Catfishes produce pectoral stridulatory sounds by "jerk" movements that rub ridges on the dorsal process against the cleithrum. We recorded sound synchronized with high-speed video to investigate the hypothesis that blue catfish Ictalurus furcatus produce sounds by a slip-stick mechanism, previously described only in invertebrates. Blue catfish produce a variably paced series of sound pulses during abduction sweeps (pulsers) although some individuals (sliders) form longer duration sound units (slides) interspersed with pulses. Typical pulser sounds are evoked by short 1-2 ms movements with a rotation of 2°-3°. Jerks excite sounds that increase in amplitude after motion stops, suggesting constructive interference, which decays before the next jerk. Longer contact of the ridges produces a more steady-state sound in slides. Pulse pattern during stridulation is determined by pauses without movement: the spine moves during about 14 % of the abduction sweep in pulsers (~45 % in sliders) although movement appears continuous to the human eye. Spine rotation parameters do not predict pulse amplitude, but amplitude correlates with pause duration suggesting that force between the dorsal process and cleithrum increases with longer pauses. Sound production, stimulated by a series of rapid movements that set the pectoral girdle into resonance, is caused by a slip-stick mechanism.

Blue catfish, Ictalurus furcatus, the largest catfish in North America, produce pectoral stridulation sounds (distress calls) when attacked and held. They have both fish and bird predators, and the frequency spectrum of their sounds is better matched to the hearing of birds than to that of unspecialized fish predators with low frequency hearing. It is unclear whether their sounds evolved to function in air or water. We categorized the calls and how they change with fish size in air and water and compared developmental changes in call parameters with stridulation motions captured with a high-speed camera. Stridulation sounds consist of a variable series of pulses produced during abduction of the pectoral spine. Pulses are caused by quick rapid spine rotations (jerks) of the pectoral spine that do not change with fish size although larger individuals generate longer, higher amplitude pulses with lower peak frequencies. There are longer pauses between jerks, and therefore fewer jerks and fewer pulses, in larger fish, which take longer to abduct their spines and therefore produce a longer series of pulses per abduction sweep. Sounds couple more effectively to water (1400 times greater pressure in Pascals at 1 m), are more sharply tuned and have lower peak frequencies than in air. Blue catfish stridulation sounds appear to be specialized to produce underwater signals although most of the sound spectrum includes frequencies matched to catfish hearing but largely above the hearing range of unspecialized fishes.

BackgroundMale parasitic wasps attract females with a courtship song produced by rapid wing fanning. Songs have been described for several parasitic wasp species; however, beyond association with wing fanning, the mechanism of sound generation has not been examined. We characterized the male courtship song of Cotesia congregata (Hymenoptera: Braconidae) and investigated the biomechanics of sound production.Methods and Principal FindingsCourtship songs were recorded using high-speed videography (2,000 fps) and audio recordings. The song consists of a long duration amplitude-modulated “buzz” followed by a series of pulsatile higher amplitude “boings,” each decaying into a terminal buzz followed by a short inter-boing pause while wings are stationary. Boings have higher amplitude and lower frequency than buzz components. The lower frequency of the boing sound is due to greater wing displacement. The power spectrum is a harmonic series dominated by wing repetition rate ∼220 Hz, but the sound waveform indicates a higher frequency resonance ∼5 kHz. Sound is not generated by the wings contacting each other, the substrate, or the abdomen. The abdomen is elevated during the first several wing cycles of the boing, but its position is unrelated to sound amplitude. Unlike most sounds generated by volume velocity, the boing is generated at the termination of the wing down stroke when displacement is maximal and wing velocity is zero. Calculation indicates a low Reynolds number of ∼1000.Conclusions and SignificanceAcoustic pressure is proportional to velocity for typical sound sources. Our finding that the boing sound was generated at maximal wing displacement coincident with cessation of wing motion indicates that it is caused by acceleration of the wing tips, consistent with a dipole source. The low Reynolds number requires a high wing flap rate for flight and predisposes wings of small insects for sound production.

No abstract