Acoustic Cue & Frequency Synthesizer PRO 2.0

The saved cue uses a twelve hundred hertz fundamental and harmonic weights one, point five and point two five, with the remaining two zero. Those nonzero components have frequencies twelve hundred, twenty four hundred and thirty six hundred hertz. The metric chooses the frequency of the largest weight, not the highest frequency present. Its harmonic distortion estimate is the square root of point five squared plus point two five squared, divided by one, times one hundred. That is approximately fifty five point nine percent. The three bars share two hundred pixels per weight, lengths two hundred, one hundred and fifty. This is a calculation from supplied harmonic coefficients, not measured distortion of a microphone, loudspeaker or recording. A zero fundamental weight uses a tiny denominator fallback, which can produce a very large displayed ratio. The displayed duration adds attack, decay and release. It does not add a separate sustain hold duration: sustain is an amplitude level. With attack point zero five, decay point two and release point three, the metric duration is point five five seconds. WAV generation adds point one seconds of trailing samples, giving point six five seconds. At forty four thousand one hundred samples per second, floor of their product is twenty eight thousand six hundred sixty five samples. The stacked bar uses six hundred pixels per second, so attack spans thirty pixels, decay one hundred twenty, release one hundred eighty, and the added tail sixty. Total file time spans three hundred ninety pixels versus the metric three hundred thirty. File duration and visible duration therefore describe different quantities. WAV samples sum the active sine harmonics, multiply by the envelope and volume gain, then apply point three scaling. The gain is ten raised to volume decibels divided by twenty. At zero decibels the gain is one. At minus six it is approximately point five zero one two. The bars use three hundred pixels per linear gain, lengths three hundred and about one hundred fifty point four. Encoding clamps samples between minus one and one before writing sixteen bit PCM. This file is synthesized from current parameters; it is not an export of microphone input or an exact capture of the displayed analyzer. Playback initializes native Web Audio, while WAV export computes samples separately. Native sound triggering, waveform drawing, parameter exports and responsive allocation require separate evidence.