Violin timbre changes with direction as high frequencies become increasingly directional

Evidence

Studies of the directionality of the sound radiation from violins shows it to be very nonuniform, especially above 500 Hz, where the wavelength starts to approach the size of the violin. High frequencies are very directional indeed. This has consequences for the timbre of the violin, which changes as the violin is moved about. We have no doubt become accustomed to the scintillating upper partials (as the performer moves) and find it pleasant, even necessary to good sound. — Eric J. Heller, Why You Hear What You Hear- An…, 1785

Categorization

• CANDY: The ‘scintillating’ quality of live violin sound is literally the performer moving the directional high frequencies around the hall.
• corroborated: 2 independent passages support this claim — Eric J. Heller, Why You Hear What You Hear- An…, 1785
• XREF: connects to: A trumpet’s bell beams high frequencies forward, changing timbre with direction of aim. — Eric J. Heller, Why You Hear What You Hear- An…, 1532; String stiffness makes higher frequencies travel faster, changing timbre — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 103; A source’s changing directionality with frequency alters perceived timbre via the reverberant field — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1796 (+3 more)

Broader Connections

• String stiffness makes higher frequencies travel faster, changing timbre #expands (0.85) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 103
• Real string stiffness slightly raises wave velocity with frequency, affecting timbre. #expands (0.85)
• Stringed instruments radiate low frequencies omnidirectionally but high frequencies directionally #corroborates (0.82)
• A source’s changing directionality with frequency alters perceived timbre via the reverberant field #expands (0.78) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1796