Metamaterials on Conor MacDonald

Band Gaps and Dispersion — Reading the Map

Wed, 18 Mar 2026 00:00:00 +0000

At the end of Post 3, we arrived at a precise physical picture of how a material’s effective parameters can go negative. Near a resonant frequency, the internal dynamics of a locally resonant inclusion reverse the macroscopic response: effective density goes negative above the resonant frequency of the internal mass, effective bulk modulus goes negative above the Helmholtz resonant frequency. When either parameter is negative, k² is negative, k becomes imaginary, and waves decay exponentially rather than propagate. We called the resulting frequency window a band gap.

Negative Parameters — When Physics Gets Weird

Wed, 18 Mar 2026 00:00:00 +0000

At the end of Post 2, we derived the wave equation and discovered something unsettling sitting inside it. If the effective density of a material goes negative, the character of the equation changes. Instead of oscillatory solutions that propagate energy through space, you get exponential ones: a wave entering such a region decays rather than travels. We called this evanescent decay, named the resulting frequency band a band gap, and noted it was central to everything interesting in acoustic metamaterials.

The Wave Equation — Where Everything Begins

Wed, 18 Mar 2026 00:00:00 +0000

At the end of Post 1, I mentioned the spring-mass chain: a row of masses connected by springs, which turns out to be the discrete skeleton underneath all wave physics in solids and metamaterials. Before we get there, though, we need something more fundamental. The spring-mass chain is useful precisely because it approximates something continuous, and that continuous something is governed by the wave equation. If you want to understand how metamaterials manipulate sound, you need to understand this equation first — where it comes from, what it says, and what happens when you start engineering the quantities inside it.

What is a Metamaterial, and Why Should You Care?

Sun, 15 Mar 2026 00:00:00 +0000

Why I’m Writing This
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Between 2017 and 2018, I started a PhD candidature in acoustic metamaterials at the University of Adelaide. The research focus was nonlinear acoustic metamaterials with chaotic spring responses for low-frequency sound suppression. It ended at the 12-month review, a combination of inadequate supervision, gaps in my own mathematical background, and a research environment that didn’t quite set me up for success. I left feeling frustrated and, honestly, a bit defeated.

Metamaterials on Conor MacDonald

Band Gaps and Dispersion — Reading the Map

Negative Parameters — When Physics Gets Weird

The Wave Equation — Where Everything Begins

What is a Metamaterial, and Why Should You Care?

Why I’m Writing This #

Why I’m Writing This
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