That would be an interesting experiment ! Though I think the fact that the subsequent decorrelating the sound of the cello in the different speakers gave the composer the spatial effects he was looking for (it still sounded like a cello) shows it was property of the way the different frequncy bands were dispersed rather than a cognitive effect such as familiarity that was the main factor .
Re Augustine?s post: Thanks for suggesting Gary Kendall?s paper. While it > doesn?t provide a *complete* explanation (who can?), it is a good read. I > proposed a somewhat similar study while a grad student, but the stimuli > would have included speech, dynamical sounds (such as breaking glass or a > bouncing ball), and unfamiliar sounds. The constituent components of the > unfamiliar sounds would be spatially separated but have identical start > times. We could then ask whether it?s familiarity (as with a cello), > arrival times, or other variables that unify the separate sounds into a > common source. > > -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120603/1a2791f3/attachment.html> _______________________________________________ Sursound mailing list [email protected] https://mail.music.vt.edu/mailman/listinfo/sursound
