PRACTICUM 2: Human Perception of Sound and N-Note Equal Temperament Scales

12/12/2012 By Vernon Dutch

Vernon Dutch PHYS 465-001

Human Perception of Sound

In this project, I used the TestTone Generator in order to test different aspects of sound perception. I tested pitch discrimination, pitch shift, loudness level, and limits of hearing. Pitch Discrimination I had to program the TestTone Generator to provide a tone for 1 second duration. I selected the Stereo channel. I set Wavefunction to Sine and Frequency was set to Constant. Both tones were set to 200 Hz with the same Amplitude. I alternated between the two tones by selecting either the left or right channels. I then raised the frequency of one tone until I detected a change in sound as I was alternating between the two. The frequency difference known as jnd (just noticeable difference) was the difference between the two ranges. I altered the reference angle to 100 Hz, 500 Hz, 1000 Hz, 2000 Hz and 4000 Hz. Figure 1 shows the relation.

Frequency vs. JND

25 J ND(Hertz) 20 15 10

5
0 0 1000 2000 3000 4000 5000

Frequency vs. JND

Frequency (Hz)

Figure 1: This is the graph of the reference frequencies and respective differences during the experiment. This appears to be a gradual linear relationship. In Rossing 7.2, the graph shows a better upward curve due to more points of frequency.

Pitch shift

In assigning pitch to complex sounds, auditory systems consider the periodicity of the waveform as well as the frequency of the individual components. I opened two TestTone Generators. In the first, I selected Mono for the channel and programmed the channel to produce a 500 Hz tone. The Amplitude Modulation had the Period reset to 0.01 s. This corresponds to a modulation frequency of 100 Hz. Although there is no 100 Hz tone present, the pitch corresponds to the missing fundamental so that it plays similarly to a TestTone Generator to 100 Hz. I repeated with a 200 Hz modulated at 50 Hz (duration equals 0.02 s) as directed in the lab to test it again. Loudness Level I used one copy of the TestTone Generator and made sure that Stereo was not selected. In the left channel, the frequency was set to 1000 Hz. Set the Amplitude to about -20 dBFS. This caused 20 dB decreases in amplitude in respect to my computers sound card, causing a change in pitch of the total frequency. The reference loudness was in the range of 50 to 60 dB due to the decrease in decibels. The right channel was set to a frequency of 500 Hz and the amplitude was adjusted until the loudness of the right channel seemed similar to the left channel. I recorded this sound level. I repeated for frequencies of 60, 100, 200, 2000, 3000, 5000, and 10 000 Hz. I graphed the results of sound level (relative to 60 dB reference) vs. frequency.

Reference (60db) vs Other

0
-5 0 -10 -15 -20 -25 -30 -35 Reference (60db) vs Other 5000 10000 15000

-40
-45 -50

Figure 2: Figure 1: This is the graph of the reference frequencies and respective differences during the experiment. It appears to have a parabolic relationship. In Rossing 6.4, the graph has a more consistent downward slope due to more points of frequency.

N-Tone Equal Temperament Consonance and Dissonance I used the Multi-Tone Generator to compare the frequencies of tempered scales notes. Specifically I tested the notes of C0 and G0 ranging to C8 and G8 respectively. The sounds were very similar with the different scales of notes of C and G. However, to me note G had a slightly more evident dissonance. In accordance with Helmholtz, the partials of tone C were almost exactly like tone G in reference to my ear. I would say that the critical band C/G generally go over the critical band, thus allowing a consonant tone. N-Tone Musical Scale When comparing my scale of intervals to the accepted consonant scale of intervals, I noticed beat free harmonics which were practically identical. I was not able to detect any rough

backgrounds sounds when I played both tones simultaneously. From comparing my scale with the original one, I was not able to derive any whole number ratios which were foreign to the original consonant scale. My scale was essentially a close approximation to the original one. I was able to create an extended diatonic version for one of my scales. I changed the amplitude to -10 and change the time interval to around 40 seconds. This gave a much more loud humming type noise which gradually descended in volume until it reach a steady state of sound. It was much louder than my original scale of sound waves.