Subject: Re: harmonic extraction From: Al Bregman <al.bregman@xxxxxxxx> Date: Thu, 26 Mar 2009 11:51:32 -0400 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>On Thu, Mar 26, 2009 at 9:58 AM, David Smith <smithd@xxxxxxxx> wrote: > Given the stimuli, I think you would be hard pressed to find a mechanical > system, > the atmosphere and ear included, which did not exhibit response at 200Hz. Dear David, Please expand on this. It's not clear how you intend this to explain Jim Bashford's observations. - Al ---------------------------------------------------------- > ----- Original Message ----- > From: "Al Bregman" > To: AUDITORY@xxxxxxxx > Subject: Re: [AUDITORY] harmonic extraction > Date: Wed, 25 Mar 2009 12:46:37 -0400 > > > Dear James, > > This example of duplex perception, outside the domain of speech, and > clearly not involving two distinct mental "modules", is very > interesting, throws a different light on duplex perception of speech, > and is certainly worth further development and publication.. > > Best, > Al > ------------------------------------------------------------------- > Albert S. Bregman, Emeritus Professor > Psychology Department, McGill University > 1205 Docteur Penfield Avenue > Montreal, QC, Canada H3A 1B1. > Office: Phone: (514) 398-6103 > Fax: (514) 398-4896 > Residence phone & fax: (514) 484-2592 > www.psych.mcgill.ca/labs/auditory/Home.html > ------------------------------------------------------------------- > > On Wed, Mar 25, 2009 at 10:35 AM, James Bashford wrote: >> Dear Xueliang Zhang, >> >> I was intrigued by the interchange between you, Yoshitaka Nakajima, and >> Al Bregman, and did some listening, diotically through headphones, to >> stimuli consisting of the first 10 harmonics of 100 Hz alternating with >> the >> 5 even harmonics of that stimulus (all harmonics were presented at the >> same >> level). With on/off times for each complex matched at either 0.5 sec or >> 1.0 >> sec (10 ms rise/fall), I hear a fully continous 200-Hz tone that matches >> the >> intensity and timbre of the isolated even-harmonic complex. More >> interesting, however, is that the 10-component “all-harmonic” stimulus, >> which is heard intermittently, has not only the 100-Hz pitch of that >> complex >> but also retains the loudness and timbre of the all-harmonic stimulus as >> heard when it is presented in isolation. Were the even harmonics of the >> all-harmonic complex exclusively allocated to support perception of the >> continuous 200-Hz complex tone -- leaving only the odd-harmonics to >> support >> perception of the 100 Hz tone -- we would expect both a reduction in >> loudness and a clear shift in timbre to the “hollow” quality >> characteristic >> of odd-harmonic signals. This suggests that the “priming” or “capture” >> effect observed with complex tones provides an example of duplex >> perception >> that requires neither a verbal stimulus nor dichotic presentation. As I >> recall, Al Bregman has previously suggested that such an effect might >> occur >> when nonverbal stimulus input is strongly ambiguous. >> >> This use of the even-harmonic components to support two simultaneous >> percepts (that of both the intermittent “all-harmonic” tone and the >> continuous even-harmonic tone) contrasts sharply with the processing >> underlying the general phenomenon of illusory continuity that is observed >> when one sound alternates with a higher-intensity, potential masking >> sound. The latter effect, which has been called auditory induction >> (Warren, >> 1972), occurs with a wide variety of signals, such as tones alternating >> with >> other tones, noise alternating with higher intensity noise, or speech >> interrupted by noise (phonemic restoration). This type of continuity, in >> which there are no exactly matching components to be found between the >> alternating signals, does appear to involve subtractive or exclusive >> allocation. For interrupted tones, noise, or speech, continuity is >> obtained >> at the expense of the interrupting signal, which is reduced in loudness by >> an amount proportional to the extent the illusion (Warren et al., 1994). >> >> Warren, R. M., Obusek, C. and Ackroff, J. M. (1972). Auditory induction: >> Perceptual synthesis of absent sounds. Science, 176, 1149-1151. >> >> Warren, R. M., Bashford, J. A., Jr., Healy, E. W., and Brubaker, B. S. >> (1994). Auditory induction: Reciprocal changes in alternating sounds. >> Perception & Psychophysics, 55, 313-322. >> >> >> >> James Bashford >> >> On Mar 19, 2009, at 5:24 AM, xlzhang wrote: >> >> Dear list, >> A pure tone can extract corresponding harmonic from complex sound when >> appearing alternatively. I wonder if a harmonic sound can do the same job? >> For example, a complex sound with F0=200Hz appears with a complex sound >> with F0=100 Hz, can we get a continuous perception for F0=200Hz? >> Thank you for your answers in advance. >> >> Xueliang Zhang >> >> > > > > -- > > -- > Be Yourself @xxxxxxxx mail.com! > Choose From 200+ Email Addresses > Get a Free Account at www.mail.com! -- ------------------------------------------------------------------- Albert S. Bregman, Emeritus Professor Psychology Department, McGill University 1205 Docteur Penfield Avenue Montreal, QC, Canada H3A 1B1. Office: Phone: (514) 398-6103 Fax: (514) 398-4896 Residence phone & fax: (514) 484-2592 www.psych.mcgill.ca/labs/auditory/Home.html -------------------------------------------------------------------