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Helmholtz and combination tones.

For unresolved harmonics there is definitely an influence of phase in single fiber responses. See 
http://asadl.org/jasa/resource/1/jasman/v88/i6/p2656_s1, figs 10 and 12

Wiebe Horst

To me that argues for a strong post-cochlear neural effect.  I don't have a library access right now, annoyingly.

On Thu, Aug 4, 2011 at 10:36 PM, Richard F. Lyon <DickLyon@xxxxxxx> wrote:
It has been done.  You get a stronger pitch percept when the phases give strong envelope modulation, and less pitch percept otherwise, such as for random phases.  I don't have a ref handy, but I saw a figure in something I was looking at just the other day.

John Pierce's 1991 JASA paper is another example of the pitch depending on the phasing of high harmonics.


At 7:07 PM -0700 8/4/11, James Johnston wrote:
I don't know if it's been done, but it would be interesting to see what happens when you set up the various harmonics for a missing-fundamental probe in different phases, and see what happens when they do and do not all cross zero at the same time.
On Thu, Aug 4, 2011 at 6:16 PM, William Hartmann <hartmann@xxxxxxxxxx> wrote:
Dear List,

A recent post from Randy Randhawa says, "Consider that even Helmholtz had to appeal to non-linear processes (never really described) in the auditory system to account for the missing fundamental and combination tones."

Because this comment raises questions about what Helmholtz did and did not describe, I would draw attention to Appendix XII in "On the Sensation of Tone." There Helmholtz begins with the simple harmonic oscillator dynamical equation and adds a quadratic term to the restoring force, clearly conceived as just the second term in an expansion in the displacement. He solves this to first and second order in small quantities and finds that the second order term leads to combination tones, which could include a missing fundamental.

An interesting feature of his solution is that summation tones are much weaker than difference tones, which agrees with observation. Specifically, for two frequencies f1 and f2, the summation tone amplitude goes as 1/[(f2+f1)^2-fo^2] and the difference tone amplitude goes as 1/[(f2-f1)^2-fo^2], where fo is the natural frequency of the oscillator.

Bill Hartmann

PS Singularities in the amplitudes occur because there is no damping in the dynamical equation and resonances are unbounded.

James D. (jj) Johnston
Independent Audio and Electroacoustics Consultant

James D. (jj) Johnston
Independent Audio and Electroacoustics Consultant