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Waveforms The frequency, or pitch, of a sound is only one of several variables that acoustic waves can possess Another important factor is the shape of the wave itself The simplest acoustic waveform is a sine wave (or sinusoid ), in which all of the energy is concentrated at a single frequency Sinusoidal sound waves are rare in nature A good artificial example is the beat note, or heterodyne, produced by a steady carrier in a communications receiver In music, most of the notes are complex waveforms, consisting of energy at a specific fundamental frequency and its harmonics Examples are sawtooth, square, and triangular waves The shape of the waveform depends on the distribution of energy among the fundamental and the harmonics There are infinitely many different shapes that a wave can have at a single frequency such as 1 kHz.

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Parallel GLC circuits 293 0.1, and the susceptance component of j0.010 mittance vector is 0.1 j0.010. j0.020 j0.010. Therefore, the ad-

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As a result, there is infinite variety in the timbre that a single musical note can have Path Effects A flute, a clarinet, a guitar, and a piano can each produce a sound at 1 kHz, but the tone quality is different for each instrument The waveform affects the way a sound is reflected from objects Acoustics engineers must consider this when designing sound systems and concert halls The goal is to make sure that all the instruments sound realistic everywhere in the room Suppose you have a sound system set up in your living room, and that, for the particular placement of speakers with respect to your ears, sounds propagate well at 1, 3, and 5 kHz, but poorly at 2, 4, and 6 kHz This affects the way musical instruments sound It distorts the sounds from some instruments more than the sounds from others.

Problem 16-14

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Baud is the signaling rate. It may or may not be the same as the bit rate, depending on the scheme being used. Figure X shows a system in which we are encoding four bits for each signal, a technique known as quad-bit encoding. This scheme, sometimes called Quadrature Amplitude Modulation, or QAM (pronounced Kw m), a permits a single signal to represent four bits, which means that there is a 4:1 ratio between the bit rate and the signaling rate. Thus, it is possible to achieve higher bit rates in the bandwidth-limited telephony local loop by using multi-bit encoding techniques such as QAM. The first high bit rate modems (9,600 bits-per-second) used this technique of a variation of it to overcome the design limitations of the network. In fact, these multi-bit schemes are also used by the cable industry to achieve the high bit rates they need to operate their multimedia broadband networks. There is one other limitation that must be mentioned: noise. Look at Figure 1-22. Here we have a typical QAM graph, but now we have added noise, in the form of additional points on the graph that have no implied value. When a receiver sees them, however, how does it know which points are noise and which are data Similarly, the oscilloscope trace shown in Figure 1-23 of a high-speed transmission would be difficult to interpret if there were noise spikes intermingled with the data. There is, therefore, a well-known relationship between the noise level in a circuit

Unless all sounds, at all frequencies, reach your ears in the same proportions that they come from the speakers, you do not hear the music the way it originally came from the instruments Figure 31-1 shows a listener, a speaker, and three sound reflectors, also known as baffles The waves reflected by the baffles (X, Y, and Z), along with the direct-path waves (D), add up to some-.

A resistor, coil, and capacitor are connected in parallel with G 0.0010 siemens, jBL j0.0022 and jBC j0.0022. What is the net admittance vector Again, consider the resistor to be part of the coil. Then the complex vectors are 0.0010 j0.0022 and 0 j0.0022. Adding these, the conductance component is 0.0010 0 0.0010, and the susceptance component is j0.0022 j0.0022 j0. Thus, the admittance vector is 0.0010 j0. This is a purely conductive admittance. There is no susceptance.

thing different, at the listener s ears, for each frequency of sound. This phenomenon is impossible to prevent. That is why it is so difficult to design an acoustical room, such as a concert auditorium, to propagate sound well at all frequencies for every listener.

Downloaded from Digital Engineering Library @ McGraw-Hill (www.digitalengineeringlibrary.com) Copyright 2004 The McGraw-Hill Companies. All rights reserved. Any use is subject to the Terms of Use as given at the website.

Problem 16-15

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