Pattern playback revisited: unvoiced stop consonant perception.

Among the most influential publications in speech perception is Liberman, Delattre, and Cooper's [Am. J. Phys. 65, 497-516 (1952)] report on the identification of synthetic, voiceless stops generated by the Pattern Playback. Their map of stop consonant identification shows a highly complex relationship between acoustics and perception. This complex mapping poses a challenge to many classes of relatively simple pattern recognition models which are unable to capture the original finding of Liberman et al. that identification of /k/ was bimodal for bursts preceding front vowels but otherwise unimodal. A replication of this experiment was conducted in an attempt to reproduce these identification patterns using a simulation of the Pattern Playback device. Examination of spectrographic data from stimuli generated by the Pattern Playback revealed additional spectral peaks that are consistent with harmonic distortion characteristic of tube amplifiers of that era. Only when harmonic distortion was introduced did bimodal /k/ responses in front-vowel context emerge. The acoustic consequence of this distortion is to add, e.g., a high-frequency peak to midfrequency bursts or a midfrequency peak to a low-frequency burst. This likely resulted in additional /k/ responses when the second peak approximated the second formant of front vowels. Although these results do not challenge the main observations made by Liberman et al. that perception of stop bursts is context dependent, they do show that the mapping from acoustics to perception is much less complex without these additional distortion products.