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Time   Track      Description 1:38 Demonstration 1: Cancelled Harmonics 1:38  01        1. A complex tone is presented, followed by several cancellations and restorations of a particular harmonic. This done for harmonics 1 through 10. 1:55 Demonstration 2: Critical bands by masking 0:29  02        1. You will hear a 2000-Hz tone in 10 decreasing steps of 5 decibels. Count how many steps you hear. Series are presented twice. 0:20  03        2. Now the signal is masked with broad band noise. 0:21  04        3. Next the noise has a bandwidth of 1000 Hz. 0:22  05        4. Next noise with a bandwidth of 250 Hz is used. 0:23  06        5. Finally, the bandwidth is reduced to only 10 Hz. 1:14 Demonstration 3: Critical bands by loudness comparisons 1:14  07        1. Eight times you will hear a reference noise band followed by a test band of increasing width and identical power. Compare the loudness of reference and test bands. The demonstration is repeated once. 2:02 Demonstration 4: The decibel scale 0:28  08        1. Broadband noise is reduced in 10 steps of 6 decibels. Demonstrations are repeated once. 0:27  09        2. Broadband noise is reduced in 15 steps of 3 decibels 0:32  10        3. Broadband noise is recuded in 20 steps of 1 decibel. 0:35  11        4. Free-field speech of constant power at various distances from the microphone. 1:53 Demonstration 5: Filtered noise 0:11  12        1. This is a sample of white noise 0:26  13        2. Now this same noise is poassed through a low-pass filter with decreasing cutoff frequencies. 0:25  14        3. Now the noise is passed through a high-pass filter with increasing cutoff frequencies. 0:26  15        4. Next you will hear 1/3-octave noise bands with increasing center frequencies. 0:25  16        5. Finally you will hear samples of white and pink noise having the same sound power. 2:12 Demonstration 6: Frequency response of the ear 0:23  17        1. First adjust the level of the following calbrations tone so that it is just audible. 1:49  18        2. You will now hear tones at several frequencies, presented in 10 decreasing steps of 5 decibels. Count the number of steps you hear at each frequency. Frequency staircases are presented twice. 3:02 Demonstration 7: Loudness scaling 0:18  19        1. In this experiment you will rate the loudness of 20 noise samples which are preceded by a fixed reference. First you hear the reference sound, follwed by the strongest and weakest noise samples. 2:44  20        2. Now the twenty samples. For each sample, write down a number reflecting its loudness relative to the reference. 2:07 Demonstration 8: Temporal integration 2:07  21        1. In this experiment the level of a broadband noise signal decreases in 8 steps for several signal durations. Staircases are presented twice for each signal duration. Count the number of steps you hear in each case. 1:36 Demonstration 9: Asymmetry of masking by pulsed 1:36  22        1. A masking tone alternates with the combination of masking tone plus a stepwise-decreasing test tone. First the masker is 1200 Hz and the test tone is 2000 Hz, then the masker is 2000 Hz and the test tone is 1200 Hz. Count how many steps of the test tone can be heard in each case. 4:23 Demonstration 10: Backward and forward masking 0:20  23        1. First you will hear a brief sinusoidal tone, decreasing in 10 steps of 4 decibels each. 2:04  24        2. Now the same signal is follwed by a noise burst with a brief time gap in between. It is heard alternatin with the noise burst alone. For three decreasing time-gap values, you will hear two staircases. Count the number of steps for which you can hear the brief signal preceding the noise. 1:59  25        3. Now the noise burst precedes the signal. Again two staircases are heard for each of the same three time-gap values. Count the number of steps that you can hear the signal following the noise. 0:47 Demonstration 11: Pulsation threshold 0:47  26        1. You will hear a 2000-Hz tone alternating with a band of noise centered around 2000 Hz. The tone intensity decreases one decibel after every four tone presnetations. Notice when the tone begins to appear continuous. 0:53 Demonstration 12: Dependence of pitch on intensity 0:25  27        1. First, a 200-Hz calibration tone. Adjust the level so that it is just audible. 0:28  28        2. Now, 6 tone pairs are presented at various frequencies. Compare the pitches for each tone pair. 0:54 Demonstration 13: Pitch salience and tone duration 0:54  29        1. In this demonstration, three tones of increasing durations are presented. Notice the change from a click to a tone. Sequences are presented twice. 0:33 Demonstration 14: Influence of masking noise on 0:33  30        1. A partially masked 1000-Hz tone alternates with an unmasked 1000-Hz comparison tone. Compare the pitches of the two tones. 1:51 Demonstration 15: Octave matching 1:51  31        1. A 500-Hz tone alternates with a stepwise increasing comparison tone near 1000 Hz. Which step seems to represent a "correct" octave? The demonstration is presented twice. 1:03 Demonstration 16: Stratched and compressed scales 1:03  32        1. You will hear a melody played in a high register with an accompaniment in a low register. Which of the three presentation sounds best in tune? 2:21 Demonstration 17: Frequency difference limen or jnd 2:21  33        1. You will hear ten groups of four tone pairs. In each group there is a small frequency difference between the tones of a pair, which decreases in each successive group. 1:42 Demonstration 18: Logarithmic and linear frequency 0:47  34        1. Eight-note diatonic scales of one octave are presented. Alternate scales have linear and logarithmic steps. The demonstratnion is repeated once. 0:55  35        2. Next, 13-note chromatic scales are presented, again alternating between scales with linear and logrithmic steps. 1:26 Demonstration 19: Pitch streaming 1:26  36        1. In this experiment a fixed tone A and a variable tone B alternate in a fast sequence ABA ABA. At some places you may hear a "galloping rhythm," while at other places the sequence of tone A and B seem isolated. 0:45 Demonstration 20: Virtual pitch 0:45  37        1. You will hear a complex tone with 10 harmonics, first complete and then with the lower harmonics successively removed. does the pitch of the complex change? The demonstration is repeated once. 1:48 Demonstration 21: Shift of virtual pitch 0:35  38        1. You will hear a three-tone harmonic complex with its partials shifted upward in equal steps until the complex is harmonic gagin. The sequence is repeated once. 0:37  39        2. Now you hear a three-tone compex of 800, 1000, and 1200 Hz, follwed by a complex of 850, 1050, and 1250 Hz. As you can hear, their virtual pitches are well matched by the regular harmonic tones with fundamentals of 200 and 210 Hz. The sequence is repeated once. 0:36  40        1. You will hear the fimailiar Westminster chime melody played with pairs of tones. The first tone of each pair is a sinusoid, the second a complex tone of the same pitch. 0:55 Demonstration 22: Masking spectral and virtual pitch 0:27  41        2. Now the pure-tone notes are masked with low-pass noise. You will still hear the pitches of the complex tone. 0:28  42        3. Finally the complex tone is masked by high-pass noise. The pure-tone melody is still heard. 1:06 Demonstration 23: Virtual pitch with random harmonics 0:30  43        1. The turn of the westminster chime is played with tone complexes of three random successive harmonics. In the first presentation harmonic numbers are limited between 2 and 6. 0:17  44        2. Now harmonic numbers are between 5 and 9. 0:19  45        3. Finally harmonic numbers are between 8 and 12. 1:26 Demonstration 24: Strike note of a chime 1:00  46        1. An orchestral chime is struck eight times, each time preceded by cue tones equal to the first eight partials of the chime. 0:26  47        2. The chime is now followed by a tine matching its nominal pitch or strike note. 0:31 Demonstration 25: Analytic vs synthetic pitch 0:31  48        1. A pair of complex tones is played four times agains a background of noise. Do you hear the pitch go up or down? 1:29 Demonstration 26: Scales with repetition pitch 0:32  49        1. First you will hear a 5-octave diatonic scale played with pulse pairs. 0:27  50        2. Now you hear a 4-octave diatonic scale played with pulse pairs that are samples of a Poisson process. 0:30  51        3. Finally you hear a 4-octave diatonic scale played with bursts of echoed or comb-filtered whitenoise. 1:25 Demonstration 27: Circularity in pitch judgment 1:25  52        1. Two examples of scales that illustrate circularity in pitch judgment are presented. The first is a discrete scale of Roger N. Shepard, the second a continuous scale of Jean-Claude Risset. 1:22 Demonstration 28: Effect of spectrum on timbre 1:22  53        1. You will hear the sounds of two instruments built up by adding partials one at a time. 2:21 Demonstration 29: Effect of tone envelope on timbre 0:47  54        1. You will hear a recording of a Bach chorale played on a piano. 0:43  55        2. Now the same chorale will be played backwards. 0:51  56        3. Now the tape of the last recording is played backwards so that the chorale is heard forward again, but with an interesting difference. 0:49 Demonstration 30: Change in timbre with transposition 0:49  57        1. A 3-octave scale on a bassoon is presented, follwed by a 3-octave scale of notes that are simple transpositions of the instrument's highest tone. This is how the bassoon would sound if all its tones had the same relative spectrum. 3:02 Demonstration 31: Tones and tuning with stretched partials 0:46  58        1. You will hear a 4-part Bach chorale played with tones having 9 harmonic partials. 0:49  59        2. Now the same piece is played with both melodic and harmonic scales stretched logarithmically in such a way that the octave ratio is 2.1 to 1. 0:43  60        3. In the next presentation you hear the same piece with only the melodic scale stretched. 0:44  61        4. In the final presentation only the partials of each voice are stretched. 1:36 Demonstration 32: Primary and secondary beats 0:43  62        1. Two tones having frequencies of 1000 and 1004 Hz are presented separately and then together. The sequence is presented twice. 0:53  63        2. Pairs of pure tones are presented having intervals slightly greater than an octave, a fifith and a fourth, repsectively. The mistunings are such that the beat frequency is always 4 Hz when the tones are played together. 2:21 Demonstration 33: Distortion 0:25  64        1. First you year a 440-Hz sinusoidal tone distored by a symetrical compressor. It alternates with its 3rd harmonic. 0:23  65        2. Next the 440-Hz tone is distorted asymmetricaly by a half-wave rectifier. The distorted tone alternate with its 2nd harmonic. 0:25  66        3. Now two tones of 700 and 1000 Hz distorted by a symmetrical compressor. These tones alternate with a 400-Hz pointer to the cubic difference tone. 1:08  67        4. You will hear a 400-Hz pure tone plus its second harmonic added with a phase varying from minus 90 to plus 90 degrees. This is followed by the same tones, distorted through a square-law device. 1:39 Demonstration 34: Aural combination tones 0:45  68        1. In this demonstration two tones of 1000 and 1200 Hz are presented. When an 804-Hz probe tone is added, it beats iwth the 800-Hz aural combination tone. 0:54  69        2. Now the frequency of the upper tone is slowly increated from 1200 to 1600 Hz and then back again. 1:51 Demonstration 35: Effect of echoes 1:51  70        1. First in an anechoic room, then in a conference room, and finally in a very reverberant space, you will hear a hammer striking a brick followed by an old Scottish prayer. Playing thses sounds backwards focuses our attention on the echoes that occur. 0:46 Demonstration 36: Binaural beats 0:46  71        1. A 250-Hz tone is presneted to the left ear while a 251-Hz tone is presented to the right ear. 3:19 Demonstration 37: Binaural lateralization 0:48  72        1. Tones of 5000 and 2000 Hz are heard with alternating interaural phases of plus and minus 45 degrees. 0:50  73        2. Next the interaural arrival time of a click is varied. The apparent locatnio of the click appears to move. 1:41  74        3. Finally, the interaural intensity differences of a 250-Hz and 4000-Hz tone are varied. 2:08 Demonstration 38: Masking level differences 0:31  75        1. A stepwise decreasing 500-Hz tone is applied to the left ear. Starcases are presented twice. Count the number of steps you can hear. 0:22  76        2. Now the signal is masked with noise. 0:23  77        3. Next the same masking noise is applied to both ears. 0:23  78        4. Now both signal and noise appear in both ears. 0:29  79        5. Finally signal and noise appear in both ears, but the signal phase is reversed in one of the ears. 0:39 Demonstration 39: An auditory illusion 0:39  80        1. Try to guess the signal you are listening to in each ear. Album Information CSSCD 0142 Category:   Reference:Psychoacoustics Label:   Philips 1126-061 FreeDB:   920f5450 Total Time:   1:04:50