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Pure tone

A pure tone is a sound wave characterized by a single frequency component, represented as a sinusoidal waveform with constant amplitude and phase, making it the simplest form of auditory stimulus.^[1] Unlike complex tones found in natural sounds, pure tones lack harmonics or overtones and are typically generated electronically for precision in controlled environments.^[2] In psychoacoustics, pure tones serve as fundamental tools for investigating human auditory perception, including pitch discrimination, loudness scaling, and binaural processing, due to their isolated frequency allowing precise measurement of sensory responses.^[3] They are rarely encountered in everyday acoustics, as most real-world sounds—such as speech or music—comprise multiple frequencies, but their simplicity enables isolation of specific auditory phenomena like frequency selectivity in the cochlea.^[4]^[5] In clinical audiology, pure tone audiometry is a cornerstone behavioral test for evaluating hearing sensitivity across frequencies, typically from 250 Hz to 8000 Hz, by determining the lowest intensity (in decibels hearing level) at which a tone is detected 50% of the time.^[6] This method assesses both peripheral and central auditory pathways, aiding diagnosis of conditions like sensorineural hearing loss, and is recommended for patients reporting auditory abnormalities, trauma, or otologic issues.^[7]^[8] Pure tones also play roles in noise assessment standards, where tonal components are identified if their pressure levels exceed adjacent octave bands by more than 3 dB, influencing environmental and industrial regulations.^[9]

Definition and Fundamentals

Definition

A pure tone is defined as a sound wave composed of a single frequency component, characterized by a simple sinusoidal variation in pressure or displacement over time.^[4] This results in a waveform that repeats periodically without additional oscillations, representing the most basic form of periodic sound in acoustics.^[10] In contrast to broadband sounds, which span a wide range of frequencies with energy distributed across a spectrum, or complex tones that include harmonics as integer multiples of a fundamental frequency, a pure tone maintains complete spectral purity by containing no overtones or extraneous components.^[4] Broadband noises, such as white noise, incorporate many uncorrelated frequencies, while complex sounds from sources like musical instruments feature multiple harmonically related frequencies that enrich timbre but complicate analysis.^[10] Pure tones serve as idealized models in acoustic theory because they isolate the influence of a single frequency, enabling precise study of sound propagation, interference, and basic perceptual responses without the confounding effects of spectral complexity.^[4] Although rare in natural environments—where most sounds are composite— these models underpin foundational principles in fields like psychoacoustics and signal processing.^[5]

Key Characteristics

A pure tone exhibits uniformity in its frequency, amplitude, and phase over the entire duration of the sound, manifesting as a consistent sinusoidal waveform without variations in these parameters.^[11]^[12] This stability distinguishes it from more complex auditory signals, where such elements fluctuate, and ensures a predictable, unchanging auditory experience in ideal conditions.^[10] Central to its nature is the absence of modulation, noise components, or transient elements, rendering the pure tone a quintessential steady-state sound that maintains equilibrium once established. Without these extraneous features, it represents the simplest form of periodic acoustic vibration, free from the irregularities that characterize environmental or musical sounds.^[13] In theoretical frameworks like Fourier analysis, ideal pure tones function as fundamental basis elements, enabling the decomposition of arbitrary periodic signals into sums of these uniform sinusoids for spectral representation.^[14] This uniformity translates to sinusoidal variations in acoustic pressure within the propagating medium.^[12]

Physical Description

Mathematical Representation

A pure tone is mathematically modeled in the time domain as a sinusoidal pressure variation, given by the equation p(t) = A \sin(2\pi f t + \phi), where p(t) represents the sound pressure at time t, A is the amplitude determining the maximum pressure deviation, f is the frequency in hertz (cycles per second), and \phi is the phase shift in radians that specifies the starting point of the oscillation.^[15] This form captures the periodic, harmonic nature of a pure tone, distinguishing it from complex sounds with multiple frequency components.^[16] From this equation, basic properties such as the period T can be derived directly: the period is the duration of one complete cycle, obtained as T = \frac{1}{f}, since the argument of the sine function increases by $2\pi radians over one cycle, corresponding to a time increment of T.^[17] For example, a frequency of 440 Hz yields a period of approximately 2.27 milliseconds, reflecting the inverse relationship between frequency and temporal repetition.^[17] In the frequency domain, the pure tone is represented via its Fourier transform, which concentrates all energy at a single frequency, manifesting as a Dirac delta function \delta(f - f_0) at f_0 = f, with the phase information encoded in the transform's complex components.^[18] This spectral view underscores the tone's monochromatic property, where the inverse Fourier transform reconstructs the original sine wave from this delta impulse.^[18]

Acoustic Properties

A pure tone manifests as a sinusoidal pressure wave propagating through a medium, such as air, where the pressure variations oscillate at a single frequency without harmonics or noise components. This wave form results in a periodic compression and rarefaction of air molecules, with the amplitude determining the intensity of the sound.^[19] The intensity of a pure tone is quantified by its sound pressure level (SPL), expressed in decibels relative to a reference pressure. The SPL is calculated as

\text{SPL} = 20 \log_{10} \left( \frac{p}{p_0} \right),

where p is the root-mean-square sound pressure in pascals and p_0 = 20 \, \mu\text{Pa} is the standard reference pressure, corresponding to the threshold of human hearing at 1 kHz.^[20] This logarithmic scale compresses the wide dynamic range of audible pressures, from about 20 μPa to over 100 Pa, into a practical measure.^[19] The spatial extent of a pure tone wave is characterized by its wavelength \lambda, given by

\lambda = \frac{c}{f},

where f is the frequency in hertz and c is the speed of sound in the medium, approximately 343 m/s in dry air at 20°C. For example, a 1000 Hz pure tone in air has a wavelength of about 0.343 m, influencing how the wave interacts with environmental obstacles.^[21] Propagation of pure tones in air is affected by the medium's properties, particularly attenuation, which reduces wave amplitude over distance. Atmospheric absorption is frequency-dependent, increasing roughly quadratically with frequency above 1 kHz due to mechanisms like viscosity, thermal conduction, and molecular relaxation of oxygen and nitrogen.^[22] The ISO 9613-1 standard provides the analytical method for this attenuation, specifying it for pure tones under various temperature, humidity, and pressure conditions; for instance, at 20°C and 70% relative humidity, a 4 kHz tone may attenuate by about 0.01 dB/m.^[23] In other media like water, where c \approx 1480 m/s, attenuation is lower at low frequencies but can rise sharply due to different absorption processes.

Generation and Measurement

Production Methods

Mechanical methods for producing pure tones date back to early acoustics research and rely on simple harmonic oscillators to generate vibrations with minimal overtones. Tuning forks, invented by John Shore in 1711, consist of a U-shaped steel bar that, when struck softly with a rubber mallet near the tip of the tine, vibrates primarily in its symmetrical fundamental mode, yielding a nearly pure tone at frequencies such as 440 Hz with negligible integer harmonics under ideal conditions. Historically, these devices became standard in laboratories by the mid-19th century, as seen in collections like Scheibler's tonometer with 56 forks spanning 220–440 Hz, enabling precise frequency standards for acoustic experiments. Vibrating strings, employed since ancient times in instruments like the monochord, serve as another historical mechanical approach for near-pure tone production. By stretching a string over a resonant body and exciting it transversely—often by plucking or bowing at the center—the fundamental mode can dominate, producing a tone where the lowest frequency approximates a pure sine wave, as studied by Pythagoras for demonstrating interval ratios such as 2:1 for octaves.^[24] In practice, careful excitation minimizes higher harmonics, making strings useful for educational and experimental settings to isolate fundamental frequencies, though they inherently support a full harmonic series.^[24] Electronic methods have largely supplanted mechanical ones in contemporary laboratories and practical applications, offering precise control over frequency and amplitude for exact sine wave generation. Analog oscillators, such as Wien-bridge circuits, produce continuous sinusoidal outputs by balancing feedback in operational amplifiers, while voltage-controlled oscillators (VCOs) in synthesizers allow tunable pure tones starting from basic waveforms.^[25] Digital signal generators employ direct digital synthesis (DDS), where a phase accumulator and lookup table create sampled sine waves at resolutions up to 24 bits, enabling frequencies from audio range (20 Hz to 20 kHz) with phase noise below -100 dBc/Hz for high purity.^[26] These techniques replicate the ideal sinusoidal waveform described in mathematical representations of pure tones. Despite advances, achieving perfect purity remains challenging due to inherent nonlinearities in physical components, leading to harmonic distortion that introduces unwanted multiples of the fundamental frequency. Total harmonic distortion (THD), defined as the ratio of the root-mean-square value of harmonics to the fundamental (expressed as a percentage), quantifies this impurity; for instance, premium audio oscillators target THD below 0.001% at 1 kHz to ensure negligible audible artifacts.^[27] Factors like amplifier saturation or component tolerances exacerbate THD, particularly at high amplitudes, though modern designs using low-distortion op-amps mitigate it effectively.^[27]

Detection and Analysis Techniques

Oscilloscopes are essential tools for visualizing pure tones in the time domain, allowing researchers to observe the waveform's shape and confirm its sinusoidal nature. By connecting a function generator producing a sine wave—such as at 400 Hz with 2 V peak-to-peak amplitude—to the oscilloscope's input channel, the device displays a smooth, periodic oscillation without distortions or irregularities, indicating the absence of additional frequency components.^[28] Vertical and horizontal cursors can measure the period and amplitude precisely, verifying the frequency and ensuring the signal maintains consistent characteristics over multiple cycles, which is critical for experimental validation in acoustics labs.^[28] For frequency-domain analysis, spectrum analyzers provide confirmation of a pure tone's single-frequency content by resolving the signal's energy distribution across frequencies. These instruments employ resolution bandwidth (RBW) filters to isolate the fundamental frequency, displaying amplitude versus frequency on a calibrated scale; for instance, a 3 kHz RBW can distinguish a pure tone from nearby components by showing a single prominent peak with minimal sidelobes.^[29] Preselectors and harmonic mixing techniques further enhance accuracy by suppressing unwanted responses, ensuring that only the intended pure tone is measured, with markers providing exact frequency readout when the signal-to-noise ratio supports reliable detection.^[29] The Fourier transform serves as a foundational mathematical method for decomposing acoustic signals to verify pure tone purity, transforming time-domain data into its frequency spectrum to reveal constituent components. Applied to a captured waveform, the discrete Fourier transform (DFT) or fast Fourier transform (FFT) identifies a single dominant frequency peak for a pure tone, such as a 262 Hz sine wave appearing as an isolated spike with no harmonics or noise contributions.^[30] This decomposition confirms single-frequency content by quantifying amplitudes at each frequency bin, enabling detection of any deviations that would indicate impurities in experimental setups.^[30] Purity assessment of pure tones in audio engineering relies on quantitative thresholds like signal-to-noise ratio (SNR), where values exceeding 60 dB indicate negligible noise interference relative to the signal, ensuring the tone remains unadulterated.^[31] Professional standards often target even higher SNR, such as 90 dB referenced to +4 dBu with a 22 kHz bandwidth, to achieve distortion-free reproduction in measurement contexts.^[31] Complementary metrics, including total harmonic distortion (THD) below 0.01%, further validate purity by minimizing added harmonics during analysis.^[31]

Human Perception

Auditory Processing

The human auditory system can detect pure tones within a frequency range of approximately 20 Hz to 20 kHz, though this range varies with age and individual differences, and sensitivity is greatest between 2 and 5 kHz where the threshold of hearing is lowest.^[32]^[33] Upon entering the cochlea, pure tones cause vibrations in the oval window that generate a traveling wave along the basilar membrane, a flexible structure within the cochlear duct. This wave propagates from the base (near the stapes) to the apex, increasing in amplitude until it reaches a peak at a location determined by the tone's frequency, after which it rapidly decays. High-frequency tones peak near the base, while low-frequency tones peak closer to the apex, enabling tonotopic organization where different frequencies stimulate distinct regions of the membrane. This frequency-specific peaking arises from the membrane's mechanical properties, including varying stiffness and mass along its length, as demonstrated in physiological measurements.^[34]^[35] The mechanical displacement of the basilar membrane deflects the stereocilia of inner hair cells at the peak location, leading to receptor potentials that trigger neurotransmitter release and action potentials in auditory nerve fibers. Neural encoding of pure tones occurs primarily through two mechanisms: rate coding, where the firing rate of nerve fibers increases with stimulus intensity, and phase locking, where spikes are temporally synchronized to specific phases of the tone's cycle. Phase locking is particularly effective for encoding frequency information in tones up to about 4 kHz, beyond which it diminishes due to limitations in hair cell membrane time constants and synaptic jitter, though rate coding persists for higher frequencies. These processes, observed in mammalian auditory nerve recordings, provide the initial physiological representation of pure tones for further central processing.^[36]^[37]

Pitch Perception

Pitch perception refers to the subjective experience of a pure tone's height or lowness, which is fundamentally linked to its physical frequency. For pure tones, higher frequencies generally elicit perceptions of higher pitch, with this relationship following a logarithmic scale rather than a linear one. This scaling reflects the human auditory system's nonlinear processing, where equal perceptual intervals in pitch correspond to multiplicative changes in frequency; for instance, the standard concert pitch A4 is defined at 440 Hz, serving as a reference for musical tuning and demonstrating how frequencies double across octaves to maintain consistent pitch intervals.^[38] One prominent explanation for this frequency-to-pitch mapping is place theory, originally proposed by Hermann von Helmholtz in 1863, which posits that pitch is determined by the specific location along the cochlea where the basilar membrane experiences maximum excitation from the tone's vibration. In this model, different frequencies stimulate distinct regions of the cochlea due to the membrane's tonotopic organization, with higher frequencies activating the base and lower frequencies the apex, thereby encoding pitch through spatial patterns of neural activity. This theory accounts for the precise discrimination of pure tone pitches by associating perceptual height with the anatomical place of peak response.^[39]^[40] Key perceptual phenomena associated with pure tone pitch include octave equivalence, where tones separated by a frequency ratio of 2:1 (e.g., 440 Hz and 880 Hz) are subjectively perceived as highly similar or equivalent in pitch class despite their difference in height. This affinity arises from shared harmonic relationships and early auditory processing, even without additional spectral components. Additionally, the just noticeable difference (JND) in frequency for pure tones—the smallest change detectable by listeners—typically ranges from about 0.3% to 1% of the base frequency, varying with the tone's frequency, intensity, and duration; for example, at mid-range frequencies around 1000-2000 Hz, the JND is approximately 0.3-0.5%, highlighting the auditory system's fine resolution for pitch discrimination.^[41]^[42]^[43]

Applications

In Audiology and Medicine

Pure tone audiometry is a fundamental diagnostic procedure in audiology used to assess an individual's hearing thresholds by presenting pure tones at varying frequencies and intensities. The test measures the lowest intensity at which a pure tone can be detected, typically across octave frequencies from 250 Hz to 8000 Hz, which encompass the primary range of human speech perception.^[8] This procedure involves both air conduction, where tones are delivered via headphones or insert earphones to simulate natural sound transmission through the outer and middle ear, and bone conduction, which uses a vibrator placed on the mastoid process to bypass the outer and middle ear and directly stimulate the cochlea.^[44] Masking noise is applied to the non-test ear when necessary to prevent cross-hearing and ensure accurate threshold determination for each ear independently.^[8] In clinical applications, pure tone audiometry plays a key role in differentiating types of hearing loss. Conductive hearing loss, often resulting from issues in the outer or middle ear, is identified when air-conduction thresholds are elevated but bone-conduction thresholds remain normal, creating an air-bone gap of at least 10 dB.^[7] In contrast, sensorineural hearing loss, stemming from inner ear or auditory nerve damage, shows elevated thresholds for both air and bone conduction, with the air-bone gap typically less than 10 dB.^[32] This distinction guides treatment decisions, such as surgical interventions for conductive losses or amplification devices for sensorineural ones. Pure tones are also utilized in tinnitus management through masking techniques, where external tones are presented to reduce the perception of internal tinnitus sounds. The procedure involves matching the tinnitus pitch to a pure tone and then determining the masking level, which can inform the customization of sound therapy devices to provide relief.^[45] To ensure reliability, pure tone audiometry adheres to established standards for equipment calibration and testing conditions. The ANSI/ASA S3.6 specification outlines requirements for audiometer performance, including tolerances for pure-tone signals and reference threshold levels to maintain consistency across devices.^[46] Testing is conducted in sound-treated environments, such as sound booths, to minimize ambient noise interference and achieve background levels below permissible limits as defined by ISO 8253-1.^[44]

In Acoustics and Engineering

Pure tones play a critical role in the calibration of acoustic transducers in engineering applications. Microphones are typically calibrated for sensitivity using a 1 kHz pure tone at a reference sound pressure level of 94 dB (corresponding to 1 Pa), as specified in IEC 60268-4, which outlines methods for measuring electrical impedance, sensitivity, and directional response patterns to ensure accurate sound pressure level detection across audio systems. This frequency is chosen because it lies within the mid-range of human hearing and minimizes variations due to microphone resonances, allowing for standardized comparisons of device performance. Similarly, loudspeakers are calibrated using a 1 kHz pure tone to determine sensitivity, defined as the sound pressure level produced at 1 meter with 1 watt of input power, following guidelines in IEC 60268-5 that emphasize consistent testing conditions for sound system equipment. These procedures enable precise alignment in sound reinforcement systems, where deviations in sensitivity can lead to imbalances in frequency response and overall system fidelity. In environmental noise assessment, pure tones are evaluated for their tonal character to apply corrective penalties, particularly in industrial settings involving machinery. According to ISO 1996-2, tonality is assessed by identifying prominent pure tone components in the noise spectrum through third-octave band analysis, where a tone is considered audible if its level exceeds surrounding noise by a threshold determined by the tone's frequency and masking effects.^[47] If tonal audibility exceeds 3 dB, a penalty of up to 6 dB is added to the A-weighted sound pressure level, with the exact value scaled linearly between 0 and 6 dB based on audibility (e.g., 0 dB for audibility below 3 dB, increasing to 6 dB above 18 dB), as detailed in the standard's annex on tonal corrections.^[48] This adjustment accounts for the increased annoyance of tonal noise from sources like fans or turbines, influencing noise limit compliance and mitigation strategies in urban planning and regulatory enforcement. For room acoustics testing, swept pure tones—often implemented as exponential sine sweeps—provide an efficient method to measure reverberation time, the duration for sound decay by 60 dB after excitation ceases. ISO 3382-2 recommends this technique for ordinary rooms, where the sweep signal, covering a broad frequency range (e.g., 20 Hz to 20 kHz), is emitted from a sound source, recorded, and deconvolved to derive the impulse response for backward-integrated decay curve analysis.^[49] This approach offers advantages over traditional interrupted noise methods by improving signal-to-noise ratios and enabling simultaneous measurement of parameters like early decay time, with typical reverberation times varying from 0.2 seconds in studios to over 2 seconds in auditoriums depending on volume and absorption.^[50] Such measurements guide the design of spaces for optimal acoustic performance, including absorption material placement to control echoes.

In Music and Sound Design

In electronic music synthesis, pure tones serve as foundational building blocks, generated by oscillators that produce basic waveforms such as sine waves, which lack harmonics and provide a clean, fundamental frequency. These oscillators are integral to modular synthesizers, where voltage-controlled oscillators (VCOs) allow musicians to create and manipulate pure tones for additive synthesis, combining multiple sine waves to build complex timbres without introducing unwanted overtones. For instance, in systems like the Buchla 158 or Moog 901, sine wave outputs enable precise control over pitch and amplitude, facilitating experimental compositions that emphasize tonal purity over traditional instrumental richness.^[51]^[25] The theremin exemplifies an instrument designed to produce near-pure tones, utilizing heterodyne principles to generate a sine wave output that approximates a single frequency, often closer to ideal purity than many acoustic instruments. Invented by Léon Theremin in 1920, it allows performers to control pitch and volume through hand gestures near antennas, yielding ethereal, continuous glissandi that have influenced avant-garde and electronic music genres. Dedicated sine wave generators, such as those in modular setups or standalone audio modules, extend this capability, functioning as minimalist instruments for generating isolated pure tones in live performances or studio experimentation. In sound design for film and television, pure tones contribute to atmospheric effects, where low-frequency sine waves create immersive, ethereal soundscapes that evoke psychological tension or otherworldliness, as seen in layered applications during transitional scenes. Additionally, they function as test signals in audio mixing, with standardized 1kHz sine waves at levels like -20dBFS used to calibrate equipment, verify frequency response, and ensure balanced stereo imaging across production pipelines. These practical roles highlight pure tones' versatility in bridging creative artistry and technical precision within media production.^[52]^[53]

Comparison with Complex Tones

Harmonic Structure

In complex tones, harmonics refer to the frequency components that are integer multiples of the fundamental frequency, which is the lowest frequency present in the sound.^[54] These harmonics distinguish complex tones from pure tones, as the latter consist solely of a single sinusoidal frequency without additional multiples.^[55] The Fourier theorem establishes that any periodic waveform can be decomposed into a linear superposition of pure tones—specifically sine and cosine waves—at frequencies that are integer multiples of the fundamental frequency, known as the harmonic frequencies.^[56] This decomposition, termed Fourier analysis, reveals how complex periodic sounds are built from sums of these pure tone components, with the amplitudes and phases of each harmonic determining the overall waveform shape.^[57] For instance, a square wave, a common non-sinusoidal periodic signal, requires the summation of the fundamental frequency and its odd harmonics (such as the 3rd, 5th, and 7th) to approximate its sharp transitions, with amplitudes decreasing as the inverse of the harmonic number.^[58] In contrast, a pure tone involves only the single fundamental component, lacking these additional harmonic contributions.^[59]

Perceptual and Acoustic Differences

Pure tones exhibit a narrow spectral bandwidth, consisting of energy concentrated at a single frequency, in contrast to complex tones with harmonics that span a broader frequency range due to multiple discrete components. This limited bandwidth results in less spatial diffusion during propagation, as pure tones maintain greater coherence and directionality compared to the more dispersed energy of complex tones across frequencies, which interact variably with environmental boundaries. Perceptually, pure tones are often described as producing a "hollow" or "beeping" sensation, lacking the rich timbre characteristic of complex tones, where the presence and relative strengths of harmonics contribute to a fuller, more instrument-like quality.^[60] Unlike complex tones, which can evoke virtual pitch through harmonic relationships—even when the fundamental frequency is absent—pure tones rely solely on their spectral pitch, missing these additional perceptual cues that enhance depth and familiarity in sound recognition.^[61] A notable acoustic phenomenon involving pure tones occurs when two are presented simultaneously with closely spaced frequencies, leading to beating: periodic amplitude fluctuations perceived as a pulsing or wavering intensity at the difference frequency, which does not arise in an isolated pure tone.^[62] This interference effect underscores the simplicity of pure tones' waveform, contrasting with the stable, integrated perception of harmonic complex tones.^[38]

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### Summary of ISO 1996-1:2016
[49]
[PDF] BUILDING AND ROOM ACOUSTICS MEASUREMENTS WITH SINE ...
The estimated reverberation time for 30 dB dynamic range is indicated by a straight line. Use of sine sweep technique in building and room acoustics ...
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[PDF] The Theory and Technique of Electronic Music - Miller Puckette
stractions to organize banks of oscillators for additive synthesis. There are many possible ways of organizing oscillator banks besides those shown here.
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Sound Design in Lars Von Trier's Antichrist (2009) - Academia.edu
Sound (sd): the deep low mass increases and decreases in volume and dynamics, reverberated comes and goes ethereal, the sine waves of the previous scene are no ...
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The SOS Audio Test Files
and we've created a set of properly calibrated test files ...
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The harmonic organization of auditory cortex - PMC - PubMed Central
A harmonic is a component frequency of a sound that is an integer multiple of a fundamental frequency. For example, if the fundamental frequency is f0, the ...
[54]
Fundamental and Harmonic Resonances - HyperPhysics
A harmonic is defined as an integer (whole number) multiple of the fundamental frequency. Vibrating strings, open cylindrical air columns, and conical air ...Missing: acoustics | Show results with:acoustics
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Fourier Analysis
Incidentally, the decomposition of a periodic waveform into a linear superposition of sinusoidal waveforms is commonly known as Fourier analysis. The ...Missing: theorem acoustics
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Fourier Analysis and Synthesis - HyperPhysics
The process of decomposing a musical instrument sound or any other periodic function into its constituent sine or cosine waves is called Fourier analysis.Missing: acoustics | Show results with:acoustics<|separator|>
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Square Wave from Sine Waves - MATLAB & Simulink Example
This example shows how the Fourier series expansion for a square wave is made up of a sum of odd harmonics. Start by forming a time vector running from 0 to 10 ...
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[PDF] Fourier Analysis II
Only the odd harmonics are present in the periodic, bipolar, 50% duty-cycle square wave (as drawn in the figure above) because this waveform, as we have ...
[59]
[PDF] An Exploration of Musical Timbre - Stanford CCRMA
His now classical psychophysical theory holds that differences in the timbre of complex tones depend on the presence and strength of harmonics in the tones, but ...
[60]
13 Pitch - MIT Press Direct
Feb 12, 2024 · The pitch of a pure tone or partial is spectral, whereas that of a complex tone (voiced speech sound, musical instrument, environ- mental sound) ...
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5.5 Interference in Time: Beats - UConn Physics
Beats occur when two waves of different frequencies interfere, causing a pulsing sound with a frequency equal to the difference between the two frequencies.Missing: acoustics | Show results with:acoustics