Near-field versus far-field acoustics change which partials a listener hears

Evidence

The reader is perhaps wondering about the testimonials and measurements made that indicate no difference between plugged and unplugged vents. This brings us to the reason for making a point of all this: The player and the microphone are/were probably too close to hear any difference! At under 1 meter away, they are in the near field of the source of the 5-meter-long wave. As we mentioned in connection with figure 7.35, the sound is much louder under a wavelength away from a short-circuiting surface-bending mode below the critical frequency, or near a tuning fork quadrupole source, as is easy to hear by bringing it up to your ear. The undesirable (0,1) component might short-circuit at a greater distance, making the overall tone more pleasing. In other words, an audience some distance away should hear a different mix of the partials than the percussionist does. — Eric J. Heller, Why You Hear What You Hear- An…, 1417

Categorization

• XREF: Connects to earlier near-field/far-field treatment of tuning-fork quadrupole sources and below-critical-frequency bending modes from figure 7.35.
• QUESTION: Worth chasing: what is the measured critical distance where the (0,1) component short-circuits, and how steep is the roll-off toward the audience?