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In music, timbre (/ ˈtæmbər, ˈtɪm -, ˈtæ̃ -/), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different ...
Harmonic series (music) Harmonics of a string showing the periods of the pure-tone harmonics (period = 1/frequency) A harmonic series (also overtone series) is the sequence of harmonics, musical tones, or pure tones whose frequency is an integer multiple of a fundamental frequency. Pitched musical instruments are often based on an acoustic ...
Traditionally in Western music, a musical tone is a steady periodic sound. A musical tone is characterized by its duration, pitch, intensity (or loudness), and timbre (or quality). [1] The notes used in music can be more complex than musical tones, as they may include aperiodic aspects, such as attack transients, vibrato, and envelope modulation.
First as sounded (more common), then as fingered (easier to sightread). In physics, acoustics, and telecommunications, a harmonic is a sinusoidal wave with a frequency that is a positive integer multiple of the fundamental frequency of a periodic signal. The fundamental frequency is also called the 1st harmonic; the other harmonics are known as ...
Timbre is perceived as the quality of different sounds (e.g. the thud of a fallen rock, the whir of a drill, the tone of a musical instrument or the quality of a voice) and represents the pre-conscious allocation of a sonic identity to a sound (e.g. "it's an oboe!"). This identity is based on information gained from frequency transients ...
The tone depends on the sound's frequency, the intensity is the "strength" of a sound, while the timbre depends on the material of the "sounding body" (Italian: corpo sonante). Different sounds such as a double bass and a bell may have the same tone and intensity, but they are often perceived as different sounds. The difference is given by the ...
Over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note. This is why the timbre of a note may be perceived differently when played staccato or legato.
The position in the wavetable selects the single cycle waveform. Digital interpolation between adjacent waveforms allows for dynamic and smooth changes of the timbre of the tone produced. Sweeping the wavetable in either direction can be controlled in a number of ways, for example, by use of an LFO, envelope, pressure or velocity.