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The term auditory roughness was first introduced by Hermann von Helmholtz in 1885. In general, to my understanding, a high level of auditory roughness is defined as possessing: High ratio partials (harmonics far away from the fundamental). Amplitude fluctuations of the spectrum (rate being very important). Pitch instability. From wikipedia: ...


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Plenty of things: low sampling rate, low bit-depth, introduction of "noisy" elements such as you mentioned. I think the general principle of "roughness" you describe would fall under the subject of "inharmonicity."


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The waveform from a single free reed is more like getting one "puff" of air each time the reed reaches its full excusion. I would probably start with a square-wave and if possible modify the pulse width down (or up) to increase the higher harmonics. Then I'd apply some equalization (mostly low pass) to round things out and to get the "wigglyness" in the ...



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