Higher-order combination tones can be misheard as actual played notes

Evidence

The combination tones are: for n = 1: 880.0 − 107.8 = 772.2 Hz; closest note is G5 (f0 = 784.0 Hz) for n = 2: 880.0 − 215.6 = 664.4 Hz; closest note is E5 (f0 = 659.3 Hz) These combination tones would beat with the f0 component of any other instruments playing a note close to a combination tone. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1589

Categorization

• QUESTION: Because 772.2 and 664.4 Hz fall near G5 and E5, do listeners actually misattribute these tones to real instruments?
• XREF: connects to: Chords sound consonant when singers’ fundamental frequencies are integer-related. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1377; Real musical instruments produce measurable distortion tones that fall near other scale notes — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1587; Lower-order combination tones are perceived more readily than higher orders (+19 more)

Broader Connections

• Adding harmonic-series members of an unsounded note creates perceptual ambiguity about pitch location. #corroborates (1.00) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1649
• Two tones presented together generate an audible combination (difference) tone not physically present. #corroborates (1.00) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 773
• Difference and summation tones are perceived at arithmetic combinations of presented frequencies #corroborates (1.00) — Eric J. Heller, Why You Hear What You Hear- An…, 2276
• Lower-order combination tones are perceived more readily than higher orders #complicates (0.85)
• Pure-tone instruments readily produce audible combination tones #complicates (0.85) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1621
• Combination tones exist below both source tones and vary in audibility #responds-to (0.80)
• Two tones presented together produce audible combination tones in the ear #complicates (0.80) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 330
• Masking limits how much combination tones interfere with other instruments’ pitches #complicates (0.80) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1590
• Equal temperament makes combination tones slightly out of tune #complicates (0.80)
• Combination tones beat against other near-pitched instruments unless masked #complicates (0.75)
• Presented together, tones reveal far finer pitch differences via beats than sequential comparison #complicates (0.75)
• Whether combination tones are musical depends on the tuning system #complicates (0.75)
• Listeners stream interleaved tones by pitch rather than by ear of delivery #complicates (0.75) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1620
• Combination tones fill in missing harmonics of a perceived fundamental #complicates (0.75) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1620
• Loud tones can render simultaneous tones partially or wholly imperceptible #complicates (0.75) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1628