Musicians commonly use interference beats objectively to check
tuning at the
unison,
perfect fifth, or other simple harmonic intervals. Piano and
organ tuners use a method involving counting beats, aiming at a particular number for a specific interval. Many
pipe organs contain
"céleste" stops that intentionally produce beating by having two sets of pipes which are slightly out of tune with each other, producing an undulating effect. The
composer Alvin Lucier has written many pieces that feature interference beats as their main focus. Italian composer
Giacinto Scelsi, whose style is grounded on microtonal oscillations of unisons, extensively explored the textural effects of interference beats, particularly in his late works such as the violin solos
Xnoybis (1964) and ''L'âme ailée / L'âme ouverte'' (1973), which feature them prominently (Scelsi treated and notated each string of the instrument as a separate part to make his violin solos effectively quartets of one-strings, where different strings of the violin may be simultaneously playing the same note with microtonal shifts, so that the interference patterns are generated). Composer
Phill Niblock's music is entirely based on beating caused by microtonal differences. Computer engineer Toso Pankovski invented a method based on auditory interference beating to screen participants in online auditory studies for headphones and dichotic context (whether the stereo channels are mixed or completely separated).
Amateur radio enthusiasts use the terms "zero-beating" or "zero-beat" for precisely tuning to a desired
carrier wave frequency by manually reducing the number of interference beats, fundamentally the same tuning process used by musicians. ==Sample==