The present study investigated whether listeners show adaptive experience-dependent behavior in judging the residue pitch of complex tones. The pitch of complex tones containing many harmonics is usually determined primarily by harmonics falling in a relatively restricted frequency region called the “dominant region” (Ritsma 1967), and dominant harmonics are usually thought to be well resolved in the auditory system (Plomp 1967; but see Jackson and Moore 2013). However, within this dominant region, the exact distribution of dominance can vary markedly between individuals (Moore et al. 1985). Moore et al. (1984, 1985) found that partials with low frequency difference limens (FDLs) contributed more to residue pitch than partials with high FDLs; the relative weights of individual partials to the residue pitch differed across subjects and were negatively correlated with their FDLs. Furthermore, Gockel et al. (2005a) showed that the dominant region for a complex tone of very short duration was shifted upwards in frequency relative to that for the same complex tone with a longer duration (see also Gockel et al. 2007). This shift was predicted based on the well-established finding that the increase in FDL with decreasing stimulus duration is more marked at low than at high frequencies (see, e.g., Liang and Chistovich 1961; Moore 1973b). The studies of Moore et al. (1985) and Gockel et al. (2005a, 2007) provide evidence that the contribution of a given harmonic to residue pitch is influenced by the accuracy with which the frequency of that harmonic is encoded. This resembles reports of nearly optimal integration of available information from studies in other sensory modalities (e.g., Ernst and Banks 2002; Alais and Burr 2004), where the available information was manipulated by corrupting the stimulus in the actual test trials. In contrast, here we investigated whether the relative contribution of individual harmonics to residue pitch would also be affected by experimentally manipulated experience. Importantly, the experience, i.e., the acquired knowledge of the listeners, was based on context trials in which the reliability of frequency estimates of individual harmonics was manipulated; the stimuli in the test trials were physically identical in the two different context conditions.