Resonances are fundamental to the production of musical pitch and timbre. They are also the principal source of coloration when they are added in the processes of sound recording and reproduction. The traditional problem in the design and evaluation of audio products has been to find the measurements necessary to characterize its audibility, and the judgment of how much in form must be modified in order for it not to cause objectionable coloration. A review of previous work and new experimental results describe the thresholds of audibility of resonances as a function of frequency, Q, relative amplitude, time delay, program material, listener hearing performance, loudspeaker directivity, and reverberation added during recording or reproduction. The findings are discussed in terms of the measured amplitude and time responses of the systems through which the audio signal is passed. While the emphasis is on reproduced sound there are some interesting relationships to the perceived timbre of sound in live performances.
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