Phase randomization alters timbre more than 4 dB amplitude randomization

Evidence

The note onset phase is particularly important to perceived timbre. Since listeners can reliably perceive the timbre of notes during the steadystate phase, it is clear that the offset phase is rather less important to the perception of timbre than the onset and steady-state phases. The onset phase is also more acoustically robust from the effects of the local environ­ ment in which the notes are played, since coloration of the direct sound by the first reflection (see Chapter 6) may occur after the onset phase is complete (and therefore transmitted uncolored to the listener). By defini­ tion the first reflection certainly occurs after part of the note onset has been heard uncolored. The onset phase is therefore a vital element and the off­ set phase an important factor in terms of timbre perception. — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469 (#corroborates, via linked claim)

Categorization

• corroborated: 2 independent passages support this claim
• XREF: connects to: Phase relations of partials do not affect perceived timbre.; Phase alignment creates a ‘buzzy’ timbre perceptible without room reflections; Delays too short for echoes still audibly alter timbre through spectral combs (+2 more)

Broader Connections

• A note’s onset phase matters most for perceived timbre #corroborates (0.85) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1469
• Phase alignment creates a ‘buzzy’ timbre perceptible without room reflections #expands (0.80)
• Delays too short for echoes still audibly alter timbre through spectral combs #expands (0.78)
• Attack and release phases lasting milliseconds largely determine a note’s timbre #exemplifies (0.75) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1454