Perfect impedance matching at the lips would ruin vowel fidelity
Evidence
One does not always want to maximize energy flow across junctions between two parts of a system. We need the impedance mismatch at the bell end of a trumpet or clarinet to cause reflections and define its resonance frequencies. Impedance mismatches are carefully controlled to achieve desirable timbre in wind and string instruments. For string instruments, large mismatches are required at the points between which strings are stretched, lest the vibrations drain away too rapidly, rendering the string frequencies ill-defined. The infamous wolf note of cellos is a breakdown of this requirement (see section 18.7)—a near impedance matching where none was wanted. — Eric J. Heller, Why You Hear What You Hear- An…, 83 (
#complicates, via linked claim)
Categorization
- XREF: connects to: Middle ear impedance match is optimal near 1 kHz; Instrument design exploits impedance mismatches to create resonance and timbre — Eric J. Heller, Why You Hear What You Hear- An…, 83; Perfect impedance matching eliminates reflection while mismatch causes it
Related
- A soundboard must avoid too-perfect impedance matching to not drain the strings (similarity 0.93)
- Instrument design exploits impedance mismatches to create resonance and timbre (similarity 0.92)
- Vocal tract resonances measurably shape wind instrument timbre (similarity 0.84)
- Bridge resonance presents an impedance minimum, making it flute-like. (similarity 0.83)
- Air-to-fluid impedance mismatch would reflect most sound energy without matching (similarity 0.80)
- Marimba is an idiophone coupling mechanical and air resonances through the NFC mechanism (similarity 0.79)
Broader Connections
- Perfect impedance matching eliminates reflection while mismatch causes it
#expands(0.80) - Instrument design exploits impedance mismatches to create resonance and timbre
#complicates(0.75) — Eric J. Heller, Why You Hear What You Hear- An…, 83 - Middle ear impedance match is optimal near 1 kHz
#complicates(0.72)