Pulse wave
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:
- Pulse-width modulation (PWM) refers to methods that encode information by varying the duty cycle of a pulse wave.
- Pulse-amplitude modulation (PAM) refers to methods that encode information by varying the amplitude of a pulse wave.
Frequency-domain representation
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
- ā Smith, Steven W. The Scientist & Engineer's Guide to Digital Signal Processing ISBN 978-0966017632
- ā 2.0 2.1 2.2 Holmes, Thom (2015). Electronic and Experimental Music, p.230. Routledge. ISBN 9781317410232.
- ā 3.0 3.1 3.2 3.3 3.4 Souvignier, Todd (2003). Loops and Grooves, p.12. Hal Leonard. ISBN 9780634048135.
- ā 4.0 4.1 4.2 Cann, Simon (2011). How to Make a Noise, [unpaginated]. BookBaby. ISBN 9780955495540.
- ā Pejrolo, Andrea and Metcalfe, Scott B. (2017). Creating Sounds from Scratch, p.56. Oxford University Press. ISBN 9780199921881.
- ā Snoman, Rick (2013). Dance Music Manual, p.11. Taylor & Francis. ISBN 9781136115745.
- ā Skiadas, Christos H. and Skiadas, Charilaos; eds. (2017). Handbook of Applications of Chaos Theory, [unpaginated]. CRC Press. ISBN 9781315356549.
- ā "Electronic Music Interactive: 14. Square and Rectangle Waves", UOregon.edu.
- ā Hartmann, William M. (2004). Signals, Sound, and Sensation, p.109. Springer Science & Business Media. ISBN 9781563962837.
- ā 10.0 10.1 10.2 Kovarsky, Jerry (Jan 15, 2015). "Synth Soloing in the Style of Steve Winwood". KeyboardMag.com. Retrieved May 4, 2018.
- ā 11.0 11.1 Reid, Gordon (February 2000). "Synth Secrets: Modulation", SoundOnSound.com. Retrieved May 4, 2018.
- ā 12.0 12.1 Aikin, Jim (2004). Power Tools for Synthesizer Programming, p.55-56. Hal Leonard. ISBN 9781617745089.
- ā 13.0 13.1 13.2 13.3 13.4 Hurtig, Brent (1988). Synthesizer Basics, p.23. Hal Leonard. ISBN 9780881887143.