves · Periodic media Only a slow grating sends everything one way. The largest fraction of particles, arriving at Bragg's angle, that a standing light wave can put into the first diffracted order, choosing the wave's depth freely, against how long it acts, in units of ħ divided by the two-kick recoil energy, on a logarithmic axis. A brief pulse acts as a thin phase grating and can put at most 33.9 per cent into that order (dashed), the Raman–Nath limit, spreading the rest over the others. A pulse lasting longer than a few units has time to notice that only one exchange conserves energy, and can put nearly all of it there: 99.9 per cent at the longest time drawn. The same distinction between thin and thick gratings decides whether sound in a crystal diffracts light into many orders or one.

The grating made of light

A diffraction grating is ordinarily made of matter and diffracts light. In 1933 Pyotr Kapitza and Paul Dirac proposed the opposite: a standing wave of light, whose bright and dark bands repeat every half wavelength, should diffract a beam of electrons. It took fifty-three years to see the effect with atoms and sixty-eight to see it with electrons, because a free electron barely notices light. The grating works by momentum: it can only change a particle's motion in whole pairs of photon kicks. A brief flash scatters particles into a spread of orders in proportions fixed by Bessel functions; a slow, gentle one sends every particle one way, which is how laser light became the mirrors and beam splitters of atom interferometers.

quantum · Matter waves The frequency of a mass on a spring that weighs something. The angular frequency of a mass M on a spring of stiffness k and mass mₛ, in units of √(k/M), against the ratio mₛ/M on a logarithmic axis: exact, from β tan β = mₛ/M (solid); Rayleigh's estimate √(k/(M + mₛ/3)) (dashed); and the textbook answer that ignores the spring's mass, 1 (dotted). For a spring a tenth of the mass the exact value is 0.9836, Rayleigh's 0.9837 and the textbook's 1 — 1.7 per cent too fast. With spring and mass equal the exact frequency is 0.8603, Rayleigh's 0.8660: the third is good to 0.66 per cent where the textbook answer is 16 per cent out.

The third of itself a spring carries

Every textbook gives the frequency of a mass on a spring as the square root of stiffness over mass, and every real spring has mass of its own, which the formula leaves out. The repair is famous and oddly specific: add a third of the spring's mass to the load. The third is not a fudge. It is what the spring's kinetic energy comes to if each coil moves in proportion to its distance from the fixed end, and it is good to two-thirds of a per cent even when the spring weighs as much as the mass. Where it fails, it fails because the spring has stopped being a spring and become a column of waves, with notes of its own above the bounce — the notes that make the valve springs of an engine lose control.

mechanics · Harmonic approximation A bottle as a mass on a spring. A 750 ml bottle with a neck 8 cm long and 19 mm across, and its equivalent: the plug of air in the neck, 32 milligrams, moving in and out as a piston on the air in the body, which acts as a spring of stiffness 15 N/m because squeezing it raises its pressure. The plug's mass and the spring's stiffness give a frequency of 109 Hz, the note heard when air is blown across the mouth. The effective neck length includes about one and a half radii of air beyond its two ends that moves with the plug. Nothing in the body's air moves much — it is compressed and released almost uniformly, because the wavelength, three metres, is far larger than the bottle. That is what makes the resonator lumped: one mass, one spring, one note.

The note a bottle sings whatever its shape

Blow across the mouth of an empty wine bottle and it sounds a low note, about 109 hertz for a 750-millilitre bottle. Its wavelength is three metres, ten times the bottle's height, so it is not a standing wave in the bottle the way a flute's note is a standing wave in the flute. It is a mass bouncing on a spring: the plug of air in the neck, thirty milligrams of it, riding on the springiness of the air in the body. The note depends on the body's volume and the neck's size and on nothing about the body's shape, which is why a sphere, a cube and a tall cylinder of the same volume all sing the same note — and why a car driven with one window open throbs at eighteen hertz.

waves · Resonance A ring turns, and its vibration turns less. Four snapshots of a thin ring vibrating in its lowest flexural mode, squashing alternately into two ellipses, while the whole ring is turned steadily about its axis; the deformation is exaggerated. The dot marks one point of the ring; the dashed line, the axis of the vibration's greatest swing. As the ring turns through 30°, 60° and 90°, the pattern of vibration turns through 18°, 36° and 54° — 60 per cent of the ring's angle. Measured from the ring, the pattern has slipped back 36° by the quarter turn. The vibration is neither carried along with the material nor left fixed in space. It follows the turning by a fixed fraction that depends only on the mode's shape, which is the effect G. H. Bryan described in 1890 from the note of a turning wine glass.

The vibration that turns part of the way

Strike a wine glass and turn it on the table while it rings, and the note beats: the pattern of the vibration does not turn with the glass. Nor does it stay still in the room. For a ring vibrating in its lowest mode it follows exactly three-fifths of the rotation and slips back the other two-fifths, a fraction that depends only on the shape of the vibration. That fraction, worked out by George Bryan in 1890, is how some of the most precise gyroscopes ever built measure an angle directly, with nothing spinning in them at all.

mechanics · Rotation 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 The standing shapes of a lake and of a harbour. The water surface at its greatest tilt in the slowest standing waves of a basin of length L, exaggerated vertically. In a closed lake the water must be still at both ends' walls, which are antinodes of the surface: the first mode tilts the whole lake about a node in the middle, the second has two nodes. In a harbour open to the sea at one end, the sea holds the mouth's level fixed, so the mouth is a node: the first mode has a quarter of a wave in the harbour, the second three quarters. Their periods are 2L/(n√(gh)) for the lake, Merian's formula, and 4L/((2n + 1)√(gh)) for the harbour — a harbour of a given length rings at twice the period of a lake of the same length and depth.

The tide a lake makes by itself

On Lake Geneva the water at Geneva rises and falls by a few centimetres every seventy-three minutes, and the water at the far end does the opposite, as though the whole lake were a bath slopping back and forth. It is a standing wave, set ringing by wind and air pressure, and its period follows from the lake's length and depth alone. A harbour rings the same way with its mouth as a node, and it does something odder: narrowing its entrance, the obvious way to keep waves out, makes its resonance stronger.

waves · Standing waves How a hanging chain can swing. The shapes of the first four ways a uniform hanging chain can swing, side by side, against height from its free end: J₀(j₀,ₙ √(y/L)), fixed at the top and largest at the free bottom end. For a 2-metre chain they sound at 0.424, 0.973, 1.525, 2.078 hertz. The first swings as a whole, like a pendulum, with its bottom moving most. The higher modes have nodes, and the nodes are not evenly spaced: they crowd towards the bottom, where the tension is least and waves travel slowest, so a stretch near the free end holds more of each wave than a stretch of the same length near the top.

The chain that swings in Bessel's notes

Hang a chain from a hook and set it swinging. It can swing as a whole, like a pendulum, or in shapes with still points along it, as a guitar string does — but its higher notes are not two, three and four times its lowest. They are 2.295, 3.598 and 4.903 times it, the zeros of a function that Daniel Bernoulli met for the first time in exactly this problem in 1732, a century before Bessel's name was attached to it. The reason is that a hanging chain is a string whose tension grows from nothing at its free end to its whole weight at the top, and a wave crossing it changes speed all the way.

waves · Standing waves A whisper that grows into a note. The amplitude of the tube's lowest mode against time, in units of the time sound takes to cross the tube (a period is two), started from a small disturbance, with the gauze at a quarter of the length, at 0.12 of it, and at three-quarters; heat-transfer strength K = 1. At L/4 the disturbance grows some fortyfold over about thirty-five periods and then stops growing, at an amplitude of 0.83 in these units, where the air's to-and-fro speed at the gauze is comparable to the steady upward draught and the heat transfer, which goes as the square root of the air's speed, can no longer follow it in proportion. At 0.12 the gauze is near the edge of the singing range and the sound grows only slowly. At 3L/4 the same disturbance dies away within a few periods.

The tube that sings when heated low down

Hold a wide metal tube upright, push a red-hot wire gauze a quarter of the way up inside it, and take the flame away. The tube begins to howl — a loud, steady note at its lowest resonance, lasting until the gauze cools. Put the gauze a quarter of the way down from the top instead and the tube is silent; lay the tube on its side and it stops. Heat is driving a sound, and whether it drives or damps depends on where the heat is released and when, in a rule Lord Rayleigh stated in 1878 that now governs rocket engines and power-station turbines.

waves · Resonance Where shaking makes the surface unstable. For water 1 cm deep shaken vertically at 50 Hz, the regions of wavenumber and shaking acceleration in which a surface wave grows rather than decays, computed mode by mode from the Floquet multipliers of its damped Mathieu equation (inside the curves, unstable). The largest tongue reaches down to 0.80 m/s² — 0.081 g — at k = 633 m⁻¹, the wave whose own frequency is exactly half the drive's: a wavelength of 9.9 mm. A second, narrower tongue sits at k = 1066 m⁻¹, where the wave's frequency equals the drive's, and needs much harder shaking. Without damping both tongues would reach down to zero; viscosity lifts their tips, most for the shortest waves.

The ripples that answer at half the shaking

Shake a dish of water up and down fifty times a second and nothing happens — until the shaking passes a threshold, when the whole surface erupts into a pattern of standing ripples, squares or stripes, each crest rising and falling twenty-five times a second, at exactly half the frequency of the shaking. Michael Faraday saw it in 1831. The size of the ripples is not set by the dish. It is chosen by the water itself, as the one wavelength whose natural frequency is half the drive's, and the threshold is set by how quickly the water's own viscosity would kill that wave.

waves · Standing waves Where the heat would land. The average field strength squared on a horizontal plane half-way up the oven from 3 of the in-band modes taken together, 2,3,2; 3,2,2; 2,4,1, darker meaning stronger. The bright patches are spaced by about half a wavelength of the mode along each wall, some 7 to 15 cm for these indices, and between them are nodes where the heating falls to almost nothing. A plate of cheese on a stopped turntable shows this as melted spots, and a measurement of their spacing against the frequency gives the speed of light to within several per cent, a popular school experiment. Since many modes can be involved and the load disturbs them, the method is not as clean as it looks, and here the load's own effect is not drawn.

The oven that cooks in spots

A microwave oven is a metal box, and a metal box has only so many ways of ringing at a given frequency. At 2.45 GHz a kitchen oven allows a handful, and the field inside is the sum of those few standing patterns, with hot patches and nodes several centimetres apart. Food on a stopped plate shows them as a pattern of scorch and frost. A turntable can smear this only into rings, and frozen food has a further trap, because ice absorbs thousands of times less than water.

waves · Standing waves

Named alongside it

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

Boundary conditionsNormal modesSuperpositionWave speedBoundary conditionDispersionEigenvalueImpedanceImpedance-matchingInterferenceNormal modeQuantisation

All concepts