Removing every other upper partial yields brightness without self-dissonance

Evidence

The presence of higher partials makes an instrument sound “brighter,” which is often a desirable trait. When electronic synthesis of sounds became routine, one had a choice as to how much amplitude to give the upper partials. Too much amplitude to the high partials, and the synthetic tone too starts to sound irritating and raspy, due to self-dissonance. However, Robert Moog had a great idea, for which he received a patent: to get brightness without the raspy tone, simply remove every other partial, or say two out of three partials in the upper registers. That way, there are high partials, but not residing within the same critical band. — Eric J. Heller, Why You Hear What You Hear- An…, 2342

Categorization

• SEED: Angle: the physics of ‘brightness’ in timbre as a critique of both cheap digital synths and audiophile ‘transparency’ claims.
• SHARE: Send to anyone who builds synths or patches - Moog’s patents on partial removal to dodge critical-band beating.