Timbre cabinet
Compare synthesized waveforms and envelopes while controlling pitch and level, then save the tones and your notes.
WORKING TOOLStart here
Use this workbench to hear what changes when the same nominal pitch has a different waveform or attack. These are controlled tones, not recordings of real instruments.
By the end: Describe a difference in timbre without assuming that brighter sound means higher fundamental pitch.
What you need: Browser audio at a low, comfortable starting level. The tool creates its own examples; no sample library is needed.
Before you begin: Begin at a low playback level. The workbench generates its own controlled examples; no sample library or separate software is required.
How to use this tool
- Choose a pitch and waveform for A. Play it, copy its settings to B and confirm the starting comparison matches.
- After keeping the original as B, change only A’s waveform or envelope. Compare editable A with saved B at the same pitch and inspect the peak/sample-RMS values; equal sample RMS need not sound equally loud.
- Add a listening note, swap A/B if useful and download the WAV files plus the settings/notes export.
Compare the same pitch with different waveforms
Timbre is the quality that makes two sounds seem different even when they play the same note. Here you compare synthetic tones whose shape you control. A sine wave is a smooth tone with one frequency; a square wave adds higher components called harmonics. Frequency is the vibration rate in hertz (Hz). The fundamental is the base frequency associated with the note; harmonics are whole-number multiples of it. Keep that base note fixed to hear a change in tone quality rather than a change in pitch.
Begin with synthetic sounds so you know what changed. Hold frequency and duration fixed while changing the waveform. Equal peak amplitude does not guarantee equal perceived loudness, so describe that limitation.
The envelope controls how a tone starts and fades. A is your editable tone; B is the saved comparison. MIDI note numbers are a standard way to label pitches: 57 means A3, or 220 Hz here. Peak measures the signal’s largest excursion, while RMS summarizes its average signal level. Neither alone measures how loud you perceive it.
Worked example
In the workbench, set Waveform to sine and Pitch to MIDI note 57 (A3, 220 Hz). Press Keep A as B to save this reference. Now change the editable A waveform to square while keeping pitch and envelope unchanged. Play A and saved B with pauses. Their nominal fundamental frequency matches, while their harmonic structure differs. Read the sample-RMS and peak values before interpreting a perceived difference. Download the pair to inspect their spectra in Sonic Autopsy.
Hold pitch steady. Change the sound.
Build a synthetic tone, keep it as B, change one property in A, then compare and export both. This finite synthesis lab needs no sample library. Recorded instruments, microphones and rooms require sourced recordings and are a separate collection.
A: sine
B: square
Try this: keep the default sine as B, change A to square, and compare at the same pitch. Then keep the square as B and lengthen only A’s attack. Inspect the downloaded WAV in Sonic Autopsy to compare harmonics and envelopes.
RMS matching does not guarantee equal perceived loudness. Speakers, headphones and hearing affect the comparison. These tones model waveforms, not exact instruments. Settings and notes last for this tab; export them and the WAVs to keep the comparison.
Try it yourself
Write your answer before opening the explanation. Use the worked example if you get stuck.
Question 1
A 220 Hz square tone seems brighter than a 220 Hz sine tone. Must its fundamental frequency have increased? How could you check?
Show answer and reasoning
No. The square tone has extra harmonic energy while its nominal fundamental remains 220 Hz. Check the generator settings and spectrum. Brightness and pitch are related perceptual dimensions but are not interchangeable.
Watch for: Do not keep increasing playback level to hear subtleties. Envelope, level and speaker response can change the comparison as much as waveform choice.
Summary + next step
Describe a difference in timbre without assuming that brighter sound means higher fundamental pitch.
Keep the result: Keep the two WAVs with their settings and listening note; they can also be inspected in Sonic Autopsy.
Sources and further reading
Read these references for the concepts used in the lesson.
Lesson updated 2026-10-31 · Guidance updated 2026-10-22
Coverage and further development
Compare four synthesized waveforms and attack/release envelopes at controlled pitch and sample level; save A/B settings, notes and WAV files.