Thanks much. I'm signed up. This is my first time taking an online course.

I think perfect pitch recognition is pretty rare isn't it?  With a lot of the later quizzes, the only way I could work out the answer was to cross-compare with the other questions on the same sample.
 
Let me know how you get on.

SGodfreyI think perfect pitch recognition is pretty rare isn't it?  With a lot of the later quizzes, the only way I could work out the answer was to cross-compare with the other questions on the same sample.

I was doing the same thing for a lot of them. Picking a pitch out of a hat is tough for most people, I think. It got me thinking: while trying to sort out the frequency of a pesky noise, it would be good to have some known reference frequencies handy for quick comparison. Or even just have a keyboard handy (MIDI or whatever) to play comparison notes. It would certainly help me find the range of a noise or some other pesky critter what needs huntin' down and killin'.
I guess for anything above 3k or so, the keyboard isn't going to do it, though.
 
Another thing I found is that whenever they played a 16k tone, I totally couldn't hear it. I read somewhere that George Martin couldn't hear anything above 12.5k and that made me feel a lot better about my hearing range.

dubdiscipleGreat example of how timbre can affect pitch perception.

Yup, I agree whole-heartedly. And, yes, it's a humbling experience. Methinks this is where we separate the musicians from the engineers.

About two-thirds of the way through the practice exercises, I started to get them right more often, sometimes even on the first try.
 
And I found this interesting plugin for extra ear training; it can use any tracks you want which opens things right up: earPlugins Tune.
Keep in mind, however, that it does NOT work in X3. It does work in X1 and probably in other versions.

Thanks so much for posting this.  I have been getting people at the studio to check it out and they are amazed at how trained or untrained their ears are,.

This is a pretty cool course. The tonal "pick which frequency this sine wave is" questions became easier when I realised they were just using one, three and five in Amin (IIRC). Once you get where your "tonic" is it becomes a different exercise. Pulling a band out of pink noise it tough, but I got better with practice (imagine that).
 
One weird thing, on the actual test my question 10 was a "tell which frequency we pulled out of this pink noise" question and after several A/B passes at the original I swore they were the same so I opened up a frequency analyzer and looked and sure enough, the before and after both were the same sample with a specific band removed. Oops...but hey, at least I spotted it :)
 
Thanks to the OP for the heads up about this. It's pretty cool...

Dean

Razorwit,
I had the same feeling of you for the question 10...

Week 2 made me realize my monitoring setup needs some serious re-thinking... I rarely have used headphones and found them more useful but still not "great"  Picking out track changes of only a few dB is nutty!!

Hi Mattelus,
Yeah, trying to differentiate between +6 and +9, particularly on a 1k sine wave, was tough sometimes, and I'm in a treated room listening to very nice monitors. I found myself doing a lot of "OK, I know that +12 sounds like someone is shoving a spike in my ears, and +3 sounds like someone poking at it with a q-tip, so is this closer to spike or q-tip?". The other frequencies weren't as bad, but for me at 1k it's all kinda ranking levels of uncomfortable. I actually found myself measuring my flinch response a couple of times :)
 
Dean