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ratios

n. (plural of ratio English)

Usage examples of "ratios".

And we know that these are the same ratios that occur between frequencies of harmonics of individual sounds, for certain types of sounds.

But there are two ways to measure the rise in pitch: either we estimate each pitch value first, from the observed values of all the harmonics, and then calculate the ratio between the pitch value estimates, or, we calculate the corresponding ratio between each pair of corresponding harmonic frequencies, and then average these ratios to get our estimate of the change in pitch.

Intervals between notes can be described as vectors and as certain fractional ratios between their frequencies.

That is, the differences between two pairs of notes are considered equal if the ratios are equal.

By combining these two ratios, we find that the velocity of the radial stream will be in the ses-plicate ratio of the distances inversely.

Each of the two comparisons is a fully concrete one, because we compare entities of like nature, and only then test the ratios of the two - that is, two pure numbers against each other - to find that they are identical.

Pythagoras made his observations about consonant intervals and ratios of string lengths.

The values of all the ratios for all the frequencies of light define the colour of the surface.

We can display these ratios as a function of frequency in a graph, or reduce them to a table of numbers.

In particular the harmonic relationships between frequencies related by simple integer ratios would give rise to corresponding relationships between neural firings in response to those frequencies.

These ratios are intrinsically pitch translation invariant, so the significance of consonant ratios explains both how pitch translation invariance is achieved, and also why it exists as a precise frequency scaling.

The first type of calibration would involve the human ear, nervous system and auditory cortex all being pre-programmed to grow and develop in such a way that the intervals between different pairs of pitch values whose frequencies are in the same ratios are perceived as the same intervals.

In a very analogous manner, comparisons of ratios between pairs of time durations are required to achieve time scaling invariant perception of rhythm.

In both cases, if there is to be an ability to perceive the same rhythm at different tempos, there needs to be a means of measuring the ratios between the time intervals that these rhythm-sensitive neurons respond to.

The identity of the two 5:4 ratios is what enables us to perceive that these are two versions of the same rhythm, with the second being a slowed down version of the first.