fundamental frequency

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fun·da·men·tal fre·quen·cy

the principal component of a sound, which has the greatest wavelength, hence the lowest tone in a sound; sounds are composed of a fundamental tone and overtones or higher tones. See: harmony, noise.

fun·da·men·tal fre·quen·cy

(F0) (fŭn'dă-men'tăl frē'kwĕn-sē)
1. acoustics The basic frequency of a vibrating object or sound as opposed to its harmonics, or the principal component of a complex sound wave.
2. The frequency of vocal fold vibration at the glottis, unaffected by resonance.
See also: optimal pitch
References in periodicals archive ?
14,85,119,120) In this section, we summarize observations of energy partitions (i) between fundamental modes and overtones, (ii) between Love and Rayleigh waves, and (iii) between P-SV and SH waves based on typical frequencies.
Hou, "Highly efficient and broadband Cherenkov radiation at the visible wavelength in the fundamental mode of photonic crystal fiber," IEEE Photon.
Using FDTD we studied the effect of the perturbation along the direction of propagation on this fundamental mode.
An array of two elements, operating in their fundamental mode, fed in phase and spaced around 0.
The focusing effect occurs when the screen thickness is approximately equals to the one wavelength of the fundamental mode in the waveguide.
3D model of retrofitted building is pushed by applying a lateral load based on fundamental mode in x-
It contains only the fundamental mode of Rayleigh waves as shown in Figure 2 by dashed lines.
In the first fundamental mode, the entire galaxy expands and contracts, with material farther from the center moving faster than material closer to the center.
Love may be at times lived as a mutual hurting, but it remains the essential, fundamental mode of exploring that relationality, that interweaving that we ceaselessly live and speak.
But there is also, of course, the fundamental mode of presentation.
That a book which promotes exemplification as the fundamental mode of literary meaning should contain no more than a couple of lines of verse to exemplify its argument may seem paradoxical.
Murray Schafer's famous exploration of acoustic ecology The Tuning of the World (New York: Knopf, 1977) parades a varied list of admirers--architects and psychologists as well as composers and performing artists--for whom that fundamental mode of perception transmitted by the organ of hearing inspires a mixture of awe, respect, and curiosity; its genealogy, of course, leads from E.

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