Vocal tract resonances measurably shape wind instrument timbre

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 (#expands, via linked claim)

Categorization

• XREF: connects to: A wind instrument’s playability depends on how many of its harmonics align with resonances.; Note bending works when reed and vocal tract resonances reinforce each other; Speech excitation is not coupled to tract resonances, unlike most instruments (+9 more)

Broader Connections

• Note bending works when reed and vocal tract resonances reinforce each other #expands (0.95)
• Speech excitation is not coupled to tract resonances, unlike most instruments #complicates (0.80)
• Instrument design exploits impedance mismatches to create resonance and timbre #expands (0.80) — Eric J. Heller, Why You Hear What You Hear- An…, 83
• The voice drives the tract noninteractively whereas trumpet lips receive feedback #complicates (0.80)
• Organ pipes’ timbre arises from resonances cooperating with edge tone #epitomizes (0.75)
• Wind instruments divide into reed and non-reed sound-source types #qualifies (0.75) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1160