Taming the wolf

Here's an interesting experiment:

Set up a 1/4-comma meantone tuning. Play a G# together with the Eb a fifth
above: the infamous "wolf" fifth of 1/4-comma meantone. Dissonant, isn't
it? Now add the B a major sixth below the G#. What effect does this have?
I've noticed different effects with different timbres and different
octaves, from none at all to a periodic alteration of the dissonance, which
modifies it to a less unpleasant slow beating.

Has anyone noticed this effect before? What seems to be happening is that
the 5th partial of the B interferes with the rapid beating between the 3rd
partial of the G# and the 2nd partial of the Eb to reduce it to a slower,
less regular beat. How would the various theories of dissonance account for
this?

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