Virtual Work - Gear Train

Gear Train

A gear train is formed by mounting gears on a frame so that the teeth of the gears engage. Gear teeth are designed to ensure the pitch circles of engaging gears roll on each other without slipping, this provides a smooth transmission of rotation from one gear to the next. For this analysis, we consider a gear train that has one degree-of-freedom, which means the angular rotation of all the gears in the gear train are defined by the angle of the input gear.

The size of the gears and the sequence in which they engage define the ratio of the angular velocity ωA of the input gear to the angular velocity ωB of the output gear, known as the speed ratio, or gear ratio, of the gear train. Let R be the speed ratio, then

The input torque TA acting on the input gear GA is transformed by the gear train into the output torque TB exerted by the output gear GB. If we assume, that the gears are rigid and that there are no losses in the engagement of the gear teeth, then the principle of virtual work can be used to analyze the static equilibrium of the gear train.

Let the angle θ of the input gear be the generalized coordinate of the gear train, then the speed ratio R of the gear train defines the angular velocity of the output gear in terms of the input gear, that is

The formula above for the principle of virtual work with applied torques yields the generalize force

The mechanical advantage of the gear train is the ratio of the output torque TB to the input torque TA, and the above equation yields

Thus, the speed ratio of a gear train also defines its mechanical advantage. This shows that if the input gear rotates faster than the output gear, then the gear train amplifies the input torque. And, if the input gear rotates slower than the output gear, then the gear train reduces the input torque.

Read more about this topic:  Virtual Work

Famous quotes containing the words gear and/or train:

    For women ... bras, panties, bathing suits, and other stereotypical gear are visual reminders of a commercial, idealized feminine image that our real and diverse female bodies can’t possibly fit. Without these visual references, each individual woman’s body demands to be accepted on its own terms. We stop being comparatives. We begin to be unique.
    Gloria Steinem (b. 1934)

    My heart is warm with the friends I make,
    And better friends I’ll not be knowing,
    Yet there isn’t a train I wouldn’t take,
    No matter where it’s going.
    Edna St. Vincent Millay (1892–1950)