A note’s onset, not its steady state or decay, most strongly determines perceived timbre.
Evidence
The note onset phase is particularly important to perceived timbre. Since listeners can reliably perceive the timbre of notes during the steady-state phase, it is clear that the offset phase is rather less important to the perception of timbre than the onset and steady-state phases. The onset phase is also more acoustically robust from the effects of the local environment in which the notes are played, since coloration of the direct sound by the first reflection (see Chapter 6) may occur after the onset phase is complete (and therefore transmitted uncolored to the listener). By definition, the first reflection certainly occurs after part of the note onset has been heard uncolored. The onset phase is therefore a vital element and the offset phase an important factor in terms of timbre perception. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1444
Categorization
- XREF: Directly connects to any prior knowledge of why first reflections and room reverberation smear a sound’s identity — the onset escapes the room before the room gets to color it. — connects to: Timbre is the cue by which listeners identify which instrument produced a note — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1425; Musical notes have distinct onset, steady-state, and offset acoustic phases. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1442; A note’s onset phase matters most for perceived timbre — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469 (+17 more)
- SEED: Angle: ‘The first fifty milliseconds’ — why the identity of a sound is fixed before your ear has even finished hearing it, with implications for recording, mastering, and live sound.
Broader Connections
- A note’s onset phase matters most for perceived timbre
#corroborates(1.00) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469 - Attack and release phases lasting milliseconds largely determine a note’s timbre
#corroborates(1.00) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1454 - Grey’s timbre findings confirm that note onset transients largely determine perceived instrument identity
#corroborates(1.00) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1508 - Study results confirm that attack onset dominates timbre perception
#corroborates(1.00) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1484 - Perceived timbre depends on partial amplitudes but not their phases
#contradicts(1.00) — Eric J. Heller, Why You Hear What You Hear- An…, 2208 - Spectrum magnitude, not phase, drives the perceived timbre of a sound
#contradicts(1.00) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2756 - Note onsets have staggered harmonic entry times that define each instrument’s timbre
#expands(0.90) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449 - Timbre depends on sound order over time, not just spectral content.
#expands(0.90) - Note-onset timbre differs measurably across instruments and lasts tens to 160 milliseconds.
#expands(0.90) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1489 - Note onsets are composed of many separable acoustic cues
#expands(0.90) - An instrument’s opening attack largely determines its perceived timbre
#qualifies(0.80) — Eric J. Heller, Why You Hear What You Hear- An…, 2245 - Timbre is determined by the relative amplitudes of partials, not their frequencies alone
#complicates(0.80) — Eric J. Heller, Why You Hear What You Hear- An…, 2201 - Temporal envelope alone, not spectral content, determines much of perceived timbre.
#complicates(0.80) — Eric J. Heller, Why You Hear What You Hear- An…, 2255 - Musical instrument notes have a gradual onset before steady state
#complicates(0.80) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1478 - Harmonic amplitudes shape timbre and loudness but not pitch.
#complicates(0.80) — Jennifer Lentz, Psychoacoustics- Perception of Normal…, 1195