Each instrument traces a distinctive dynamic path on the tristimulus diagram

Evidence

The tristimulus diagram enables the dynamic relationship between high, mid and f0 to be plotted as a line, and several are shown in the figure for the note onset phases of notes from a selection of instruments (data from Pollard and Jansson, 1982). The time course is not even and is not calibrated here for clarity. The approximate steady-state position of each note is represented by the open circle, and the start of the note is at the other end of the line. The note onsets in these examples lasted as follows: gedackt (10–60 ms); trumpet (10–100 ms); clarinet (30–160 ms); principal (10–150 ms); and viola (10–65 ms). The track taken by each note is very different and the steady-state positions lie in different locations. Pollard and Jansson present data for additional notes on some of these instruments which suggest that each instrument maintains its approximate position on the tristimulus representation as shown in the figure. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1514

The tristimulus diagram enables the dynamic relationship between high, mid and f0 to be plotted as a line, and several are shown in the figure for the note onset phases of notes from a selection of instruments (data from Pollard and Jansson, 1982). … Pollard and Jansson present data for additional notes on some of these instruments which suggest that each instrument maintains its approximate position on the tristimulus representation as shown in the figure. This provides a method for visualizing timbral differences between instruments which is based on critical band analysis. It also provides a particular representation which gives an insight as to the nature of the patterns which could be used to represent timbral differences perceptually. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1514

Categorization

• DEFINE: Concretely shows how a tristimulus plot tracks timbre over note onset time.
• XREF: Directly extends the chapter’s own tristimulus and critical band framework introduced at 1513; also connects to the section 1516 description of the same representation. — connects to: Timbral differences between instruments can be plotted dynamically through critical bands — David Howard, Jamie Angus, coustics and Psychoacoustics, 1514; Note onsets have staggered harmonic entry times that define each instrument’s timbre — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449; Measured instrument spectra reveal both the source and the sound modifiers at once (+1 more)
• corroborated: 3 independent passages support this claim — David Howard, Jamie Angus, coustics and Psychoacoustics, 1514

Broader Connections

• Timbral differences between instruments can be plotted dynamically through critical bands #expands (0.82) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1514
• Each instrument’s timbre is defined by its unique recipe of harmonic partials #expands (0.78)
• Note onsets have staggered harmonic entry times that define each instrument’s timbre #expands (0.75) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449
• Measured instrument spectra reveal both the source and the sound modifiers at once #expands (0.72)