Talk:Shepard tone
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[edit] Attempted
I don't know about anybody else, but I tried this with a sine wave going from 440 Hz to 880 Hz, and ran it through a bandpass filter set at various frequencies, and I didn't get any sort of special illusion. -- Omeomi
- Hear the audio example in the last extlink, and take a look at the animation to see what should be happening: a series of long parallel glissandos in octaves, put through a soft bandpass filter (or crossfaded into one another, effectively the same thing). -- The Anome
I guess...I still think the "scale" version is more convincing than the glissando one. It also seems like to use a bandpass filter, you would have to filter each scale/glissandi separately, and then mix them together. Crossfading seems like it would work well though. -- Omeomi
[edit] "Continous Shepard scale"?
Jean-Claude Risset, as I stated in the article, created a continous Shepard-like scale, so I am unsure if it is named, "the continous Shepard scale."-Hyacinth
[edit] What illusion?
'This auditory illusion can be constructed...' what auditory illusion? You don't explain this for the reader. -- Tarquin 09:02, 14 Aug 2003 (UTC)
[edit] Super Mario
Interestingly enough, Koji Kondo used a variation of this in the video game Super Mario 64, as background music for an infinite staircase. Here's an audio clip of the scale used in the game. --Codeman38 04:34, 6 Dec 2004 (UTC)
[edit] Pink Floyd
Is the sequence of sounds at the end of Echoes, on Pink Floyd's Meddle album, another example of a Shepard tone? Thoughtactivist 00:17, 17 October 2005 (UTC)
[edit] Bach's "Musical Offering"
There is an example of this in one of the canon's in Bach's Musical Offering. Grab the midi at Classical MIDI Archives. http://www.prs.net
- Thanks, but the Musical Offering is about an hour long and is split into 11 pieces. Can you tell us what piece has the example? --Cluster 19:46, 13 Dec 2004 (UTC)
- You might know this by now, but according to Gödel, Escher, Bach, the canon "per tonos" has been rendered with Shepard tones. —JerryFriedman 05:44, 2 January 2007 (UTC)
[edit] my shepard tone
A year ago, I programmed this illusion. Do you think it could be interresting to upload this sound in commons and have a link to it in this article ? --Gloumouth1 23:41, 28 October 2005 (UTC)
[edit] It can be done acoustically
The article said it was "implausible" but I did it with an acoustic guitar(nylon) http://www.soundclick.com/util/getplayer.m3u?id=3145034&q=hi Drsmoo 23:32, 28 November 2005 (UTC)
[edit] Cleanup
This page really needs to be cleaned up and clarified. Shepard tones (plural) or Shepard scale are a little different than the Risset tone. Shepard tones are separate, distinct notes that together give the illusion of constantly rising or falling without ever "getting there." The Risset tone, or barberpole effect, is continuous, and is a lot harder to generate because the separate octaves have to be in phase and their amplitude envelopes need to be logrithmic in order for the effect to work perfectly and for the listener not to hear separations in the tone. The psychoacoustic effect of the continuous tone, when done properly, is a lot more convincing (and disorienting) than the scale.Torc 21:42, 24 April 2006 (UTC)
- Does the article say they aren't different? Hyacinth 01:45, 25 April 2006 (UTC)
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- The article makes a slight distinction, but calls one the discrete Shepard scale and the other the continuous Shepard-Risset glissando. Personally, I've never heard Shepard tones called the discrete Shepard scale anywhere but in this article. It's almost always Shepard Tones for one or the Risset Tone, Risset Glissando, or Barberpole effect for the other. "Continuous glissando" is a redundancy anyway. The article also doesn't mention Risset's Suite for Fatman and Little Boy which was the first to feature the glissando or give any dates. (I can add all this later myself.)Torc 02:10, 25 April 2006 (UTC)
