Grey’s timbre findings confirm that note onset transients largely determine perceived instrument identity

Evidence

These results serve to demonstrate that (a) useful experimental work can and has been carried out on timbre, and (b) that acoustic conclusions can be reached which fit in with other observations, for example the emphasis of Grey’s axes (2) and (3) on the note onset phase. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1508

Categorization

• XREF: connects to: A note’s onset phase matters most for perceived timbre — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469; Instrument identity relies heavily on note onset and offset phases; A sound’s onset transients largely determine instrument identity — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1185 (+4 more)

Broader Connections

• A sound’s onset transients largely determine instrument identity #corroborates (0.95) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1185
• Study results confirm that attack onset dominates timbre perception #corroborates (0.93) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1484
• A note’s onset phase matters most for perceived timbre #corroborates (0.90) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469
• An instrument’s opening attack largely determines its perceived timbre #corroborates (0.90) — Eric J. Heller, Why You Hear What You Hear- An…, 2245
• Instrument identity relies heavily on note onset and offset phases #corroborates (0.88)
• 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
• Perceived instrument character is shaped by the time evolution of sound amplitude #corroborates (0.75)