Design of the P2001 ECH launcher for DIII-D

IF 0.3 1区艺术学 0 MUSIC

NINETEENTH CENTURY MUSIC Pub Date : 2002-11-07 DOI:10.1109/FUSION.2002.1027660

R. Ellis, J. Hosea, J. Wilson, L. Gereg, R. Prater, R. Callis, H. Grunloh

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引用次数: 3

Abstract

ECH launchers typically use a moveable mirror to steer a gyrotron beam. Increased power handling capability in an ECH launcher requires adding mass or active cooling to the mirrors. The additional forces on the moveable mirror resulting from either approach typically require a compromise between the power handling capability and the steering capability. The P2001 launcher, designed by PPPL for DIII-D, will launch two 800kW beams for 10 seconds every 10 minutes. Fully independent poloidal and toroidal steering during and between pulses, and a fast poloidal scan capability, will be provided. These design requirements are satisfied by the use of an innovative steering mechanism, which covers the entire scanning range about two axes and is strong enough to withstand the electromagnetic forces on the mirror. An innovative mirror design uses high thermal conductivity materials arranged in a manner that limits the eddy currents during a disruption. In this paper, the design of the P2001 launcher is presented, along with performance calculations. Design features relevant to advanced fusion experiments are highlighted and discussed.

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用于DIII-D的P2001 ECH发射器的设计

ECH发射器通常使用一个可移动的反射镜来引导回旋加速器光束。在ECH发射器中增加功率处理能力需要增加质量或主动冷却镜。任何一种方法对可移动后视镜产生的额外力通常需要在动力处理能力和转向能力之间做出妥协。P2001发射装置，由PPPL为DIII-D设计，将发射两个800kW光束，每10分钟发射10秒。将提供脉冲期间和脉冲之间完全独立的极向和环向转向，以及快速的极向扫描能力。这些设计要求通过使用一种创新的转向机构来满足，该机构覆盖了大约两个轴的整个扫描范围，并且足够强大，可以承受镜面上的电磁力。一种创新的镜面设计采用了高导热材料，这种材料的排列方式限制了断裂过程中的涡流。本文介绍了P2001发射装置的设计，并进行了性能计算。强调并讨论了与先进聚变实验相关的设计特点。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

NINETEENTH CENTURY MUSIC MUSIC-

CiteScore

0.40

自引率

0.00%

发文量

期刊介绍： 19th-Century Music covers all aspects of Western art music between the mid-eighteenth and mid-twentieth centuries. We welcome--in no particular order--considerations of composers and compositions, styles, performance, historical watersheds, cultural formations, critical methods, musical institutions, ideas, and topics not named on this list. Our aim is to publish contributions to ongoing conversations at the leading edge of musical and multidisciplinary scholarship.