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A scintillator (/ ˈ s ɪ n t ɪ l eɪ t ər / SIN-til-ay-ter) is a material that exhibits scintillation, the property of luminescence, [1] when excited by ionizing radiation. Luminescent materials, when struck by an incoming particle, absorb its energy and scintillate (i.e. re-emit the absorbed energy in the form of light).
This built upon the work of earlier researchers such as Antoine Henri Becquerel, who discovered radioactivity whilst working on the phosphorescence of uranium salts in 1896. Previously, scintillation events had to be laboriously detected by eye, using a spinthariscope (a simple microscope) to observe light flashes in the scintillator.
Silver, added to zinc sulfide to produce a phosphor/scintillator used in radium dials, spinthariscopes, and as a common blue phosphor in color CRTs, and to zinc sulfide-cadmium sulfide used as a phosphor in black-and-white CRTs (where the ZnS/(Zn,Cd)S ratio determines the blue/yellow balance of the resulting white); short afterglow
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Liquid scintillation counter. Samples are dissolved or suspended in a "cocktail" containing a solvent (historically aromatic organics such as xylene or toluene, but more recently less hazardous solvents are used), typically some form of a surfactant, and "fluors" or scintillators which produce the light measured by the detector.
Some signals do not have a sharp maximum, but short rise times . Typical input signals for CFDs are pulses from plastic scintillation counters, such as those used for lifetime measurement in positron annihilation experiments. The scintillator pulses have identical rise times that are much longer than the desired temporal resolution.
The term overtone does not imply harmonicity or inharmonicity and has no other special meaning other than to exclude the fundamental. It is mostly the relative strength of the different overtones that give an instrument its particular timbre, tone color, or character. When writing or speaking of overtones and partials numerically, care must be ...
Violin acoustics is an area of study within musical acoustics concerned with how the sound of a violin is created as the result of interactions between its many parts.These acoustic qualities are similar to those of other members of the violin family, such as the viola.