Even harmonics in clarinet tones are suppressed but not absent from the spectrum

Evidence

Pure tones appear relatively rarely in nature. Only some bird songs and the sounds produced by a flute can be considered to be pure tones. Most of the instrumental sounds in music are composed of a fundamental tone and many harmonics. The difference in timbre produced by different musical instruments depends on the frequency spectra of their harmonics. Whereas a flute produces primarily one single component, the fundamental, a trumpet produces many harmonic partials and therefore elicits a much broader masking effect than a flute. — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 449 (#expands, via linked claim)

Notes excluding the seventh harmonic sound considerably less “reedy” than those with it; the seventh harmonic is one of the lowest that is not resolved by the hearing system (provided the sixth and/or eighth are/is also present). … The clarinet has a particular timbre of its own due to the dominance of the odd harmonics in its output, and it is often described as being “nasal.” — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1478 (#expands, via linked claim)

Categorization

• corroborated: 2 independent passages support this claim
• XREF: connects to: The clarinet’s hollow timbre stems from its half-open bore missing even harmonics.; Clarinet sound still contains even harmonics the resonator does not support; Even harmonics appear in clarinet sound despite its closed cylindrical resonator (+4 more)

Broader Connections

• Even harmonics appear in clarinet sound despite its closed cylindrical resonator #corroborates (0.95)
• Instrument timbre differences stem from harmonic spectra that shape masking breadth #expands (0.75) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 449
• The unresolved seventh harmonic imparts reedy timbre to instruments like the clarinet #expands (0.70) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1478