Sonic log prediction in carbonates

This work is conducted to study the complications associated with the sonic log prediction in carbonate logs and to investigate the possible solutions to accurately predict the sonic logs in Traverse Limestone. Well logs from fifty different wells were analyzed to define the mineralogy of the Traverse Limestone by using conventional 4-mineral and 3-mineral identification approaches. We modified the conventional 3-mineral identification approach (that completely neglects the gamma ray response) to correct the shale effects on the basis of gamma ray log before employing the 3-mineral identification. This modification helped to get the meaningful insight of the data when a plot was made between DGA (dry grain density) and UMA (Photoelectric Volumetric Cross-section) with the characteristic ternary diagram of the quartz, calcite and dolomite. The results were then compared with the 4-mineral identification approach. Contour maps of the average mineral fractions present in the Traverse Limestone were prepared to see the basin wide mineralogy of Traverse Limestone. In the second part, sonic response of Traverse Limestone was predicted in fifty randomly distributed wells. We used the modified time average equation that accounts for the shale effects on the basis of gamma ray log, and used it to predict the sonic behavior from density porosity and average porosity. To account for the secondary porosity of dolomite, we subtracted the dolomitic fraction of clean porosity from the total porosity. The pseudo-sonic logs were then compared with the measured sonic logs on the root mean square (RMS) basis. Addition of dolomite correction in modified time average equation improved the results of sonic prediction from neutron porosity and average porosity. The results demonstrated that sonic logs could be predicted in carbonate rocks with a root mean square error of about 4μsec/ft. We also attempted the use of individual mineral components for sonic log prediction but the ambiguities in mineral fractions and in the sonic properties of the minerals limited the accuracy of the results.

A PETROPHYSICAL EVALUATION OF THE TRENTON-BLACK RIVER FORMATION OF THE MICHIGAN BASIN

This work is conducted to study the geological and petrophysical features of the Trenton- Black River limestone formation. Log curves, crossplots and mineral identification methods using well-log data are used to determine the components and analyze changes in lithology. Thirty-five wells from the Michigan Basin are used to define the mineralogy of Trenton-Black River limestone. Using the different responses of a few log curves, especially gamma-ray, resistivity and neutron porosity, the formation tops for the Utica shale, the Trenton limestone, the Black River limestone and the Prairie du Chien sandstone are identified to confirm earlier authors’ work and provide a basis for my further work. From these, an isopach map showing the thickness of Trenton-Black River formation is created, indicating that its maximum thickness lies in the eastern basin and decreases gradually to the west. In order to obtain more detailed lithological information about the limestone formations at the thirty-five wells, (a) neutron-density and neutron-sonic crossplots, (b) mineral identification methods, including the M-N plot, MID plot, ϱmaa vs. Umaa MID plot, and the PEF plot, and (c) a modified mineral identification technique are applied to these wells. From this, compositions of the Trenton-Black River formation can be divided into three different rock types: pure limestone, partially dolomitized limestone, and shaly limestone. Maps showing the fraction of dolomite and shale indicate their geographic distribution, with dolomite present more in the western and southwestern basin, and shale more common in the north-central basin. Mineral identification is an independent check on the distribution found from other authors, who found similar distributions based on core descriptions. The Thomas Stieber method of analysis is best suited to sand-shale sequences, interpreting hree different distributions of shale within sand, including dispersed, laminated and structural. Since this method is commonly applied in clastic rocks, my work using the Thomas Stieber method is new, as an attempt to apply this technique, developed for clastics, to carbonate rocks. Based on the original assumption and equations with a corresponding change to the Trenton-Black River formation, feasibility of using the Thomas Stieber method in carbonates is tested. A graphical display of gamma-ray versus density porosity, using the properties of clean carbonate and pure shale, suggests the presence of laminated shale in fourteen wells in this study. Combined with Wilson’s study (2001), it is safe to conclude that when shale occurs in the Trenton-Black River formation, it tends to be laminated shale.

Sound As Artifact

A distinguishing feature of the discipline of archaeology is its reliance upon sensory dependant investigation. As perceived by all of the senses, the felt environment is a unique area of archaeological knowledge. It is generally accepted that the emergence of industrial processes in the recent past has been accompanied by unprecedented sonic extremes. The work of environmental historians has provided ample evidence that the introduction of much of this unwanted sound, or "noise" was an area of contestation. More recent research in the history of sound has called for more nuanced distinctions than the noisy/quiet dichotomy. Acoustic archaeology tends to focus upon a reconstruction of sound producing instruments and spaces with a primary goal of ascertaining intentionality. Most archaeoacoustic research is focused on learning more about the sonic world of people within prehistoric timeframes while some research has been done on historic sites. In this thesis, by way of a meditation on industrial sound and the physical remains of the Quincy Mining Company blacksmith shop (Hancock, MI) in particular, I argue for an acceptance and inclusion of sound as artifact in and of itself. I am introducing the concept of an individual sound-form, or sonifact, as a reproducible, repeatable, representable physical entity, created by tangible, perhaps even visible, host-artifacts. A sonifact is a sound that endures through time, with negligible variability. Through the piecing together of historical and archaeological evidence, in this thesis I present a plausible sonifactual assemblage at the blacksmith shop in April 1916 as it may have been experienced by an individual traversing the vicinity on foot: an 'historic soundwalk.' The sensory apprehension of abandoned industrial sites is multi-faceted. In this thesis I hope to make the case for an acceptance of sound as a primary heritage value when thinking about the industrial past, and also for an increased awareness and acceptance of sound and listening as a primary mode of perception.