An information processing account of perception seeks to delineate the stages of processing through which a stimulus passes and determine the properties of the representation at each stage. Research in phonetic perception has identified two stages, the second of which is thought to encode abstract acoustic attributes of sounds. The present study provided a further test of this proposal by assessing whether nonphonetic stimuli could yield results similar to those obtained with phonetic stimuli. Five selective adaptation experiments were carried out with a trumpet-piano timbre continuum. Twomanipulations were used to measure abstract encoding: cross-ear presentation of adaptor and test series, and the use of adaptors that were acoustically different from the continuum endpoints. The results provide evidence for an abstract representation of timbre. The similarity of the findings to those in the phonetic adaptation literature is discussed.A fundamental problem in perception is understanding how perceivers maintain object constancy across wide variation in the physical properties of a stimulus. In the auditory domain, this problem may be best known in the form of the acoustic-phonetic variability problem in speech perception, in which there is a lack of one-to-one correspondence between the acoustic properties of the speech signal and the resulting phonetic percept. For example, not only can the same acoustic cue signal different phonemes in different contexts, but different cues can signal the same phoneme in different contexts (Liberman, Cooper, Shankweiler, & Studdert-Kennedy, 1967).The question of how listeners perceive object constancy also arises when investigating the perception of nonphonetic sound objects, such as the timbre of musical instruments (Handel, 1989). Tones produced by a saxophone or clarinet are readily perceived as such over most of the instrument's range, yet the acoustic properties of the tones change markedly across this range. Pressing and releasing keys alters not only the fundamental frequency of the tone but also the resonance (filtering) characteristics of the instrument. This variation is particularly large when the register (octave) key is used. Additional variability in the waveform is introduced by changes in the source of production (e.g., vibration amplitude of the reed, tone attack rate; Backus, 1977;Benade, 1976).As with phonetic percepts, the acoustic cues that signal instrument identity vary across contexts, and no one cue has been found that is necessary and sufficient for I thank Gary Starr for testing subjects and Alice Cimino for invaluable assistance in performing the timbral interpolation. A conversation with Arthur Samuel led to the design of Experiment 5.