Megasonic cleaning is routinely used in the semiconductor industry to remove particulate contaminants from wafer and mask surfaces. Cleaning is achieved through proper choice of chemical solutions, power density and frequency of acoustic field. Considerable work has been done to increase understanding of particle removal mechanisms in megasonic cleaning using different solution chemistries with varying ionic strengths. However, to date, the focus of all these studies of particle removal has been either cavitation or acoustic streaming.The propagation of sound waves through a colloidal dispersion containing ions is known to result in the generation of two types of oscillating electric potentials, namely, Ionic Vibration Potential (IVP) and Colloid Vibration Potential (CVP). These potentials and their associated electric fields can exert forces on charged particles adhered to a surface, resulting in their removal. In addition, the pressure amplitude of the sound wave is also altered in solutions of higher ionic strengths, which can affect the cavitation process and further aid in the removal of particles from surfaces. To test the two hypotheses, investigations have been conducted on the feasibility of removal of charged particles from silicon wafers in electrolyte solutions of different ionic strengths irradiated with a megasonic field of different power densities. Cleaning experiments have been performed using potassium chloride (KCl) as a model electrolyte and silica particles as model contaminant particles. The cleaning performance in KCl solution has been compared to that in other electrolytes solutions such as sodium chloride, cesium chloride and lithium chloride. In order to characterize the cavitation events in KCl solutions, acoustic pressure and sonoluminescence measurements have been performed using hydrophone and cavitation probe respectively. The results indicate that particle removal efficiency (PRE) increases with KCl concentration and transducer power density and much lower power densities are required at higher KCl concentration for a comparable level of cleaning. Further, cleaning performances in NaCl and CsCl were found to be superior to those in KCl and LiCl solutions. Theoretical computations show that the removal forces due to CVP are much larger in magnitude than those due to IVP and are comparable to van der Waals forces.

No description available.

JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; and Take A Wild Guess (2007) for saxophone quartet and soundtrack. In addition, chapter 5 provides a detailed analysis of JacobTV’s composition Pimpin’ and offers further insight into his “avant-pop” compositional style.

No description available.

<p>Electro-acoustic devices such as surface acoustic wave (SAW) and bulk acoustic wave (BAW) devices have been in commercial use for over 60 years and can be found in applications ranging from specialised scientific and military equipment to consumer products, such as mobile telephones, TV and radio receivers, etc. Today by far the largest market for electro-acoustic devices is the telecommunication industry which annually consumes approximately three billion acoustic wave filters for frequency control alone.</p><p>The development of new materials and technologies for electro-acoustic devices has gained a substantial and growing interest from both academic and industrial research communities in recent years due to the enormous growth in the telecommunication industry and other forms of wireless data communication. One of the bigger issues has been to replace the single crystalline substrates with thin film piezoelectric materials deposited by reactive sputtering. This would not only reduce the manufacturing costs but will also enable high frequency of operation and a wider choice of substrate materials. However, in order to obtain the material properties required for the intended application a detailed theoretical description of the reactive sputtering process is necessary since the texture and other functional properties of the piezoelectric material are extremely sensitive to the process parameters in addition to the structure of the underlying material.</p><p>This thesis studies the reactive sputtering process and its application for the fabrication of thin film electro-acoustic devices. The aim has been to gain a further insight into the process and make use of this knowledge to improve the fabrication of electro-acoustic devices. In this work modelling of the reactive sputtering process has been improved by studying certain fundamental aspects of the process and in particular the dynamics of the processes taking place during sputtering both at the target and the substrate surfaces. Consequently, highly textured thin piezoelectric aluminium nitride films have been synthesized and thin film bulk acoustic resonators (FBAR) operating in the GHz range have been fabricated and studied.</p>

Electro-acoustic devices such as surface acoustic wave (SAW) and bulk acoustic wave (BAW) devices have been in commercial use for over 60 years and can be found in applications ranging from specialised scientific and military equipment to consumer products, such as mobile telephones, TV and radio receivers, etc. Today by far the largest market for electro-acoustic devices is the telecommunication industry which annually consumes approximately three billion acoustic wave filters for frequency control alone. The development of new materials and technologies for electro-acoustic devices has gained a substantial and growing interest from both academic and industrial research communities in recent years due to the enormous growth in the telecommunication industry and other forms of wireless data communication. One of the bigger issues has been to replace the single crystalline substrates with thin film piezoelectric materials deposited by reactive sputtering. This would not only reduce the manufacturing costs but will also enable high frequency of operation and a wider choice of substrate materials. However, in order to obtain the material properties required for the intended application a detailed theoretical description of the reactive sputtering process is necessary since the texture and other functional properties of the piezoelectric material are extremely sensitive to the process parameters in addition to the structure of the underlying material. This thesis studies the reactive sputtering process and its application for the fabrication of thin film electro-acoustic devices. The aim has been to gain a further insight into the process and make use of this knowledge to improve the fabrication of electro-acoustic devices. In this work modelling of the reactive sputtering process has been improved by studying certain fundamental aspects of the process and in particular the dynamics of the processes taking place during sputtering both at the target and the substrate surfaces. Consequently, highly textured thin piezoelectric aluminium nitride films have been synthesized and thin film bulk acoustic resonators (FBAR) operating in the GHz range have been fabricated and studied.

Étude sur la collaboration et la participation active d’un saxophoniste-chercheur avec plusieurs compositeurs dans la création musicale mixte. Les musiques mixtes combinent un performeur jouant d’un instrument acoustique qui interagit avec des outils électroniques et informatiques, se faisant entendre par des hauts-parleurs. Nous comprenons la participation comme des multiples échanges humains intégrant l’écoute, l’instrument acoustique, l’électronique et les dernières technologies numériques dans la musique. Notre méthodologie s’est nourrie des sciences cognitives, de la systémique, de la recherche-action intégrale et systémique, de la cybernétique de second ordre, de l’opérationnel et de l’émergence contextuelle. Notre démarche propose une réflexion autour de quelques bouleversements de l’écoute musicale au XXe siècle et l’étude des musiques mixtes contemporaines sous le biais de l’approche multi-échelle. Nous faisons partie de notre objet d’étude tout en le modifiant dans un processus dynamique. Quelles connaissances musicales émergent de ces échanges de compétences et peuvent en être élargies grâce à cette rétroaction (feedback) multiple, en boucle créative ? Ces questions, avec nos sources de première main et l’inclusion du compositeur en tant qu’interprète ont fait émerger notre concept d’interprétation musicale participative. Nous proposons que l’analyse de nos propres collaborations peut apporter une connaissance originale sur les pièces musicales mixtes en question et développer une sorte de plasticité dans le faire musical. Comme démonstration, des morceaux ont été créées pendant nos recherches et sont analysées sous cette approche. / This research is about the collaboration of a saxophonist-researcher with several composers in electro acoustic music with saxophones. Mixed music combines a performer playing acoustic instruments (traditional or not) interacting with digital and electronics means of all sort of operations, time scales and technical configurations, diffused by loudspeakers. We understand participation in our case as human exchanges in musical digital environments, and as the creation of new links that didn’t exist before. Our research proposes a reflection on listening approaches through the XXst century and studying mixed music through the multi scale approach. The saxophonist gives a contribution, that enhance a creative perspective for each musical piece that influence the composers’ work. Which techniques and which musical knowledge can be exchanged and enlarged thanks to this multiple feedback ? The work on first sources, the competence exchanges between musicians during the many steps of their process of collaborative work construct what we call participatory interpretation in new music. In some aspects we get close to the integral and systemic action-research, since we take part in our study objet, and we modify it in a dynamic process. We propose that the analysis of the musical pieces from our collaborations can bring forth an original knowledge about them and enhance musical creativity. Participatory interpretation optimizes the musical results and explore new mixed “composable” spaces. As a demonstration, some pieces are though analyzed under this participatory perspective. Our research leads to a conclusion towards the idea of plasticity in music making.

UNRAVEL, a work for alto saxophone and interactive electronics. Examines works for saxophone and electro-acoustic music. Analyzes modes of interactivity using Robert Rowe's guidelines, with sonogram, score, and programming examples. Investigates hybrid serial-parallel signal-processing networks, and their potential for timbral transformations. Explores compositional working methods, particularly as related to electro-acoustic music.

Present Absence is a work that integrates electronic processing and live performance. It is approximately 20 minutes long and is divided into three movements. The movements are distinct from each other, but are related through various elements. Incorporating electronic processing and live performance can be cumbersome. The primary objective of this piece is to use electronic processing in a manner that liberates the performers from any restrictions imposed by the use of electronic processing. The electronic processing in the work is accomplished through the program MAX/Msp, a real-time digital signal processing environment. The patch that was created for this piece is called MOO-V. This paper discusses the both the technical details in the construction of this patch, and the aesthetic it serves.

Electro-acoustic music composition makes it possible for composers to manipulate sounds with the computer with either alone or both live and prerecorded sounds. From the end of the 19th century when the first electronic devices for performing music were developed up till today, transformations in music technology keep surfacing and the possibilities with working with sounds have become endless. Electro-acoustic music has the ability to conjure mental images using vast sound manipulation techniques using the DAW(Digital audio workstation) and sound amplification through loudspeakers. Every space in our environment has its unique sound/s. Lost and found through these techniques provides an insight to a space which seems distant by geographical location but closer through sound.