Note onsets are composed of many separable acoustic cues

Evidence

The onset phase for the reed stops is considerably more complicated since many more harmonics are present in each case. The fundamental for the hautbois and regal is evident first, and the second harmonic for the trompette. In all cases, the fundamental exhibits a frequency rise at onset during the first few cycles of reed vibration. The staggered times of entry of the higher harmonics form part of the acoustic timbral characteristic of that particular stop, the trompette having all harmonics present up to the 4 kHz upper frequency bound of the plot, the hautbois having all harmonics up to about 2.5 kHz, and the regal exhibiting little or no evidence (at this amplitude setting of the plot) of the fourth or eighth harmonics. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449 (#expands, via linked claim)

Categorization

• XREF: connects to: A note’s onset phase matters most for perceived timbre — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469; Note onsets have staggered harmonic entry times that define each instrument’s timbre — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449; Flute notes have a characteristic breathy onset with harmonics entering gradually after the fundamental — David Howard, Jamie Angus, coustics and Psychoacoustics, 1478 (+1 more)

Broader Connections

• Note onsets have staggered harmonic entry times that define each instrument’s timbre #expands (0.90) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1449