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A pulse wave's duty cycle D is the ratio between pulse duration 𝜏 and period T.

A pulse wave or pulse train or rectangular wave is a non-sinusoidal waveform that is the periodic version of the rectangular function. It is held high a percent each cycle ( period) called the duty cycle and for the remainder of each cycle is low. A duty cycle of 50% produces a square wave, a specific case of a rectangular wave. The average level of a rectangular wave is also given by the duty cycle.

The pulse wave is used as a basis for other waveforms that modulate an aspect of the pulse wave, for instance:

Frequency-domain representation

Fourier series of a 33.3% pulse wave, first fifty harmonics (summation in red)

The Fourier series expansion for a rectangular pulse wave with period , amplitude and pulse length is [1]

where .

Equivalently, if duty cycle is used, and :

Note that, for symmetry, the starting time () in this expansion is halfway through the first pulse.

Alternatively, can be written using the Sinc function, using the definition , as

or with as

Generation

A pulse wave can be created by subtracting a sawtooth wave from a phase-shifted version of itself. If the sawtooth waves are bandlimited, the resulting pulse wave is bandlimited, too.

Applications

The harmonic spectrum of a pulse wave is determined by the duty cycle. [2] [3] [4] [5] [6] [7] [8] [9] Acoustically, the rectangular wave has been described variously as having a narrow [10]/thin, [11] [3] [4] [12] [13] nasal [11] [3] [4] [10]/buzzy [13]/biting, [12] clear, [2] resonant, [2] rich, [3] [13] round [3] [13] and bright [13] sound. Pulse waves are used in many Steve Winwood songs, such as " While You See a Chance". [10]

See also

References

  1. ^ Smith, Steven W. The Scientist & Engineer's Guide to Digital Signal Processing ISBN  978-0966017632
  2. ^ a b c Holmes, Thom (2015). Electronic and Experimental Music, p.230. Routledge. ISBN  9781317410232.
  3. ^ a b c d e Souvignier, Todd (2003). Loops and Grooves, p.12. Hal Leonard. ISBN  9780634048135.
  4. ^ a b c Cann, Simon (2011). How to Make a Noise, [unpaginated]. BookBaby. ISBN  9780955495540.
  5. ^ Pejrolo, Andrea and Metcalfe, Scott B. (2017). Creating Sounds from Scratch, p.56. Oxford University Press. ISBN  9780199921881.
  6. ^ Snoman, Rick (2013). Dance Music Manual, p.11. Taylor & Francis. ISBN  9781136115745.
  7. ^ Skiadas, Christos H. and Skiadas, Charilaos; eds. (2017). Handbook of Applications of Chaos Theory, [unpaginated]. CRC Press. ISBN  9781315356549.
  8. ^ " Electronic Music Interactive: 14. Square and Rectangle Waves", UOregon.edu.
  9. ^ Hartmann, William M. (2004). Signals, Sound, and Sensation, p.109. Springer Science & Business Media. ISBN  9781563962837.
  10. ^ a b c Kovarsky, Jerry (Jan 15, 2015). "Synth Soloing in the Style of Steve Winwood". KeyboardMag.com. Retrieved May 4, 2018.
  11. ^ a b Reid, Gordon (February 2000). " Synth Secrets: Modulation", SoundOnSound.com. Retrieved May 4, 2018.
  12. ^ a b Aikin, Jim (2004). Power Tools for Synthesizer Programming, p.55-56. Hal Leonard. ISBN  9781617745089.
  13. ^ a b c d e Hurtig, Brent (1988). Synthesizer Basics, p.23. Hal Leonard. ISBN  9780881887143.