Flute tone arises from jet instability locked to tube resonances
Evidence
Wind instruments can be split into those with and those without reeds, and organ pipes can be split likewise, based on the sound source mechanism Wind instruments and the pipes of a pipe organ can be split into those without and those with reeds. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1160 (
#expands, via linked claim)
Categorization
- XREF: connects to: Vortex energy transduced through wire and soundboard creates the Aeolian harp; Unstable air jets are also extremely sensitive to small perturbations; Jet instability makes some noise from fast air streams physically unavoidable (+4 more)
Related
- Wind instruments divide into reed and non-reed sound-source types (similarity 0.87)
- Reed-driven woodwinds act as stopped pipes while flute-type reeds act as open pipes. (similarity 0.86)
- Organ pipes exemplify both reed and flue wind-instrument sound sources (similarity 0.84)
- Air reed pitch is set entirely by resonator length and pipe openness. (similarity 0.81)
- Woodwind flue instruments act acoustically as pipes open at both ends (similarity 0.81)
- Upward note bending fails because airflow cannot reinforce both resonances at once (similarity 0.80)
- Resonator length and end condition alone determine flue pipe pitch (similarity 0.80)
- Organ pipes’ timbre arises from resonances cooperating with edge tone (similarity 0.79)
- Jet instability makes some noise from fast air streams physically unavoidable (similarity 0.79)
- In organ reed pipes the resonator does not control the reed’s frequency (similarity 0.79)
- The air reed’s fundamental frequency is set solely by resonator length and end condition (similarity 0.79)
- Tube termination conditions determine which harmonics a wind instrument produces (similarity 0.78)
Broader Connections
- Organ pipes’ timbre arises from resonances cooperating with edge tone
#corroborates(0.90) - Wind instruments divide into reed and non-reed sound-source types
#expands(0.80) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1160