Foldback aliasing is what happens when frequencies above the Nyquist limit (half the sample rate) get “reflected” back into the audible band during sampling or digital synthesis. As you push a real frequency past Nyquist, its aliased version in the sampled signal moves the opposite direction—folding back—so high components reappear as wrong, inharmonic tones.
Rule of thumb (mapping):
For a real frequency f sampled at rate fs, the aliased frequency is
falias=∣f−mfs∣with integer m chosen so falias≤2fs.
Equivalently: mirror around multiples of fs/2.
Quick examples ( fs=44.1 kHz, Nyquist =22.05 kHz ):
- 30 kHz → ∣30−44.1∣=14.1 kHz (folds down)
- 24 kHz → ∣24−44.1∣=20.1 kHz
- In a 1 kHz square wave, any harmonic above 22.05 kHz (e.g., 25 kHz) folds back (25 → 19.1 kHz), creating the “zingy,” inharmonic alias sound.
Where you’ll notice it
- Recording without a proper anti-alias (analog) low-pass.
- Virtual synths using non-band-limited waveforms (saw, square).
- Nonlinear processing (clipping, waveshaping) or aggressive resampling that generates content above Nyquist.
How to avoid/minimize it
- Low-pass filter before A/D (cutoff ≤ Nyquist), and after oversampling stages.
- Oversample during DSP/synthesis, then low-pass and decimate.
- Use band-limited oscillators/techniques (BLIT, polyBLEP/minBLEP, additive).
- Keep modulation/distortion settings from pushing lots of energy above Nyquist.
That’s foldback aliasing in a nutshell: anything above half the sample rate doesn’t disappear—it comes back in disguise.