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If a sound is a complex of many TONEs of various FREQUENCY, AMPLITUDE and PHASE, repeating together in a basic CYCLE of definite frequency, the fundamental is the lowest frequency of this complex and corresponds to the unique PITCH heard in such a COMPLEX TONE.
The study of the relationship between physical SOUNDs and the brain's interpretation of them. Until recently, psychoacoustics has devoted more attention to the behaviour of the peripheral auditory system than to the details of cognitive processing.
A recent development where, in contrast to the conventional analog TAPE RECORDER, the audio SIGNAL is sampled within a set of pre-defined limits. It is thus the reciprocal process to that described as digital SOUND SYNTHESIS. Digital sampling is also used is some digital SOUND SYNTHESIZERs.
(French: concrete music) A development introduced in Paris in 1948 by Pierre Schaeffer at the studio of the French Radio (O.R.T.F.). Its aim was to replace traditional musical material with recorded (i.e. concrete) sounds which were then manipulated by FILTERing, tape reversal, TAPE LOOPs, speed changes, tape SPLICEs, or other electronic means. The source of all sounds, however, was environmental. The experimental side of this study developed the concept of l'objet sonore.