Analysis tools used in research laboratories, for sound synthesis, by musicians or sound engineers can be rather different. Discussion of the assumptions and of the limitations of these tools permits to propose a first tool as relevant and versatile as possible for all the sound actors with a major aim: one must be able to listen to each element of the analysis because hearing is the final reference tool. This tool should also be used, in the future, to reinvestigate the definition of sound (or Acoustics) on the basis of some recent works on musical instrument modelling, speech production and loudspeakers design. Audio illustrations will be given.
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