An instrument’s normal attack transient is essential to its characteristic timbre

Evidence

When considering the notes played on pitched musical instruments, timbre relates to those aspects of the note which can be varied without affecting the pitch, duration or loudness of the note as a whole, such as the spectral components present and the way in which their frequencies and amplitudes vary during the sound. … The onset and offset portions of a note tend to last for a short time, of the order of a few tens of milliseconds (or a few hundredths of a second). Changes that occur during the onset and offset phases, and in par­ ticular during the onset, turn out to have a very important role in defining the timbre of a note. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1454 (#corroborates, via linked claim)

The note onset phase is particularly important to perceived timbre. Since listeners can reliably perceive the timbre of notes during the steadystate 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 environ­ ment 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 defini­ tion 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 off­ set phase an important factor in terms of timbre perception. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Attack and release phases lasting milliseconds largely determine a note’s timbre — David Howard, Jamie Angus, coustics and Psychoacoustics, 1454; Instrument identity depends largely on attack and release transients, not steady tone; Note onsets have staggered harmonic entry times that define each instrument’s timbre — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449 (+6 more)

Broader Connections

• Attack and release phases lasting milliseconds largely determine a note’s timbre #corroborates (0.85) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1454
• Onset attack mechanisms are vital acoustic cues to instrument identity #corroborates (0.85)
• A note’s onset phase matters most for perceived timbre #corroborates (0.82) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469
• Instrument identity depends largely on attack and release transients, not steady tone #expands (0.80)
• Note onsets have staggered harmonic entry times that define each instrument’s timbre #expands (0.78) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449
• Timbre depends on sound order over time, not just spectral content. #corroborates (0.78)
• Instrument sound envelopes are described by attack, decay, sustain, and release phases #expands (0.75)
• Timbre is conditioned entirely by the strength and presence of overtones #contradicts (0.72) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1426
• A sound object is analyzable into attack, body, and decay #corroborates (0.72) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 442