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 modeling, speech production and loudspeakers design. Audio illustrations will be given.Paper 6041 presented at the 116th Convention of the Audio Engineering Society, Berlin, 2004

翻译：研究实验室、音乐家或音响工程师用于声音合成的分析工具可能大相径庭。讨论这些工具的假设和局限性，有助于提出一种对声音领域所有从业者而言既相关又尽可能通用的首要工具，其主要目标在于：必须能够聆听分析的每个要素，因为听觉是最终的参考工具。未来，该工具还应基于乐器建模、语音生成和扬声器设计方面的一些近期研究，重新审视声音（或声学）的定义。本文将提供音频示例。该论文于2004年在柏林举行的第116届音频工程学会大会上作为6041号论文发表。