Conflicting spectral cues
Funding
Conflicting spectral cues
In Siedenburg, Graves, & Pressnitzer (2022), we explore a unifying hypothesis regarding the interaction of spectral fine-structure and spectral envelope cues, commonly understood to affect pitch and brightness perception. We use Generalized Shepard tones with harmonic and inharmonic spacing of partials to address these issues.
We use sounds with even-odd attenuation of partial components together with a local spectral envelope. Both manipulations give rise to cyclic perceptual dimensions.
Experiment 1: One-dimensional shifts [st]
Did the sound move up or down?
Harmonic
| SFS 1 | SFS 6 | SFS 11 | |||
| SE 1 | SE 6 | SE 11 | |||
Inharmonic
| SFS 1 | SFS 6 | SFS 11 | |||
| SE 1 | SE 6 | SE 11 | |||
Exp. 2: Two-dimensional shifts [st]
Did the sound move up, down, both (up dominant), or both (down dominant)?
Harmonic
| SFS 1 - SE 1 | SFS 6 - SE 1 | SFS 11 - SE 1 | |||
| SFS 1 - SE 6 | SFS 6 - SE 6 | SFS 11 - SE 6 | |||
| SFS 1 - SE 11 | SFS 6 - SE 11 | SFS 11 - SE 11 | |||
Inharmonic
| SFS 1 - SE 1 | SFS 6 - SE 1 | SFS 11 - SE 1 | |||
| SFS 1 - SE 6 | SFS 6 - SE 6 | SFS 11 - SE 6 | |||
| SFS 1 - SE 11 | SFS 6 - SE 11 | SFS 11 - SE 11 | |||
Exp 3: One- & two-dimensional shifts with log-spaced partials
Did the sound move up, down, both (up dominant), or both (down dominant)?
Log-equidistant
| SFS 1 - SE 1 | SFS 6 - SE 1 | SFS 11 - SE 1 | |||
| SFS 1 - SE 6 | SFS 6 - SE 6 | SFS 11 - SE 6 | |||
| SFS 1 - SE 11 | SFS 6 - SE 11 | SFS 11 - SE 11 | |||
Sequences with antagonistic cues
Here are some longer sequences with SFS and SE moving in opposing directions
| Harmonic SFS down - SE up | Inharmonic SFS down - SE up | Harmonic SFS up - SE down | Inharmonic SFS up - SE down | ||