Band-pass filter in the context of High-pass filter

The human voice consists of sound made by a human being using the vocal tract, including talking, singing, laughing, crying, screaming, shouting, humming or yelling. The human voice is specifically a part of human sound production in which the vocal folds (vocal cords) are the primary sound source. (Other sound production mechanisms produced from the same general area of the body involve the production of unvoiced consonants, clicks, whistling and whispering.)

Generally speaking, the mechanism for generating the human voice can be subdivided into three parts; the lungs, the vocal folds within the larynx (voice box), and the articulators. The lungs, the "pump" must produce adequate airflow and air pressure to vibrate vocal folds. The vocal folds (vocal cords) then vibrate to use airflow from the lungs to create audible pulses that form the laryngeal sound source. The muscles of the larynx adjust the length and tension of the vocal folds to 'fine-tune' pitch and tone. The articulators (the parts of the vocal tract above the larynx consisting of tongue, palate, cheek, lips, etc.) articulate and filter the sound emanating from the larynx and to some degree can interact with the laryngeal airflow to strengthen or weaken it as a sound source.

Bandwidth is the difference between the upper and lower frequencies in a continuous band of frequencies. It is typically measured in unit of hertz (symbol Hz).

It may refer more specifically to two subcategories: Passband bandwidth is the difference between the upper and lower cutoff frequencies of, for example, a band-pass filter, a communication channel, or a signal spectrum. Baseband bandwidth is equal to the upper cutoff frequency of a low-pass filter or baseband signal, which includes a zero frequency.

Acoustic phonetics is a subfield of phonetics, which deals with acoustic aspects of speech sounds. Acoustic phonetics investigates features of waveforms as they pertain to the time domain (e.g. duration, amplitude, fundamental frequency), frequency domain (e.g. frequency spectrum), or combined spectrotemporal domains. Acoustic phonetics is also concerned with how these properties relate to other branches of phonetics (e.g. articulatory or auditory phonetics), as well as abstract linguistic concepts such as phonemes, phrases, or utterances.

The study of acoustic phonetics was greatly enhanced in the late 19th century by the invention of the Edison phonograph. The phonograph allowed the speech signal to be recorded and then later processed and analyzed. By replaying the same speech signal from the phonograph several times, filtering it each time with a different band-pass filter, a spectrogram of the speech utterance could be built up. A series of papers by Ludimar Hermann published in Pflügers Archiv in the last two decades of the 19th century investigated the spectral properties of vowels and consonants using the Edison phonograph, and it was in these papers that the term formant was first introduced. Hermann also played back vowel recordings made with the Edison phonograph at different speeds to distinguish between Willis' and Wheatstone's theories of vowel production.

A passband is the range of frequencies or wavelengths that can pass through a filter. For example, a radio receiver contains a bandpass filter to select the frequency of the desired radio signal out of all the radio waves picked up by its antenna. The passband of a receiver is the range of frequencies it can receive when it is tuned into the desired frequency as in a radio station or television channel.

A bandpass-filtered signal (that is, a signal with energy only in a passband), is known as a bandpass signal, in contrast to a baseband signal. The bandpass filter usually has two band-stop filters.

In signal processing, a band-stop filter or band-rejection filter is a filter that passes most frequencies unaltered, but attenuates those in a specific range to very low levels. It is the inverse of a band-pass filter. A notch filter is a band-stop filter with a narrow stopband (high Q factor).

Narrow notch filters (optical) are used in Raman spectroscopy, live sound reproduction (public address systems, or PA systems) and in instrument amplifiers (especially amplifiers or preamplifiers for acoustic instruments such as acoustic guitar, mandolin, bass instrument amplifier, etc.) to reduce or prevent audio feedback, while having little noticeable effect on the rest of the frequency spectrum (electronic or software filters). Other names include "band limit filter", "T-notch filter", "band-elimination filter", and "band-reject filter".

Planar transmission lines are transmission lines with conductors, or in some cases dielectric (insulating) strips, that are flat, ribbon-shaped lines. They are used to interconnect components on printed circuits and integrated circuits working at microwave frequencies because the planar type fits in well with the manufacturing methods for these components. Transmission lines are more than simply interconnections. With simple interconnections, the propagation of the electromagnetic wave along the wire is fast enough to be considered instantaneous, and the voltages at each end of the wire can be considered identical. If the wire is longer than a large fraction of a wavelength (one tenth is often used as a rule of thumb), these assumptions are no longer true and transmission line theory must be used instead. With transmission lines, the geometry of the line is precisely controlled (in most cases, the cross-section is kept constant along the length) so that its electrical behaviour is highly predictable. At lower frequencies, these considerations are only necessary for the cables connecting different pieces of equipment, but at microwave frequencies the distance at which transmission line theory becomes necessary is measured in millimetres. Hence, transmission lines are needed within circuits.

The earliest type of planar transmission line was conceived during World War II by Robert M. Barrett. It is known as stripline, and is one of the four main types in modern use, along with microstrip, suspended stripline, and coplanar waveguide. All four of these types consist of a pair of conductors (although in three of them, one of these conductors is the ground plane). Consequently, they have a dominant mode of transmission (the mode is the field pattern of the electromagnetic wave) that is identical, or near-identical, to the mode found in a pair of wires. Other planar types of transmission line, such as slotline, finline, and imageline, transmit along a strip of dielectric, and substrate-integrated waveguide forms a dielectric waveguide within the substrate with rows of posts. These types cannot support the same mode as a pair of wires, and consequently they have different transmission properties. Many of these types have a narrower bandwidth and in general produce more signal distortion than pairs of conductors. Their advantages depend on the exact types being compared, but can include low loss and a better range of characteristic impedance.

Roll-off is the steepness of a transfer function with frequency, particularly in electrical network analysis, and most especially in connection with filter circuits in the transition between a passband and a stopband. It is most typically applied to the insertion loss of the network, but can, in principle, be applied to any relevant function of frequency, and any technology, not just electronics. It is usual to measure roll-off as a function of logarithmic frequency; consequently, the units of roll-off are either decibels per decade (dB/decade), where a decade is a tenfold increase in frequency, or decibels per octave (dB/8ve), where an octave is a twofold increase in frequency.

The concept of roll-off stems from the fact that in many networks roll-off tends towards a constant gradient at frequencies well away from the cut-off point of the frequency curve. Roll-off enables the cut-off performance of such a filter network to be reduced to a single number. Note that roll-off can occur with decreasing frequency as well as increasing frequency, depending on the bandform of the filter being considered: for instance a low-pass filter will roll-off with increasing frequency, but a high-pass filter or the lower stopband of a band-pass filter will roll-off with decreasing frequency. For brevity, this article describes only low-pass filters. This is to be taken in the spirit of prototype filters; the same principles may be applied to high-pass filters by interchanging phrases such as "above cut-off frequency" and "below cut-off frequency".

A high-pass filter (HPF) is an electronic filter that passes signals with a frequency higher than a certain cutoff frequency and attenuates signals with frequencies lower than the cutoff frequency. The amount of attenuation for each frequency depends on the filter design. A high-pass filter is usually modeled as a linear time-invariant system. It is sometimes called a low-cut filter or bass-cut filter in the context of audio engineering. High-pass filters have many uses, such as blocking DC from circuitry sensitive to non-zero average voltages or radio frequency devices. They can also be used in conjunction with a low-pass filter to produce a band-pass filter.

In the optical domain filters are often characterised by wavelength rather than frequency. High-pass and low-pass have the opposite meanings, with a "high-pass" filter (more commonly "short-pass") passing only shorter wavelengths (higher frequencies), and vice versa for "low-pass" (more commonly "long-pass").

A wah-wah pedal, or simply wah pedal, is a type of effects pedal designed for electric guitar that alters the timbre of the input signal to create a distinctive sound, mimicking the human voice saying the onomatopoeic name "wah-wah". The pedal sweeps a band-pass filter up and down in frequency to create a spectral glide. The wah-wah effect originated in the 1920s, with trumpet or trombone players finding they could produce an expressive crying tone by moving a mute in, and out of the instrument's bell. This was later simulated with electronic circuitry for the electric guitar when the wah-wah pedal was invented. It is controlled by movement of the player's foot on a rocking pedal connected to a potentiometer. Wah-wah effects may be used without moving the treadle as a fixed filter to alter an instrument’s timbre (known as a "cocked-wah"), or to create a "wacka-wacka" funk-styled rhythm for rhythm guitar playing.

An auto-wah pedal uses an envelope follower to control the filter instead of a potentiometer.