Several studies reported that subjects have difficulty in processing a sequence of auditory signals if the sequence alternates between ears: Alternating speech and melodies are recognized poorly. If, however, the ears not receiving this information are "filled" with noise or with a lower constant-frequency tone (drone), recognition improves again. This improvement is due to the fact that the signal is subjectively alternating to a much lesser extent. The present study was an attempt to measure the subjective ambient bandwidth within which the interaural signal moves when a contralateral drone is supplied. It turned out that the signal, although alternating between ears, appeared to arise from the middle of the head. The results were discussed in terms of auditory illusions.It has been shown that subjects have more difficulty in processing a sequence of auditory signals if the sequence is alternated between the ears rather than being presented to just one ear. Cherry and Taylor (1954) demonstrated that a spoken message that was switched back and forth between the ears (duty cycle0.5) becomes least intelligibleat 3 alternations/sec, although all of the speech signal is physically present at either one ear or the other. They interpreted these results as being a consequence of a limitation in the rate at which listeners can switch their attention.Interestingly, Schubert and Parker (1956) found a strong increase in the intelligibility of alternating speech when the ear contralateral to the ear receiving the speech signal was stimulated with noise. A related effect was described by Deutsch (1979). She found a marked decrement in the recognition of melodies when the components of the melody were switched between the ears. This decrement, however, could be largely nullified by adding a drone (a lower constant-frequency tone of 345 Hz) to the ear opposite to the one receiving the melody. Deutsch mentioned that, in the latter condition, her subjects mislocalized the signals: "some perceived the melody on one side and the drone as localized on the other; others perceived the drone as in the center of the head and the melody as slowly shifting its position" (Deutsch, 1979, p. 403).