Hi Al - you wrote: "If you are saying that any note produced by any instrument will naturally and invariably contain frequency components of non-zero amplitude at ALL harmonic multiples of the fundamental (lowest) frequency component of the note (and I don't know whether or not that is true), then yes, that would mean in a literal sense that the system cannot INTRODUCE a harmonic that isn't already there."
Yes, this is exactly what I am saying. All of the harmonic overtones of a sounded frequency are always present in the timbre, so electronic distortion cannot introduce or create new harmonics, it can only distort those already present.
About your last statement: " For a given volume, fundamental frequency, and envelope I can't envision anything other than differences in harmonic structure that could account for differences in timbre, tone, or the basic character of the note." This is a strange statement. The basic difference in timbre between a flute and a violin, to use your example, is that one is made of metal and one is made of wood, not to mention the fact that their sounds are created in a completely different manner as well. This is obviously the largest factor in the difference in timbre. Without going into the science of it, waves produced by a string behave very differently from waves produced by a tube. A tube with one end closed behaves differently than one open at both ends, and conical and cylindrical tubes behave differently as well. Side holes in the tubes have their effects as well, of course. Not to mention different types of wood or metal alloys used in the instrument's construction, which have very great effect on the timbre.
Another important thing to point out is that although some of these various timbres are more acoustically complex than others, the overtone series for all of them is always the same - it doesn't matter what instrument is creating it.
As a side note, the flute happens to be one of the purest instrumental timbres, and the oboe is one of the most complex. This is the reason that the oboe gives the A to tune the orchestra - it's complex tone is more easily audible.
Last, another word on the audibility of these harmonics. Sometimes, it is possible for the brain to concentrate on an overtone of the tone sounded, if this frequency has already been sounded, so that the ear is aware of it. For instance, if a piano sounds A440Hz, and then the A an octave below (220Hz), it will be easier to attempt to hear the A440 overtone within the sounded A220Hz tone. This takes some training, of course, especially if one wants to try to hear more difficult overtones. There are some people who have claimed to be able to hear as many as 27 different overtones, but the vast majority of researches seriously doubt this claim - 5 or 6 at most, and that for a very highly trained ear indeed. Those types of experiments are fascinating.
Best regards to you as well, Learsfool
Yes, this is exactly what I am saying. All of the harmonic overtones of a sounded frequency are always present in the timbre, so electronic distortion cannot introduce or create new harmonics, it can only distort those already present.
About your last statement: " For a given volume, fundamental frequency, and envelope I can't envision anything other than differences in harmonic structure that could account for differences in timbre, tone, or the basic character of the note." This is a strange statement. The basic difference in timbre between a flute and a violin, to use your example, is that one is made of metal and one is made of wood, not to mention the fact that their sounds are created in a completely different manner as well. This is obviously the largest factor in the difference in timbre. Without going into the science of it, waves produced by a string behave very differently from waves produced by a tube. A tube with one end closed behaves differently than one open at both ends, and conical and cylindrical tubes behave differently as well. Side holes in the tubes have their effects as well, of course. Not to mention different types of wood or metal alloys used in the instrument's construction, which have very great effect on the timbre.
Another important thing to point out is that although some of these various timbres are more acoustically complex than others, the overtone series for all of them is always the same - it doesn't matter what instrument is creating it.
As a side note, the flute happens to be one of the purest instrumental timbres, and the oboe is one of the most complex. This is the reason that the oboe gives the A to tune the orchestra - it's complex tone is more easily audible.
Last, another word on the audibility of these harmonics. Sometimes, it is possible for the brain to concentrate on an overtone of the tone sounded, if this frequency has already been sounded, so that the ear is aware of it. For instance, if a piano sounds A440Hz, and then the A an octave below (220Hz), it will be easier to attempt to hear the A440 overtone within the sounded A220Hz tone. This takes some training, of course, especially if one wants to try to hear more difficult overtones. There are some people who have claimed to be able to hear as many as 27 different overtones, but the vast majority of researches seriously doubt this claim - 5 or 6 at most, and that for a very highly trained ear indeed. Those types of experiments are fascinating.
Best regards to you as well, Learsfool