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You probably noticed in the last problem that even though the wave forms looked fairly different, the sound was similar. Let's look into this a bit deeper with a simpler sound.
phasefun.m
to put your code in for this problem.sig1
. Use Fs = 8000 (remember that you can reproduce only frequencies that are less than
Fs/2
).sig2
exactly the same as the first one, except time delay the second cosine by a half cycle (half of its period).phasesigs.tif
. What did the time delay do to the phase?soundsc
, do they sound different?sig2
with a few different delays and compare the sound to the first signal.sig3
that is one cosine at some frequency. Now add
sig3
with a timed delayed version of itself and call it
sig4
. Use a quarter cycle delay.sig3
and
sig4
. Play them with
soundsc
, do they sound different to you?phasefun.m
phasesigs.tif
In this section, we'll reconstruct the periodic function
x(t)
, shown in Figure 1, by synthesizing a periodic signal from a variable number of Fourier Series coefficients, and observe similarities and differences in the synthesized signal.
gibbs.m
to put your code in for this problem.Ck.m
. Take a look at the contents of the function. This function takes one argument
, and creates the
th Fourier series coefficient for the squarewave above:
stem
instead of
plot
to emphasize that the coefficients are a function of integer-valued (not continuous)
. Label your plots.Coeff.tif
.t=-5:.01:5
. Stack the three plots in a single figure using the
subplot
command and include your name in the title of the figure. Save the figure as
FourTrunc.tif
gibbs.m
Coeff.tifFourTrunc.tif
As you add more cosines you'll note that you do get closer to the square wave (in terms of squared error), but that at the edges there is some undershoot and overshoot that becomes shorter in time, but the magnitude of the undershoot and overshoot stay large. This persistent undershoot and overshoot at edges is called Gibbs Phenomenon.
In general, this kind of "ringing" occurs at discontinuities if you try to synthesize a sharp edge out of too few low frequencies. Or, if you start with a real signal and filter out its higher frequencies, it is "as if" you had synthesized the signal from low frequencies. Thus, low-pass filtering (a filter that only passes low-frequencies) will also cause this kind of ringing.
For example, when compressing an audio signal, higher frequencies are usually removed (that is, the audio signal is low-pass filtered). Then, if there is an impulse edge or "attack" in the music, ringing will occur. However, the ringing (called "pre-echo" in audio) can be heard only before the attack, because the attack masks the ringing that comes after it (this masking effect happens in your head). High-quality MP3 systems put a lot of effort into detecting attacks and processing the signals to avoid pre-echo.
Show the TA ALL m-files that you created or edited and the files below.
gibbs.m
Coeff.tifFourTrunc.tif
sigsynth.maddcosines.m
synthwaves.tifphasefun.m
phasesigs.tifany wav files created
An applet here provides a great interface for listening to sinusoids and their harmonics. There are some well-known auditory illusions associated with the perception of pitch here .
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