MUS 220a
HW 3
Jiffer Harriman
10/19/2010
Loudness:
I found I could establish the descending notes by a setting one voice to .2 amplitude with the others still at .1. However I couldn't discern this difference in amplitude at higher volumes. That is, with .7 and .8 I did not perceive a descending line.
Octave:
It was easy to discern the descending line when any of the voices were transposed up or down an octave.
Timbre:
By changing the timbre of the sound sources, again it was easy to discern the descending line. Even changing the loudness of the new sound to closely match the other voices the timbre was distinct enough to separate it. There are likely combinations of timbres which would not be as noticeable so as to immediately separate them into distinct voices.
Location:
On my laptop speakers this was really hard to notice. In the 4 speaker listening stations though it became much more obvious with just a single sound source having it's own space, the descending line again was noticeable.
For my program I have the 4 notes take turns in each speaker which makes the descending line harder to discern but it is still there as the reed stiffness increases in the first 10 seconds. From there I shorten the note duration allowing it to speed up further, then add reverb and change sounds and finally decelerate and increase duration.
The method to change channels is crude, by disconnecting each instrument and reconnecting to a single channel based on p % chans.
https://ccrma.stanford.edu/~jiffer8/220a/hw3.ck
binaural wav file: