If on the other hand we spread the acoustic energy over a wider frequency range, the apparent loudness increases dramatically.
We proved this a moment ago
when we did the experiment of playing a chord of several widely spread notes on
a single stop.
The notes chosen were at the harmonic frequencies of the root note.
Therefore it is not surprising that if we have a stop whose harmonics are
strong, it will often sound louder than one which has weaker harmonics.
This will often remain true even if the louder stop has a lower actual sound
level.
Thus the sound of a Stopped Diapason will often be able to penetrate a chorus of
other stops, whereas a duller-toned flute will not (it merely adds mud to the
sound).
This fact also explains why
gentle mixture work on low pressure wind
is so important in enabling an organ to sound pervasive yet attractive.
The organ builders of the Baroque era understood this empirically.
We did not rediscover it until the 20th century, after the excesses
of the Romantic period had exhausted themselves.
Quoted from The Tonal Structure of Organ Flutes by Colin Pykett
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