Superpose two oscillations of nearly equal frequencies. Their sum pulsates — these are beats, heard as the sound growing and fading. The beat frequency is |f₁−f₂|. Bring the frequencies closer and watch the envelope.

I'll give you a target beat frequency — detune f₁ and f₂ to reach it. f_d = |f₁ − f₂|.
What just happened?
Two oscillations of almost equal frequencies were superposed. At times they are in phase (reinforcing each other), at times in antiphase (cancelling out) — that is why the loudness rises and falls in the rhythm of beats.
Superposition of oscillations:
Using the sum-to-product formula for cosines, this splits into a slow envelope and a fast carrier oscillation:
Beat frequency:
The amplitude pulsates with frequency — the beat period is . The closer and lie, the slower the beats; when they become equal, the pulsation disappears.
Where will you hear it?
Tuning a guitar "to zero beats", the drone of two slightly detuned engines, measuring close acoustic frequencies — the same principle works everywhere.
Why you need it for the exam:
Beat problems boil down to a single formula: . The trick: compute the frequency difference and its reciprocal to get the beat period — the envelope does the rest.
Remember: two nearby oscillations give beats, and their frequency is simply the difference of the component frequencies — f_d = |f₁ − f₂|.
Superposing two oscillations of nearly equal frequencies produces a pulsation of the amplitude (an envelope). We hear it as the sound rising and falling.
The closer and are, the slower the beats. When they vanish, the frequencies have become equal (tuning instruments).
Symbols: — beat frequency, — component frequencies.
Periodic amplification and cancellation of the amplitude when oscillations of nearly equal frequencies are superposed; we hear it as a pulsation of loudness.
Equal to the difference of the component frequencies: f_d=|f₁−f₂|.
For tuning instruments — when the beats vanish, the frequencies have become equal.
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