300Hz is the natural frequency of the tuning fork hence if a sound wave of same frequency hits the fork then RESONANCE occurs
The trumpet has a nominal capability of playing 30 different notes (an expert can get more) and each note it plays is of a different frequency. There is no one, single "frequency" of a trumpet.
Looking at the spectrum displayed on the spectrum analyzer, the fundamental will generally be the left-most vertical spike above 0Hz. However, to qualify as the fundamental, this tone must have a specific harmonic relationship to the other components of the sampled signal. The relationship is that every upper tone in the signal should be an integer-multiple of the frequency of the fundamental. Thus, if you find three spikes, one at 200Hz, one at 300Hz and one at 400Hz, the 200Hz tone is not the fundamental. That would be a tone at 100Hz, and the signal you are looking at has a 'suppressed fundamental'. Likewise, if the signal described above also had a spike at 50Hz, this _could_ be the fundamental, where the second harmonic (at 100Hz), third harmonic (at 150Hz) fifth harmonic (at 250Hz) and all harmonics above the sixth are being suppressed. An additional worthy test is to turn off the signal and look at the spectrum. If there are signal components displayed that don't relate to the sample, they would show up after the signal is removed. (I.e., do an analysis of silence, and anything that shows up needs to be subtracted or discounted from the signal spectrum.)
300hz
The trumpet has a nominal capability of playing 30 different notes (an expert can get more) and each note it plays is of a different frequency. There is no one, single "frequency" of a trumpet.
Frequencies higher pitched than 200Hz range from 201Hz upwards. This includes frequencies like 300Hz, 500Hz, 1000Hz (1kHz), and beyond. The higher the frequency, the higher the pitch perceived by the human ear.
Yes, they do. The frequency of a sound doesn't effect the speed at which it moves; i.e. approx 330meters per second (through air). For example; a sound with a frequency of 600Hz has the same velocity as a sound with frequency 300Hz, the difference being that the sound at 300Hz would have half as many wavelengths in the same distance from source as the sound at 600Hz.
Since velocity of wave = frequency x wavelength (or v=fλ), and velocity is assumed to be the same for both since they're in the same medium,f1λ1 = f2λ2300λ1 = 9000λ2λ1/λ2 = 9000/300 = 30Thus, the wavelength of the 300Hz frequency sound wave is 30 times greater than the 9000Hz frequency sound wave.
From about 150HZ up to about 8kHz or so. The energy mainly in the range of 300Hz to 3kHz.
Weight is at a premium in aircraft. AC to DC power supplies running at 300 Hz instead of the more common 50 Hz or 60 Hz would require smaller filter capacitors, and thus less weight. The power generator, likewise, would require less mechanical speed step-down, reducing weight. Similarly, transformers and inductors, as well as selsyns, can be much smaller, again, reducing weight.
Telephone bandpass is 300Hz to 3000Hz. This is adequate for a recognizable and understandable voice, however the lack of high frequencies makes some people sound different on the phone.Local calls often have a slightly wider bandpass, but long distance calls are sharply filtered to cutoff at exactly 3000Hz, to avoid spillover into adjacent channels during the process of frequency division multiplexing so that many voice connections may be sent on one line (e.g. twisted pair, microwave link, optical fiber) at the same time.
No. CD data, when decoded is raw PCM audio which contains the waveform of all songs. If you really want to remove voice and don't mind a hit in the quality of your music, you can use a waveform editor (like the free Audacity) to equalize out the most prominent vocal frequencies (in the area of about 300Hz, give or take).
A bandpass signal, xc(t), is a signal whose one-sided energy spectrum is both: 1) centered at a non-zero frequency, fC, and 2) does not extend in frequency to zero (DC). The two sided transmission bandwidth of a signal is typically denoted by BT Hertz so that the one-sided spectrum of the bandpass signal is zero except in [fC − BT /2,fC + BT /2]. This implies that a bandpass signal satisfies the following constraint: BT /2 < fC. Fig. 1.1 shows a typical bandpass spectrum. Since a bandpass signal, xc(t), is a physically realizable signal it is real valued and consequently the energy spectrum will always be symmetric around f = 0. The relative sizes of BT and fC are not important, only that the spectrum takes negligible values around DC. In telephone modem communications this region of negligible spectral values is only about 300Hz while in satellite communications it can be many Gigahertz.
Looking at the spectrum displayed on the spectrum analyzer, the fundamental will generally be the left-most vertical spike above 0Hz. However, to qualify as the fundamental, this tone must have a specific harmonic relationship to the other components of the sampled signal. The relationship is that every upper tone in the signal should be an integer-multiple of the frequency of the fundamental. Thus, if you find three spikes, one at 200Hz, one at 300Hz and one at 400Hz, the 200Hz tone is not the fundamental. That would be a tone at 100Hz, and the signal you are looking at has a 'suppressed fundamental'. Likewise, if the signal described above also had a spike at 50Hz, this _could_ be the fundamental, where the second harmonic (at 100Hz), third harmonic (at 150Hz) fifth harmonic (at 250Hz) and all harmonics above the sixth are being suppressed. An additional worthy test is to turn off the signal and look at the spectrum. If there are signal components displayed that don't relate to the sample, they would show up after the signal is removed. (I.e., do an analysis of silence, and anything that shows up needs to be subtracted or discounted from the signal spectrum.)
The average response of a human ear at the ear drum is flat to about 500 Hz with a peak around 2.5KHz. This means that a tone at 300Hz will sound quieter than a tone with the same SPL output at 2KHz.