Waveform Analysis of Sound by Mikio Tohyama

Author:Mikio Tohyama
Language: eng
Format: epub, pdf
Publisher: Springer Japan, Tokyo

However, the following query might be posed from a perceptual point of view. Figure 5.12 shows a case when the frequency ratio of the fundamentals for the three harmonic components is given as 4: 5: 6(h: i: j) as for a major tonic chord. Therefore, the fundamental frequency is just two octaves lower than that of the lowest fundamental of the three harmonic sequences. Probably, the estimated fundamental frequency might not be acceptable as an estimation of pitch perception from a perceptual point of view.

The methods for signal signature analysis must be chosen depending on the purpose. Again, suppose three sinusoidal frequency components such as f c , f c ±Δ f, are given. If the goal of the signal analysis is estimating the period (fundamental frequency) or beat, then analyzing Δ f is important. Beating is central in tuning musical instruments, such as a piano. The beat period is given as 1∕Δ f. Alternatively, the center frequency might be a significant component needing to be definitively estimated, from a perceptual point of view, when estimated periods appear not to be good measures of perceptual pitch perception.

However, the central component never represents the envelope that yields the beats. Therefore, if the entire waveform is the main interest, independent of the observation intervals of the waveform, the three sinusoidal components must be detected separately, even if the three components exist very closely on the frequency scale. It seems that the ear is good at detecting the signature appropriately.

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