With the introduction of ACT, the ANSYS Workbench editors have gained capabilities and shortcuts at much faster rate than what can be introduced in a development cycle. One of first and most far-reaching extensions is the acoustics. Inevitably I was called on by one of our customers to show them how to do a vibro-acoustics analysis (harmonic with acoustic excitation), which I did. Since the need for this type of analysis is quite broad, I’ll share it here too.
There was an extra level of excitement with this, in that I’m a structures specialist with no prior acoustics experience. So, I did my own self-training on this topic. I have to give tons of credit to Sheldon Imaoka of ANSYS Inc., who took the time to thoroughly answer the questions I had. That being said, this article will be from the standpoint of a structures engineer who’s just recently learned acoustics.
It’s at the very top, under ‘A’ for “Acoustics”
One thing you’ll notice when you unzip the Acoustics Extension package is that it contains and entire Acoustics training course. Take advantage of this freebie when learning acoustics analysis. I’ll note that, most of the process outlined in this article comes from the Submarine workshop in the acoustics training course.
Once you’ve installed and turned on the Acoustics extension, insert a Harmonic Analysis system into the project schematic, link to the solid geometry file, and specify the material properties for the solid. You’ll specify the properties for the acoustic region in Mechanical under the appropriate Acoustics extension objects.
Rename as you see fit
Assuming you just have the geometry for the solid and not the acoustics domain, create two acoustics regions around the solid. The first region, surrounding the solid, will function as the fluid region itself, through which the acoustic waves travel and interact with the structure. The second region, surrounding the first acoustics region, will function as the Perfectly Matched Layer (PML). The PML essentially acts as the infinite boundary of the system. (If you’re an electromagnetics expert, you already know this and I’m boring you.) You can easily create these domains using the enclosure tool in DesignModeler.
Now we’re ready for the analysis. Open up Mechanical. Look at all those buttons on the Acoustics toolbar! Yikes! Fortunately we just need a few of them.
Here they are
Insert an Acoustic Body and scope it to the acoustic region surrounding the structural solid. In the Details, enter the density and speed of sound for the fluid. Also set the Acoustic-Structural Coupled Body Options to Coupled With Symmetric Algorithm.
Pay attention to the menu picks, Details, and geometry scoping here and in the rest of the image captures
“Coupled” refers to coupled-field behavior, i.e. the mutual interaction between the structure and the fluid. You’re probably familiar with this. You need that, otherwise the acoustic waves are just bouncing off the structure and the structure isn’t doing anything. Regarding the Symmetric Algorithm: The degrees of freedom for the acoustic system consists of both structural displacements and fluid pressures, giving you an asymmetric stiffness matrix. However, ANSYS has incorporated a symmetrization algorithm to convert the asymmetric stiffness matrix to a symmetric matrix, resulting in half as many equations that need to be solved and thus a faster solution time yadda yadda yadda, so go with that.
Now insert another Acoustic Body, this time scoped to the outer acoustic region (body). This is your Perfectly Matched Layer. Specify fluid density and speed of sound as before. This time, leave the Coupled Body Option as Uncoupled. But, set Perfectly Matched Layers to On.
Apply an Acoustic Pressure of zero to the outer faces of the PML body (Boundary Conditions > Acoustic Pressure). As you may have guessed from the menu pick, this is your acoustics boundary condition.
Now we’ll apply some acoustic wave excitation to this thing. From the Excitation menu, select Wave Sources (Harmonic). In the Details, set the Excitation Type to either Pressure or Velocity, set the Source Location and specify the excitation pressure or velocity value. In this example, I went with Pressure since that’s what MIL-STD-810 specifies, but this option will be based on your customer requirements. I also assumed an external acoustic source (hence, Outside the Model), but again, that will be based on your particular project. You also need to specify the vector of the wave source, via rotations about the Z and Y axes (f and q). In this case I chose 30 and 60 degrees, respectfully, to make it interesting. Once again, enter the density and speed of sound for the fluid.
Insert Scattering Controls under the Analysis Settings menu and specify whether the Field Output should be Total or Scattered. Total gives you constant pressure waves that interact with the solid but not each other. Scattered gives you wave that interact and interfere with each other as well as the solid.
Set up the Fluid-Structural Interaction boundary condition where the structural faces are “wetted” by the acoustic domain. The FSI Interface is found under the Boundary Conditions menu.
Apply structural constraints and specify harmonic analysis settings just like you would with a standard harmonic analysis. Make sure you request Stresses under the Output Controls. Solve the model.
Plot your structural results as you would for a typical harmonic analysis. Acoustic Pressure wave results may be found under the Results menu in the Acoustics toolbar. If you used Total field output for the scattering option, you can verify your wave source direction by looking at the Acoustic Pressure Contours. Keep in mind that the contours will be orthogonal to the axis of the sine wave; you may need to put some extra spatial thought into it to fully understand what’s going on.
Acoustic Pressures: Field Output = Total
Acoustic Pressures: Field Output = Scattered
Von-Mises Stresses, Max Over Phase: Field Output = Scattered
As you’ll note in the training course, there are a number of design questions that can be answered with acoustics analysis. In this article, I’ve addressed what I thought would be one of the more popular applications of acoustics simulation. If the demand is there, I’ll research and compose more articles on various acoustics applications in the future. For instance, another area I’ve examined is natural frequencies of a structure that’s submerged in a fluid. If there’s another acoustics topic you’d like us to write about, please let us know in the comments.