<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body style="overflow-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;"><div><br></div><div><div>On Dec 19, 2024, at 12:04 AM, Mattias Rickardsson <mr@analogue.org> wrote:</div><blockquote type="cite"><br class="Apple-interchange-newline"><div><div dir="ltr"><div dir="ltr">On Mon, 16 Dec 2024 at 07:49, Donald Tillman <<a href="mailto:don@till.com">don@till.com</a>> wrote:</div><div class="gmail_quote gmail_quote_container"><div> </div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div>I use the term "phase correct" for an audio oscillator where all the waveforms have their fundamental components in phase, and each waveform has as many of its harmonics in phase as possible. </div></blockquote><div><br></div><div>But don't you sometimes run into problems with sawtooths blowing up into infinite amplitudes if you move around the overtone phases?</div></div></div></div></blockquote><div><br></div><div>Ah, you're thinking of a Hilbert square wave or sawtooth wave, built up on cosine waves instead of sine waves, so everything is shifted 90 degrees.</div><div><br></div><div>(Here comes one of my memorable quotes...)</div><div><br></div><div>Those waveforms have spikes with an amplitude that's theoretically infinite, but in practice the value is around 3.</div><div><br></div><div> -- Don<br>--<br>Donald Tillman, Palo Alto, California<br>https://till.com</div><div><br></div></div></body></html>