At 2:40 PM -0600 9/15/03, Nelson Zink wrote:
>Your question translates to the desirable ratio between even and odd
>harmonics. Which can be further reduced to the most desirable ratio between
>the amplitudes of the second and third harmonics. Once that is specified,
>the rest falls into place.
This reminds me that, for a very long time, people thought that the
thing that made sounds from different instruments distinctive was the
relative mix of the harmonics. It wasn't until they started
synthesizing sounds electronically in the 1960s that they found that
harmonics hardly even scratch the surface. The transients at the
start and end of each note are at least as important as the harmonics
of the sustained note.
I also think that the embrochure is at least as important as the bore
geometry, and that the best players can control the transients to
some degree with their embrochure. Perhaps the question is not, what
is the best bore shape, but rather, how best to couple the bore with
the embrochure. Imagine: "This flute is designed for a player with
type C lips, size 7 hands, and medium skill."
James
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