Steady C4
Concert C4: listen to onset, sustained tone, and release.
Lossless WAVAn isolated listening lab for the same coupled reed-and-bore idea as model 03. This is an unapproved instrument prototype, not a claim of improved realism.
Standalone tests of tone and response. Press play to listen; starting another player pauses the current one.
Concert C4: listen to onset, sustained tone, and release.
Lossless WAVTwelve repeated notes at eight per second. Tongue contact applies force to the reed, rather than changing its resting gap.
Lossless WAVConnected C–D–E–D–C. Keys move through finite apertures without deleting stored acoustic states.
Lossless WAVConcert C4–C5–C4, with tongue, register vent, breath, and slow embouchure adjustment.
Lossless WAVBreath pressure rises from 4.8 to 5.6 kPa with coordinated slow embouchure adjustment.
Lossless WAVBoth copies have the same sustain RMS over 0.8–2.5 seconds and share the same final headroom adjustment. There is no compressor or limiter. This is not perceptual loudness matching; neither original is replaced.
The standalone C4 from model 03, copied for comparison.
Lossless WAVThe new standalone C4, pending listening approval.
Lossless WAVThe reed and air column generate the tone together: no recorded samples, separate pitch oscillator, or pitch shifting. Tongue contact has its own compliant force; keys retain their acoustic states, and radiation follows actual outlet flow rather than a crossfaded output mask.
The earlier band merge had unusually large transients coinciding with key changes. The diagnostics record that evidence, not a proven single cause. This lab returns to the instrument alone.
These are generic dimensions and provisional contact laws, not a measured real alto. Pitch and numerical checks pass for these probes only; they do not establish realistic sound or listening approval. Prescribed key-motion work is not included in the energy trace.
Render report · Earlier-merge diagnostics · Horn source · Renderer and checks · Model notes