Timbre is a sound quality parameter that depends to a large extent on spectral balance. Evaluation and control of timbre require specific listening abilities and is performed by an increasing number of individuals involved in sound recording, composition, and sound design. This book presents a computer-assisted training method to develop memory for timbre, sensitivity to timbre changes, and effective listening strategies requiring disciplined auditory attention. The method allows individual practice and customization of training tasks. Performance markers are compiled and used for assessing skill level achieved by listeners. A listening experiment involving the adjustment of multiple peaks and dips in a sound's spectrum is presented, in which the performance of a group of experienced audio professionals was compared with a group of student subjects with comparatively little listening experience but who were trained with the described method for a period of 6 months. Results indicate that overall the experimental student group outperformed the control group of professionals. Suggestions for further improvements of the training method and performance level assessment are proposed.
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Timbre is a sound quality parameter that depends to a large extent on spectral balance. Evaluation and control of timbre require specific listening abilities and is performed by an increasing number of individuals involved in sound recording, composition, and sound design. This book presents a computer-assisted training method to develop memory for timbre, sensitivity to timbre changes, and effective listening strategies requiring disciplined auditory attention. The method allows individual practice and customization of training tasks. Performance markers are compiled and used for assessing skill level achieved by listeners. A listening experiment involving the adjustment of multiple peaks and dips in a sound's spectrum is presented, in which the performance of a group of experienced audio professionals was compared with a group of student subjects with comparatively little listening experience but who were trained with the described method for a period of 6 months. Results indicate that overall the experimental student group outperformed the control group of professionals. Suggestions for further improvements of the training method and performance level assessment are proposed.
Dr René Quesnel is teaching technical ear training in the graduate Sound Recording program at McGill University. He earned degrees in Music, Sound Recording, and Music Technology. Dr Quesnel is a member of the Audio Engineering Society and a researcher at the Center for Interdisciplinary Research in Music Media and Technology (CIRMMT) in Montréal.
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