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mina [271]
3 years ago
6

Why there is no (not enough) gravity on a Moon?

Physics
2 answers:
Svetlanka [38]3 years ago
8 0

Hi


I would say it because the moon is too small and its gravity is not stronger enough to hold the heavy gases like dioxide and Carbone.


I hope that's help:)

11Alexandr11 [23.1K]3 years ago
7 0
There's plenty gravity on the moon.

The acceleration (strength) of gravity on the surface of any
planet, moon, asteroid, comet, etc. depends on the mass
and size of that body.

The Moon's mass is about 1/80 as much as the Earth's mass,
and its diameter is about  0.273 the size of Earth's diameter.

       (about 1/80) times (about 1/0.273²) = about  0.168

This says that the Moon's gravity should be about 0.168
as strong as the Earth's gravity.

The real number is  0.165 .  Not bad.
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Let f(x) =, then what is (0)? ​
Ad libitum [116K]
F(x) = f(0) just solve for x
3 0
4 years ago
Does the air from a sound source travel directly to our ears?
jolli1 [7]
Sound is all about vibrations.
The source of a sound vibrates, bumping into nearby air molecules which in turn bump into their neighbours, and so forth. This results in a wave of vibrations travelling through the air to the eardrum, which in turn also vibrates.
6 0
3 years ago
1 HELP PLEASE I'LL GIVE BRAINLIST AND POINTS!!!
mixas84 [53]

Explanation:

The question of analog vs. digital audio is one of the more hotly debated questions in the world of music, film and media today. Does digital sound better? Does analog sound better? Is there even a noticeable difference?

It’s impossible to understand the difference completely without understanding what distinguishes analog audio from digital audio. A full discussion of these terms is best left to your curriculum and discussions with your mentor in the studio. For now, though, here’s a brief explanation of what these two words mean, and the differences between them.

Analog refers to a continuously changing representation of a continuously variable quantity. Digital, however, refers to representing these variable quantities in terms of actual numbers, or digits. The last two sentences seem a bit complex, but let’s try to simplify them with an example. If you consider the numbers 1 and 2 on a number line, there are actually an infinite number of points between 1 and 2. This is what analog represents—the infinite number of possibilities between 1 and 2. Digital, on the other hand, only looks at certain number of fixed points along the line between 1 and 2 (for example, 1 ¼, 1 ½, 1 ¾, and 2).

Can you see the difference? Digital takes a few “snapshots” of the number line, while analog takes the whole line into account.

As another example, think of analog vs. digital as the difference between seeing something in real life and watching it on film. When we see something happen in real life, there are no “spaces” between what we see, so we’re watching it happen in analog. Film, however, is actually a series of still photographs that are taken in rapid-fire intervals, and when we see them in succession, it tricks our minds into thinking we’re seeing a continuous flow of movement. So in a manner of speaking, when we watch the event happen on film, we’re watching it digitally, because we’re watching increments of the event, rather than the whole thing in fluid motion. (Not to be confused with digital video vs. film, which is another discussion completely!)

Let’s bring this idea into audio, music, and the studio. Sound occurs naturally in analog–that is to say, sound occurs in a continuous set of waves that we hear with the human ear. (Think of it as a “wavy” line with an infinite number of points along it.) When we capture that sound in a way that represents all the possible frequencies, we’re recording in analog; when we use computers to translate the sound into a series of numbers that approximate what we’re hearing, we’re recording in digital.

Thus, a purely analog recording would be something that was recorded on tape and produced using manual equipment to mix, master and press into a vinyl LP. A purely digital recording would be recorded on a computer program such as Pro Tools, mixed, mastered and produced digitally, and eventually burned onto a CD as an MP3 or audio file.

The most ironic aspect of the debate about digital vs. analog recording is that nowadays a lot of music is a combination of the two.  For example, you might record a song onto analog tape, but mix and master it digitally, or release it on the Internet as an MP3.

So what’s the difference in quality between analog and digital? The idea between digital recording is that our ears and brains technically can’t determine the spaces between the digital values, just like our brains interpret film as continuous motion. However, to many people, analog sound tends to be warmer, has more texture and is thought to capture a truer representation of the actual sound. Digital is felt to be somewhat cold, technical and perhaps lacking in analog’s nuance.

However digital is much cheaper. Recording an album with analog technology can require a whole studio full of equipment, but with digital recording technology, it’s possible to record a whole album in a bedroom on a laptop. And whereas analog technology can wear out or be damaged, digital media can last for an indefinite length of time.

Today many recording artists, both major and independent, record using a mixture of digital and analog techniques. While analog audio does give warmth and a truer sound quality, digital is cheaper to work with and offers more control over the finished product.

4 0
4 years ago
A sled with a mass of 20 kg slides along frictionless ice at 4.5 m/s. It then crosses a rough patch of snow that exerts a fricti
Ugo [173]

Use Newton's second law to determine the acceleration being applied to the sled. There are three forces at work on the sled (its weight, the force normal to the ground, and friction) but two of them cancel, leaving friction as the only effective force. This vector is pointed in the opposite direction of the sled's movement, so if we take the direction of its movement to be the positive axis, we would find the acceleration due to the friction to be

\vec F_G+\vec F_N+\vec F_F=m\vec a\iff-12\,\mathrm N=(20\,\mathrm{kg})a\implies a=-0.6\,\dfrac{\rm m}{\mathrm s^2}

Now we use the formula

{v_f}^2-{v_i}^2=2a(x_f-x_i)

to find the distance it travels. The sled comes to a rest, so v_f=0, and let's take the starting position x_i=0 to be the origin. Then the distance traveled x_f-x_i=x_f is

-\left(4.5\,\dfrac{\rm m}{\rm s}\right)^2=2\left(-0.6\,\dfrac{\rm m}{\mathrm s^2}\right)x_f\implies x_f\approx17\,\mathrm m

6 0
3 years ago
Nonconjugated β,γ-unsaturated ketones are in base-catalyzed equilibrium with their conjugated α,β-unsaturated isomers. The mecha
Viefleur [7K]

Answer:

Explanation:

The equilibrium mechanism for the reversible acid is catalyzed by the isomerization of non conjugated β, γ- unsaturated ketones, like 3-cyclohexanone to their conjugated α, I²- unsaturated isomers.

Oxygen of the Carbonyl group in the ketone is protonated by the acid and this is followed by the abstraction of an α- hydrogen from the protonated 3-cyclo hexanone to yield ethanol

2-cyclo hexanone can be obtained by acid catalyzation of 3-cyclohexanone isomers through the formation of it's "enol".

3 0
3 years ago
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