We now shift to some actual applications of computers in more cultural situations. Early in the Computer Revolution I watched Max Mathews and John R.Pierce at Bell Telephone Laboratories deal with music from computers. It will be clear later, if you do not know it now, once you decide how high a frequency you want to reproduce then the sampling rate is determined. Humans can hear up to about 18,000 cycles per second at best and then only when young; adults use a telephone at less than 8000 cycles per second and can generally recognize a voice almost at once. The quantizing of the sound track which represents the music (and no matter how many musical instruments there are there is a single sound track amplitude), does not introduce much further distortion. Hence, so the reasoning went, we can have the computer compute the height of a sound track at each time interval, put the number out as a voltage, pass it through a smoothing filter, and have the corresponding "music". A pure tone is easy, just a sine curve. Combinations of frequencies determine the sound of a single instrument, with its "attack" (meaning how the frequencies grow in amplitude as the note starts, and the decay later on), and other features. With a number of different instruments programmed, you can then supply the notes and have the sound of the music written out on the tape for later playing. You do not have to compute the numbers in real time, the computer can go as slowly as needed, and not even at a constant rate, but when the numbers are put on the tape and played at a uniform rate then you get the "music".