Perceptual thresholds for detecting modifications applied to the acoustical properties of a violin

This study is the first step in the psychoacoustic exploration of perceptual differences between the sounds of different violins. A method was used which enabled the same performance to be replayed on different "virtual violins," so that the relationships between acoustical characteristics of violins and perceived qualities could be explored. Recordings of real performances were made using a bridge-mounted force transducer, giving an accurate representation of the signal from the violin string. These were then played through filters corresponding to the admittance curves of different violins. Initially, limits of listener performance in detecting changes in acoustical characteristics were characterized. These consisted of shifts in frequency or increases in amplitude of single modes or frequency bands that have been proposed previously to be significant in the perception of violin sound quality. Thresholds were significantly lower for musically trained than for nontrained subjects but were not significantly affected by the violin used as a baseline. Thresholds for the musicians typically ranged from 3 to 6 dB for amplitude changes and 1.5%-20% for frequency changes. interpretation of the results using excitation patterns showed that thresholds for the best subjects were quite well predicted by a multichannel model based on optimal processing. (c) 2007 Acoustical Society of America.

Perceptual learning, roving and the unsupervised bias

Perceptual learning improves perception through training. Perceptual learning improves with most stimulus types but fails when . certain stimulus types are mixed during training (roving). This result is surprising because classical supervised and unsupervised neural network models can cope easily with roving conditions. What makes humans so inferior compared to these models? As experimental and conceptual work has shown, human perceptual learning is neither supervised nor unsupervised but reward-based learning. Reward-based learning suffers from the so-called unsupervised bias, i.e., to prevent synaptic " drift" , the . average reward has to be exactly estimated. However, this is impossible when two or more stimulus types with different rewards are presented during training (and the reward is estimated by a running average). For this reason, we propose no learning occurs in roving conditions. However, roving hinders perceptual learning only for combinations of similar stimulus types but not for dissimilar ones. In this latter case, we propose that a critic can estimate the reward for each stimulus type separately. One implication of our analysis is that the critic cannot be located in the visual system. © 2011 Elsevier Ltd.

Perceptual thresholds for acoustical guitar models

Synthesised acoustic guitar sounds based on a detailed physical model are used to provide input for psychoacoustical testing. Thresholds of perception are found for changes in the main parameters of the model. Using a three-alternative forced-choice procedure, just-noticeable differences are presented for changes in frequency and damping of the modes of the guitar body, and also for changes in the tension, bending stiffness and damping parameters of the strings. These are compared with measured data on the range of variation of these parameters in a selection of guitars. © S. Hirzel Verlag © EAA.