Free reed model used is based on a precise description of flow passing throw, the section defined between the shallot and the bended reed, and on the modelling of reed as a clamped‐free cantilever beam. Classical description of loading pipe is based on wave reflection function, not designed to be excited by a flow but backward‐ and forward‐traveling plane waves, so the free reed coupling with such a pipe model is physically irrelevant. Then, it is shown that an acoustical flow description is needed, and simple, for at least rather short pipe, giving more realistic sound simulations. It is then explained why a vocal tract description, physically relevant, is possible using only acoustical flow modeling for each element constituting the vocal tract model. In fact, flow acoustical modeling for elements is linked to electroacoustical analogies derived not as a low‐pass approximations of input impedance but using the approximation of flow behavior for each element, valid for the whole audio range rather than only the low‐pass register. Theoretical explanations should be given to explain why wave paradigma may be irrelevant and sound numerical simulations would be given for each coupling situation considered.