Re: fallacious filtered white noise

["Bernard G. Cleyet & Nancy Ann Seese" <georgeann@REDSHIFT.COM>]

I suspect JD is referring to how the instrument interacts with the driver to
ensure its frequency matches the instrument's  "natural" frequency.  In the case
of a bowed instrument the friction changes with the vibration in a "positive
feed back" manner.  In the wind instrument, the returning pulse of air "pushes"
the blown air above the knife edge of the fipple (vertical flute;   the mouth
and "far" edge of the hole of a transverse flute).  It's up to you people to
explain how the reed instruments do the feed back (lips or elastic material  --
bamboo?)

bc

P.s. Above is another Cleyet plausibility theory.
P.p.s. True, the initiation of the "note" is by white noise selection -- This is
how I explain that very long organ pipes, e.g. diapason, require a noticeable
time to speak after the stop is pulled. (Much longer than explained by the speed
of sound.)
P.p.p.s To check on my spelling, I found:
http://ourworld.compuserve.com/homepages/kadima/fipple.htm

"John S. Denker" wrote:

> At 03:54 PM 12/8/00 -0600, Gary Karshner wrote:
> >  Resonance frequencies of an oscillator are the frequencies at which they
> > naturally oscillate.
>
> CUT -----
>
> > They work by you generating a source of "WHITE NOISE" like
> > blowing across the top of the pop bottle. The bottle then selects out the
> > components of the noise that correspond to its natural resonance
> > frequencies.
>
> I've never studied whistles, so I'll be careful and just say that if that's
> how a whistle works, I'm surprised.  It's certainly not how a flute works.
>
> > String instruments are not plucked or bowed at the center but off to one
> > side to
> > excite not only the fundamental frequency but their harmonics as well.
>
> I am quite sure that a violin does not work by producing WHITE NOISE and
> then resonantly filtering it.  You can verify what I'm saying with a
> microphone and an oscilloscope, in less time than it takes to tell about
> it.  Observe that a steady violin note produces a steady waveform.  All the
> complicated features are (within reason) repeated, trace after trace,
> indicating that the higher harmonics are phase locked to the
> fundamental.  As I said earlier today, there is no way you could explain
> that using the filtered-noise model.