In order to have useful discussions about sound, we need a very simplistic, but practical, understanding of the physics and mathematics associated with sound.
For our purposes, sound is any kind of vibration that is detectable by the ear or devices analogous to the ear. Treatments of sound in physics books tend to focus attention on the transmission of sound vibrations through the air. We will focus instead on the vibrating systems that produce and detect sounds, and just assume that the air is capable of transmitting vibrations from sound producers to the detectors in the ear.
The simplest sort of vibration to understand is that of a spring. To really simplify things, imagine an environment with no gravity, and with a mass (a solid chunk of something) moving along a frictionless track that is fixed so the track cannot move. The track constrains motion of the mass to a straight line, so we do not need to consider the three dimensions of space. Finally, imagine a spring attached at one end to the mass, and at the other end to some fixed point on the track. Be a bit liberal-minded, and imagine that the spring has length 0 when it is not stretched, and that the mass can move freely past the point where the spring is attached. A picture of our imaginary system is given in Figure 1.1.
At any moment in time, the state of the spring system can be described by two real numbers: the displacement of the mass to the right of the point on the track to which the spring is fixed, and the velocity of the mass to the right. Displacement to the left is represented by negative values of , and motion to the left is represented by negative values of . Now, imagine that we displace the mass to the right and hold it in a fixed position, stretching the spring. That is, we establish an initial condition where and . When we release the mass, the spring pulls it to the left, causing a state where and . Eventually the mass reaches the center of the track at , but at this moment and inertia carries the mass beyond the center, to the left where . Now, the spring pulls the mass to the right, canceling out the motion to the left. Eventually the mass stops with , but at this moment the spring is stretched to the left with , so the pull to the right continues and causes the mass to move right with . This motion to the right eventually moves the mass past the center, so . The leftward pull of the spring opposes the motion until . So we return to a condition that is similar to the initial one: and , and the cycle repeats. Figure 1.2 shows a schematic qualitative view of the vibration of the spring.
To complete the simplistic physics of a vibrating spring, we need to
convert the qualitative observations above into quantitative
information that we can use in a mathematical analysis. For this
purpose, let be a real number representing the time that
has passed since some arbitrary starting moment when . For each
quantity that depends on time, means the instantaneous
rate of change of with respect to --when the independent
variable is understood from context, is often abbreviated
. When no outside force acts on the spring and mass, its behavior
is described by the following two equations:
The right practical approach to understanding vibration is to do as much analysis as possible based on the simple approximate equations above, and then do the potentially complicated corrections only when greater accuracy is required. From one point of view, equations 1.1 and 1.2 are approximations to physical reality. From another point of view, they are engineering specifications, and physical systems are approximations to the equations.
Vibrating objects that produce sound, and others (such as the hairs in the cochlea of the ear) that detect sound, can be modeled fairly well by systems of vibrating springs connected together in various ways. Other vibrating systems have other physical parameters that measure the vibrating behavior, but in most cases there are two real numbers--for example pressure and flow of vibrating air, potential and current of vibrating electrical charge--that behave analogously to displacement and velocity in a vibrating spring.
The key to understanding the mathematical analysis of sound is to
visualize the mathematics using graphs and geometric diagrams. The
right way to visualize the mathematics does not look like the
physical system of vibrating springs or other objects that it is
describing. The value of the mathematics is to give us a
different way of visualizing sound, that is much more convenient
for analytic reasoning than the actual physical configuration of
vibrating objects. Mathematically, the important properties of a
vibrating spring are just Equations 1.1 and 1.2.
We can forget that they arose from the physical properties of a
spring, and just consider the numerical behavior of two real numbers
and as functions of , when they satisfy the equations.
To visualize all the possible states of a vibrating system, consider a plane in which the horizontal axis gives the value of and the vertical axis gives the value of --in this way each possible state of the system is a point in the plane.
First, consider the simple case where , so Equations
1.3 and 1.4 specialize to
Take 5 minutes to visualize the relationship between the rotor and the vibrating spring system, as suggested in Figure 1.4. Notice that we have no interest in actual physical devices that look like rotors--the rotor is purely a mathematical concept that allows us to analyze the behavior of a vibrating system. Now forget about springs, and always visualize vibration in terms of rotors and similar mathematical systems that we investigate later.
While the speed of a rotor state around its circular path is constant,
the and components of the rotor state oscillate sinusoidally.
Consider a rotor with amplitude (that is, the circular path has
radius ) and frequency ( full rotations per unit time),
starting at time in state
. The values of and at any time are given by the
trigonometric and functions.
When in Equations 1.3 and 1.4, the
state vector traces out an ellipse, whose aspect ratio is
. The speed of the state vector around the ellipse is not
constant (but the period and frequency are still well
defined). Instead of figuring out a detailed description of an
elliptical rotor, notice that we can always normalize a rotor to have
circular motion, by changing the units in which and are
measured. In an elliptical rotor with frequency , starting at time
in state
and crossing
the axis in state
, the
values of and at any time are still given by the and
functions, but with different scaling factors for each.
(1.9) | |||
(1.10) |
It is mathematically convenient to think of the two-dimensional rotor state vector as a single complex number , where is the ``imaginary'' number defined to be the principal square root of (if you read engineering books and articles, you may see this number written as instead of ). Do not look for deep significance in the names ``real number,'' ``imaginary number,'' ``complex number.'' These names are just tags made up by mathematicians--``real'' numbers are no more real than other numbers, ``imaginary'' numbers are no more imaginary, and ``complex'' numbers are used to simplify a lot of the analysis that we need to do. For our purposes, the complex number is just a particular notation for the vector , which is particularly convenient because the familiar operations of addition, multiplication, and exponentiation on the real numbers extend very naturally to operations on complex numbers that are just right for analyzing vibration.
From now on, we use Greek letters , , , etc. as variables ranging over complex number functions depending on the time variable . Complex number constants independent of time are denoted by bold face Greek letters , , , etc. It is important to be fluent in the following facts about complex numbers, and to be able to do complex arithmetic and algebra just as easily as you learned to do real arithmetic and algebra in calculus class. Make sure that you visualize each of the facts below in terms of vectors in the plane.
(1.11) |
Addition and multiplication extend to complex numbers by using the commutative, associative, and distributive laws, and the fact that . Addition of complex numbers may be visualized in terms of the vectors represented by the two numbers: shift the origin of one vector to the head of the other vector as shown in Figure 1.7.
The conjugate of a complex number, written , is the reflection of through the real axis, as shown in Figure 1.8.
(1.12) | |||
(1.13) | |||
(1.14) | |||
(1.15) | |||
(1.16) | |||
(1.17) | |||
(1.18) | |||
(1.19) | |||
(1.20) | |||
0 | (1.21) | ||
(1.22) | |||
(1.23) |
The real and imaginary parts of a complex number are defined to select out the two components of the vector.
(1.24) | |||
(1.25) | |||
(1.26) | |||
(1.27) | |||
(1.28) | |||
(1.29) | |||
(1.30) |
if and only if and | (1.31) |
The reason why complex numbers are particularly convenient for analyzing vibration is that they may be manipulated according to the magnitude (length of the vector) and argument (angle of the vector with respect to ) as well. A magnitude is just a real number , representing the length of a vector. Angles are a bit trickier.
There are really two connected but different concepts that are both called ``angles.'' First, there are rotational angles that measure an amount of rotation. A rotational angle may be any real number--positive numbers represent counterclockwise rotation, and negative numbers represent clockwise rotation. A rotational angle of represents a full rotation counterclockwise. Even though the direction that an object points after a full rotation is the same as before the rotation, represents a different rotation than 0 or or --suppose for example that we are measuring rotation of a wheel that winds up a spring.
The other sorts of angles are directional angles, which measure
the direction that a vector is pointing with reference to some
conventional 0 direction (for complex numbers, 0 is the
directional angle of the vector represented by ). Directional
angles must be in the half-open interval
. Many books and
articles prefer to describe directional angles in the interval
(so, for example, the angle
in our notation
becomes
). It makes no essential difference which interval is
used, since all arithmetic on directional angles is done on a circle
of circumference
, rather than the usual real line. We may
convert rotational angles to directional angles with the function
.
(1.32) |
(1.33) |
The angle of a complex number is a directional angle, so it is
restricted to the interval
. We denote the
length (also called magnitude) of a complex number by
, and its angle (also called argument) by
.
(1.52) |
Equation 1.41 is also the key to understanding
exponentiation of complex numbers. Notice that the angle behaves
logarithmically with respect to addition and multiplication (think
of the analogous equation
). Since
exponentiation is essentially iterated multiplication, and complex
multiplication is additive on angles, complex exponentiation has a
multiplicative effect on angles. Consider first a complex number
raised to the power of a real number .
Equation 1.54 begins to reveal the power of complex numbers for analyzing vibration. Think of a rotor with amplitude , frequency , and phase 0 (starting value at time ). The state of the rotor at any time is (we multiply by because is of radians, which is a full rotation). For an elliptical rotor with starting value that crosses the imaginary axis at , the state at time is . Equivalent expressions include and . The last of these is the most popular, and leads to the notion of a frequency component in an elliptical rotor.
The most important fact about complex numbers for the study of
vibration is the rule for raising the real number
to
a complex power.
(1.68) | |||
(1.69) |
For our purposes, the derivation of Euler's formula is not as
important as the formula itself. To see why the formula is sensible,
consider the ordinary differential equation defining the exponential
function for real numbers:
(1.71) |
Euler's formula also gives us another way to represent each complex number --instead of the usual form we may write . For we may also write . Unlike the additive Cartesian form , the exponential polar form for a complex number is not unique, since and .
(1.72) |
In essence, exponentiation is a kind of conversion between Cartesian and polar coordinates: the polar coordinates of are and . So, the Cartesian coordinates of turn into the polar coordinates of . Notice that is naturally understood as a rotational angle, while is a directional angle.
Euler's formula (Equation 1.61) allows an even nicer way to analyze a rotor with amplitude , frequency , and phase 0 (starting value at time ): the state at any time is just (such exponential expressions are sometimes called phasors in the engineering literature). (For the elliptical rotor starting at and crossing the imaginary axis at , the state at time is , or .) And, it is particularly easy to construct a complex number with magnitude to rotate other numbers by a given angle : use . Look back at Figures 1.3 and 1.6 again, and interpret them in terms of complex numbers.
Now, the way to understand exponentiation
with an
arbitrary complex base is to first write
, and then use the rules for
exponentiation with base .
Euler's formula makes it easy to define the natural (base ) logarithm of a
complex number.
for | (1.83) |
Dividing two complex numbers in Cartesian form appears to require three steps:
In general, the sounds that we would like to create and analyze are much more complicated than the sounds produced by simple rotors. But, we will continue to model sounds by complex-valued functions depending on a real number parameter standing for time. Such functions are called sound signals in the time domain. Later, in Chapters 4 and 6, we will see other mathematical representations of sound, but signals in the time domain are the easiest models to relate intuitively to the physical signals that enter the ear. Widely used digital input and output devices for sound are also most easily understood in terms of signals in the time domain. Most books and papers on sound consider real-valued time signals, and most electronic devices, both digital and analog, for analyzing or creating sound deal only with real values. Many analysis and synthesis techniques, however, are best understood in terms of a complex signal . We may always project the complex signal to a real signal by taking . Just as many systems for manipulating graphic images deal with three dimensional models, and project them to two dimensions at the last stage before displaying them on video screens, we will think of sound signals as two dimensional, and project to one dimension at the last stage before rendering them through loudspeakers.
Given a sound signal in the time domain, and a particular time , the instantaneous amplitude of at time is , the instantaneous phase is , and the instantaneous frequency is . These are interesting quantities to discuss, and may be useful in analyzing sound, but they do not necessarily have the perceptual impact of the corresponding constant quantities associated with a simple rotor.
Not every complex-valued function of makes sense as a sound signal in the time domain. Some reasonable relation must hold between the real and complex components of . But, it is not clear precisely what relation to require in general. Particular physical interpretations of impose certain constraints--for example if is the velocity of a physical object, and is the displacement of the same object, then . When , , so this derivative constraint forces rotors to be elliptical, with aspect ratio proportional to the frequency. Circular rotors are much more convenient mathematically. Roughly speaking, we would like to restrict sound signals so that is essentially the same as with a phase difference of ( )--such signals are said to be in quadrature, since the angle is one quarter of the full circle. The problem is that many different frequencies may be present in . In Chapter 4 we see a precise definition of this quadrature constraint, using the Hilbert transform.
Figures 1.10, 1.11, and 1.12 show examples of sound signals in the time domain that are slightly more complicated than the basic helix. In each case, part (a) shows a three-dimensional plot of the complex-valued function, and part (b) shows a two-dimensional plot of the real and imaginary components.