Evidence for Timbre Space Robustness to an Uncontrolled Online Stimulus Presentation
Research on timbre perception is typically conducted under controlled laboratory conditions where every effort is made to maintain stimulus presentation conditions fixed (McAdams, 2019). This conforms with the ANSI (1973) definition of timbre suggesting that in order to judge the timbre differences between a pair of sounds the rest perceptual attributes (i.e., pitch, duration and loudness) should remain unchanged. Therefore, especially in pairwise dissimilarity studies, particular care is taken to ensure that loudness is not used by participants as a criterion for judgements by equalising it across experimental stimuli. On the other hand, conducting online experiments is an increasingly favoured practice in the music perception and cognition field as targeting relevant communities can potentially provide a large number of suitable participants with relatively little time investment from the side of the experimenters (e.g., Woods et al., 2015). However, the strict requirements for stimuli preparation and presentation prevents timbre studies from conducting online experimentation. Despite the obvious difficulties in imposing equal loudness on online experiments, the different playback equipment chain (DACs, pre-amplifiers, headphones) will also almost inevitably ‘colour’ the sonic outcome in a different way. Despite the above limitations, in a social distancing time like this, it would be of major importance to be able to lift some of the physical requirements in order to carry on conducting behavioural research on timbre perception. Therefore, this study aims to investigate the extent to which an uncontrolled online replication of a past laboratory-conducted pairwise dissimilarity task will distort the findings.