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RECORDED EXAMPLE  2 In  this example,  we present  tones produced  by
means of the special application of frequency modulation as described
in the  research  proposal,  section  A  2.   The  first  tone  is  a
simulation  of  a  clarinet,  where  the  ratio  of  the  carrier  to
modulating frequencies is 1to 2.

clarinet


Next  are simulations of brass tones  where the spectral evolution is
shown  in  Figure  8.  The  significant  physical  correlate  to  the
perceptual signature  of the brass tone is  the proportional relation
ship  between  the  bandwidth  of  the  spectrum  and  the  amplitude
envelope.

brass tones

We  now hear  the  same sequence  of  tones with  digitally  produced
artificial reverberation added to the signal.

brass with reverb


The  next next sequence  is composed of  brass like tones  in a lower
frequency range

low brass


The following tones are simulations of bowed string instruments where
a second modulating  wave is used to  introduce inharmonicity dureing
the attack portion.


string tones



The next tones are simulations of non-periodic instrumeents where the
ratio of the carrier to modulating frequencies is  approximately 1 to
the  SQRT(2).  The  reflected lower  side frequencies  now interleave
with the upper  side frequencies producing  a non-periodic  waveform.
The first simulation is that of bell tones as shown in Figure 12.

bells

The next are drum-like tones.


Recorded example 4  In this example we demonstrate  the implemntation
of localization  and motion cues as  described in B 2.   It should be
pointed out that what is presented  here is only two channels of  the
original four.   There is, therefore, a loss  of angular information.
Each of the sond sequences is presented twice.


The first  sequence is a demonstration of the distance cue, where the
reverberation  is  constant while  the  direct  signal  decreases  in
amplitude in inverses proportion to the distance.

sound

Next  a sound  moves from  one side  to the  other,  in front  of the
listener. In addition to the distance cue there are now the cues  for
azimuth and  velocity, the  latter being  a function  of the  Doppler
shift. The three sequences have increasing velocities.

sound


The last sequence is a circular path in front of the listener.