Interactions between test- and inducer-tone durations in induced loudness reduction

A tone usually declines in loudness when preceded by a more intense inducer tone. This phenomenon is called "loudness recalibration" or "induced loudness reduction" (ILR). The present study investigates how ILR depends on level, loudness, and duration. A 2AFC procedure was used to obtain loudness matches between 2500-Hz comparison tones and 500-Hz test tones at 60 and 70 dB SPL, presented with and without preceding 500-Hz inducer tones. For 200-ms test and comparison tones, the amount of ILR did not depend on inducer level (set at 80 dB SPL and above), but ILR was greater with 200- than with 5-ms inducers, even when both were equally loud. For 5-ms tones, ILR was as great with 5- as with 200-ms inducers and about as great as when test and inducer tones both lasted 200 ms. These results suggest that (1) neither the loudness nor the SPL of the inducer alone governs ILR, and (2) inducer duration must equal or exceed test-tone duration to yield maximal amounts of ILR. Further analysis indicates that the efferent system may be partly responsible for ILR of 200-ms test tones, but is unlikely to account for ILR of 5-ms tones.     

Loudness reduction induced by a contralateral tone

The induced reduction in the loudness (ILR) of a weaker tone caused by a preceding stronger tone was measured with both tones in the same ear (ipsilateral ILR) and also in opposite ears (contralateral ILR). The two tones were always equal in duration and were presented repeatedly over several minutes. When the tone duration was 200 ms, for 24 listeners the loudness reduction averaged 11 dB under ipsilateral ILR and 6 dB under contralateral ILR. When the duration was 5 ms, ILR was 8 dB whether ipsilateral or contralateral. For each duration, ipsilateral and contralateral ILR were strongly correlated (r around 0.80).     

Potential carry-over effect in the measurement of induced loudness reduction

The majority of studies on induced loudness reduction (ILR) use an experimental paradigm that results in an underestimation of the amount of ILR. Most of those studies utilize loudness matches between tones of two different frequencies (a test tone and a comparison tone) with (experimental condition) and without (baseline condition) an inducer tone at the test frequency. The change in level of the comparison tone between the baseline and experimental conditions is the amount of ILR. In those experiments, the level of the comparison tone in the baseline condition tends to be substantially higher (often about 10 dB) than in the experimental condition. Because of this level difference, exposure to the baseline condition immediately prior to the experimental condition causes unintended ILR for the comparison tone. In this study, the delay between the baseline and experimental conditions was varied and it was determined that the amount of ILR is underestimated by about 30% and the variability is increased when the experimental condition is run immediately after the baseline condition. A second experiment using a Békésy-tracking procedure showed that ILR maximizes rapidly upon exposure to an inducer and decays over the course of several minutes after the inducer is removed.     

An introduction to induced loudness reduction

Induced loudness reduction (ILR) is a phenomenon by which a preceding higher-level tone (an inducer tone) reduces the loudness of a lower-level tone (a test tone). The strength of this effect depends on a number of parameters, reviewed here. Some of the implications of ILR on loudness data are presented via the analysis of several studies in which ILR likely resulted in otherwise unexplained biases in data sets. These results serve as examples of the pervasiveness of ILR in loudness measurements and indicate that it is necessary to consider ILR when designing any psychoacoustical experiment in which level varies.     

Frequency selectivity in loudness adaptation and auditory fatigue

An intermittent monaural tone may induce a decline in the loudness of a continuous tone presented to the same ear [Canévet et al., Br. J. Audiol. 17, 49-57 (1983)]. Two experiments studied the frequency selectivity of loudness adaptation induced in this manner. The method of successive magnitude estimations was used to measure the loudness of a monaural 84-s test tone before and after a single presentation of a 24-s inducer tone in the same ear. The first experiment shows that, for an inducing tone (500, 1000, or 3000 Hz) approximately 15 dB more intense than a test tone set to one of 21 different frequencies, adaptation is greatest when the two tones have the same frequency; with increasing difference between the test-tone and inducer frequencies, adaptation progressively declines. The second experiment measured frequency selectivity in the loudness reduction caused by a 1000-Hz inducer as a function of its level. As inducer level went from 75 to 95 dB (with test tone constant at 60 phons), selectivity passes progressively from the type seen in short-term or low-level fatigue (maximal for the 1000-Hz test tone) to a type seen in long-term or high-level fatigue (maximal for the 1000-Hz test tone) to a type seen in long-term or high-level fatigue (maximal at frequencies higher than that of the inducer or fatiguing tone). A common cochlear origin and a continuity between the mechanisms of ipsilaterally induced adaptation and high-level fatigue are suggested by the data.     

Loudness reduction and adaptation induced by a contralateral tone

An intermittent tone in one ear may induce a large decline in the loudness of a continuous tone in the contralateral ear [Botte et al., J. Acoust. Soc. Am. 72, 727-739 (1982)]. To uncover the basis for this induced loudness adaptation, the method of successive magnitude estimations was used to measure the loudness of a test tone in one ear during and after a single presentation of a brief inducer tone in the contralateral ear. Duration and frequency of the inducer were varied. The frequency of the test tone was set at 500, 1000, or 3000 Hz. Both inducer and test tones were at 60 dB SPL. When the inducer lasted 5 s or more and was at the same frequency as the test tone, the loudness of the test tone was reduced by 80% to 100% while the inducer was on. As the inducer frequency moved away from the test tone, the loudness reduction declined gradually except for a more marked drop at the point where the frequency separation exceeded the critical bandwidth. Loudness remained depressed after the inducer went off. Additional measurements showed that the amount of loudness reduction corresponded closely to the measured movement of the inducer's sound image away from the center of the listener's head (decentralization).     

Effective attenuation of signals in noise under focused attention

When attending to a tone at a given frequency, listeners are most sensitive to that tone and others within a restricted band of frequencies surrounding it. This region of enhanced sensitivity defines the attention band that was measured in two experiments using a modified version of the probe-signal method of Greenberg and Larkin [J. Acoust. Soc. Am. 44, 1513-1523 (1968)]. Experiment 1 showed that at five center frequencies, from 0.25 to 4.0 kHz, the shape of the attention band resembles that of the auditory filter as inferred from notched-noise masking experiments by other investigators. The width of the attention band is close to the critical band at higher frequencies, but only half as wide at 0.25 and 0.5 kHz. Experiment 2 produced psychometric functions for unattended probe tones at least 0.23 kHz away from a fully attended, 1-kHz target tone. From these functions, the effective attenuation, measured as the threshold difference between the 1-kHz target and the probes, was estimated to be 7 dB; the amount of attenuation appeared to be about the same regardless of how far the probe frequency was from the attended band. One interpretation of these results is that bands centered on the unattended tones contribute to the decision process with some small but measurable weight and are not entirely ignored.     

The influence of middle-ear muscle contraction on auditory threshold for selected pure tones

The influence of middle-ear muscle (MEM) contraction on auditory threshold has been measured for pure tones of 0.25, 0.5, and 1.5 kHz. The reflex-activating signal was a 3-kHz pure tone. Signal paradigms were chosen to reduce or eliminate the effects of binaural loudness summation, contralateral direct masking, and contralateral remote and backward masking effects, and to maximize the influence of MEM contraction. Results indicate that under no condition was behavioral threshold affected by the MEM contraction induced using a pure-tone stimulus of 3 kHz, 105 dB SPL.     

Louder sounds can produce less forward masking: effects of component phase in complex tones

The influence of the degree of envelope modulation and periodicity on the loudness and effectiveness of sounds as forward maskers was investigated. In the first experiment, listeners matched the loudness of complex tones and noise. The tones had a fundamental frequency (F0) of 62.5 or 250 Hz and were filtered into a frequency range from the 10th harmonic to 5000 Hz. The Gaussian noise was filtered in the same way. The components of the complex tones were added either in cosine phase (CPH), giving a large crest factor, or in random phase (RPH), giving a smaller crest factor. For each F0, subjects matched the loudness between all possible stimulus pairs. Six different levels of the fixed stimulus were used, ranging from about 30 dB SPL to about 80 dB SPL in 10-dB steps. Results showed that, at a given overall level, the CPH and the RPH tones were louder than the noise, and that the CPH tone was louder than the RPH tone. The difference in loudness was larger at medium than at low levels and was only slightly reduced by the addition of a noise intended to mask combination tones. The differences in loudness were slightly smaller for the higher than for the lower F0. In the second experiment, the stimuli with the lower F0s were used as forward maskers of a 20-ms sinusoid, presented at various frequencies within the spectral range of the maskers. Results showed that the CPH tone was the least effective forward masker, even though it was the loudest. The differences in effectiveness as forward maskers depended on masker level and signal frequency; in order to produce equal masking, the level of the CPH tone had to be up to 35 dB above that of the RPH tone and the noise. The implications of these results for models of loudness are discussed and a model is presented based on neural activity patterns in the auditory nerve; this predicts the general pattern of loudness matches. It is suggested that the effects observed in the experiments may have been influenced by two factors: cochlear compression and suppression.     

Subjective loudness level measurements and equal loudness contours in a bottlenose dolphin (Tursiops truncatus)

Loudness level measurements in human listeners are straightforward; however, it is difficult to convey the concepts of loudness matching or loudness comparison to (non-human) animals. For this reason, prior studies have relied upon objective measurements, such as response latency, to estimate equal loudness contours in animals. In this study, a bottlenose dolphin was trained to perform a loudness comparison test, where the listener indicates which of two sequential tones is louder. To enable reward of the dolphin, most trials featured tones with identical or similar frequencies, but relatively large sound pressure level differences, so that the loudness relationship was known. A relatively small percentage of trials were "probe" trials, with tone pairs whose loudness relationship was not known. Responses to the probe trials were used to construct psychometric functions describing the loudness relationship between a tone at a particular frequency and sound pressure level and that of a reference tone at 10 kHz with a sound pressure level of 90, 105, or 115 dB re 1 μPa. The loudness relationships were then used to construct equal loudness contours and auditory weighting functions that can be used to predict the frequency-dependent effects of noise on odontocetes.     

Build-up of the tendency to segregate auditory streams: resetting effects evoked by a single deviant tone

The tendency to hear a sequence of alternating low (L) and high (H) frequency tones as two streams can be increased by a preceding induction sequence, even one composed only of same-frequency tones. Four experiments used such an induction sequence (10 identical L tones) to promote segregation in a shorter test sequence comprising L and H tones. Previous studies have shown that the build-up of stream segregation is usually reduced greatly when a sudden change in acoustic properties distinguishes all of the induction tones from their test-sequence counterparts. Experiment 1 showed that a single deviant tone, created by altering the final inducer (in frequency, level, duration, or replacement with silence) reduced reported segregation, often substantially. Experiment 2 partially replicated this finding, using changes in temporal discrimination as a measure of streaming. Experiments 3 and 4 varied the size of a frequency change applied to the deviant tone; the extent of resetting varied with size only gradually. The results suggest that resetting begins to occur once the change is large enough to be noticeable. Since the prior inducers always remained unaltered in the deviant-tone conditions, it is proposed that a single change actively resets the build-up evoked by the induction sequence.     

Dead regions and pitch perception

The perception of pitch for pure tones with frequencies falling inside low- or high-frequency dead regions (DRs) was examined. Subjects adjusted a variable-frequency tone to match the pitch of a fixed tone. Matches within one ear were often erratic for tones falling in a DR, indicating unclear pitch percepts. Matches across ears of subjects with asymmetric hearing loss, and octave matches within ears, indicated that tones falling within a DR were perceived with an unclear pitch and/or a pitch different from "normal" whenever the tones fell more than 0.5 octave within a low- or high-frequency DR. One unilaterally impaired subject, with only a small surviving region between 3 and 4 kHz, matched a fixed 0.5-kHz tone in his impaired ear with, on average, a 3.75-kHz tone in his better ear. When asked to match the 0.5-kHz tone with an amplitude-modulated tone, he adjusted the carrier and modulation frequencies to about 3.8 and 0.5 kHz, respectively, suggesting that some temporal information was still available. Overall, the results indicate that the pitch of low-frequency tones is not conveyed solely by a temporal code. Possibly, there needs to be a correspondence between place and temporal information for a normal pitch to be perceived.     

Loudness recalibration as a function of level

Recent research on loudness has focused on contextual effects on loudness, both assimilation and recalibration. The current experiments examined loudness recalibration [Marks, J. Exp. Psychol. 20, 382-396 (1994)]. In the first experiment, an adaptive tracking procedure was used to measure loudness recalibration as a function of standard- and recalibration-tone level. The standard-tone frequencies were 500 and 2500 Hz and the levels were 80-, 70-, 60-, and 40-dB SPL, and threshold. Seventeen dB of loudness recalibration was obtained (combined over both frequencies) in the 60-dB SPL condition. This amount of loudness recalibration, while substantial, is still less than that obtained by Marks (22 dB), using the method of paired comparisons. The second experiment sought to duplicate Marks' earlier experiment [Marks, J. Exp. Psychol. 20, 382-396 (1994), experiment 2]. The results of this experiment (21 dB) were almost identical to those obtained by Marks. The results of experiment 1 indicate that loudness recalibration is maximum when the recalibration tone is moderately louder than the subsequent standard tones. Relatively little loudness recalibration is exhibited when the standard-tone level equals the recalibration-tone level. In addition, there is no loudness recalibration at threshold. The tracking procedure also identified that the onset of loudness recalibration is very rapid. The difference between the maximum loudness recalibration obtained at each frequency (11 dB at 500 Hz, 6 dB at 2500 Hz) suggests that loudness recalibration is dependent upon the frequency of the standard tone.     

Effects of flanking noise bands on the rate of growth of loudness of tones in normal and recruiting ears

Five subjects with unilateral cochlear hearing impairments and three normally hearing subjects made loudness matches between tones presented alternately to two ears, as a function of the intensity of the tone in the impaired ear (or the left ear of the normal subjects). The impaired ears showed recruitment; the rate of growth of loudness with increasing intensity was more rapid in the impaired ear than the normal ear. Presenting the tone in the impaired ear with two noise bands on either side of the tone frequency, at a fixed signal-to-noise ratio, did not abolish the recruitment. This suggests that recruitment is not caused by an abnormally rapid spread of excitation in the peripheral auditory system. At low signal-to-noise ratios, a continuous background noise reduced the loudness of the tone more than a noise gated with the tone, suggesting that the continuous noise induces adaptation to the tone. The noise had a greater effect on the loudness of the tone in normal ears than in impaired ears. It is possible that the loudness reduction of the tone in noise is mediated by suppression; suppression is weak or absent in impaired ears, and so the loudness reduction is smaller.     

The perception of complex tones by a false killer whale (Pseudorca crassidens)

Complex tonal whistles are frequently produced by some odontocete species. However, no experimental evidence exists regarding the detection of complex tones or the discrimination of harmonic frequencies by a marine mammal. The objectives of this investigation were to examine the ability of a false killer whale to discriminate pure tones from complex tones and to determine the minimum intensity level of a harmonic tone required for the whale to make the discrimination. The study was conducted with a go/no-go modified staircase procedure. The different stimuli were complex tones with a fundamental frequency of 5 kHz with one to five harmonic frequencies. The results from this complex tone discrimination task demonstrated: (1) that the false killer whale was able to discriminate a 5 kHz pure tone from a complex tone with up to five harmonics, and (2) that discrimination thresholds or minimum intensity levels exist for each harmonic combination measured. These results indicate that both frequency level and harmonic content may have contributed to the false killer whale's discrimination of complex tones.     

Comparing behavioral and physiological measures of combination tones: Sex and race differences

Both distortion-product otoacoustic emissions (DPOAEs) and performance in an auditory-masking task involving combination tones were measured in the same frequency region in the same ears. In the behavioral task, a signal of 3.6?kHz (duration 300?ms, rise/fall time 20?ms) was masked by a 3.0-kHz tone (62?dB SPL, continuously presented). These two frequencies can produce a combination tone at 2.4?kHz. When a narrowband noise (2.0-2.8?kHz, 17?dB spectrum level) was added as a second masker, detection of the 3.6-kHz signal worsened by 6-9?dB (the Greenwood effect), revealing that listeners had been using the combination tone at 2.4?kHz as a cue for detection at 3.6?kHz. Several outcomes differed markedly by sex and racial background. The Greenwood effect was substantially larger in females than in males, but only for the White group. When the magnitude of the Greenwood effect was compared with the magnitude of the DPOAE measured in the 2.4?kHz region, the correlations typically were modest, but were high for Non-White males. For many subjects, then, most of the DPOAE measured in the ear canal apparently is not related to the combination-tone cue that is masked by the narrowband noise.     

Cats exhibit the Franssen Effect illusion

The Franssen Effect (FE) is a striking auditory illusion previously demonstrated only in humans. To elicit the FE, subjects are presented with two spatially-separated sounds; one a transient tone with an abrupt onset and immediate ramped offset and the other a sustained tone of the same frequency with a ramped onset which remains on for several hundred ms. The FE illusion occurs when listeners localize the tones at the location of the transient signal, even though that sound has ended and the sustained one is still present. The FE illusion occurs most readily in reverberant environments and with pure tones of approximately 1-2.5 kHz in humans, conditions where sound localization is difficult in humans. Here, we demonstrate this illusion in domestic cats using, for the first time, localization procedures. Previous studies in humans employed discrimination procedures, making it difficult to link the FE to sound localization mechanisms. The frequencies for eliciting the FE in cats were higher than in humans, corresponding to frequencies where cats have difficulty localizing pure tones. These findings strengthen the hypothesis that difficulty in accurately localizing sounds is the basis for the FE.     

Asymmetry of masking between complex tones and noise: partial loudness

This experiment examined the partial masking of periodic complex tones by a background of noise, and vice versa. The tones had a fundamental frequency (F0) of 62.5 or 250 Hz, and components were added in either cosine phase (CPH) or random phase (RPH). The tones and the noise were bandpass filtered into the same frequency region, from the tenth harmonic up to 5 kHz. The target alone was alternated with the target and the background; for the mixture, the background and target were either gated together, or the background was turned on 400 ms before, and off 200 ms after, the target. Subjects had to adjust the level of either the target alone or the target in the background so as to match the loudness of the target in the two intervals. The overall level of the background was 50 dB SPL, and loudness matches were obtained for several fixed levels of the target alone or in the background. The resulting loudness-matching functions showed clear asymmetry of partial masking. For a given target-to-background ratio, the partial loudness of a complex tone in a noise background was lower than the partial loudness of a noise in a complex tone background. Expressed as the target-to-background ratio required to achieve a given loudness, the asymmetry typically amounted to 12-16 dB. When the F0 of the complex tone was 62.5 Hz, the asymmetry of partial masking was greater for CPH than for RPH. When the F0 was 250 Hz, the asymmetry was greater for RPH than for CPH. Masked thresholds showed the same pattern as for partial masking for both F0's. Onset asynchrony had some effect on the loudness matching data when the target was just above its masked threshold, but did not significantly affect the level at which the target in the background reached its unmasked loudness. The results are interpreted in terms of the temporal structure of the stimuli.     

Fine structure of hearing threshold and loudness perception

Hearing thresholds measured with high-frequency resolution show a quasiperiodic change in level called threshold fine structure (or microstructure). The effect of this fine structure on loudness perception over a range of stimulus levels was investigated in 12 subjects. Three different approaches were used. Individual hearing thresholds and equal loudness contours were measured in eight subjects using loudness-matching paradigms. In addition, the loudness growth of sinusoids was observed at frequencies associated with individual minima or maxima in the hearing threshold from five subjects using a loudness-matching paradigm. At low levels, loudness growth depended on the position of the test- or reference-tone frequency within the threshold fine structure. The slope of loudness growth differs by 0.2 dB/dB when an identical test tone is compared with two different reference tones, i.e., a difference in loudness growth of 2 dB per 10-dB change in stimulus. Finally, loudness growth was measured for the same five subjects using categorical loudness scaling as a direct-scaling technique with no reference tone instead of the loudness-matching procedures. Overall, an influence of hearing-threshold fine structure on loudness perception of sinusoids was observable for stimulus levels up to 40 dB SPL--independent of the procedure used. Possible implications of fine structure for loudness measurements and other psychoacoustic experiments, such as different compression within threshold minima and maxima, are discussed.