Illusory continuity of tonal and infratonal periodic sounds

Temporal induction can restore masked or obliterated portions of signals so that tones may seem continuous when alternated with sounds having appropriate spectral composition and intensity. The upper intensity limits for the induction of tones (pulsation thresholds) are related to masking functions and have been used to define the characteristics of frequency domain (place) analysis of tones. The present study has found that induction also occurs for infratonal periodic sounds that require a time domain analysis for perception of acoustic repetition. Limits for temporal induction were determined for iterated frozen noise segments from 10-2000 Hz alternated with a louder on-line noise. Masked thresholds were also obtained for the pulsed signals presented along with continuous noise, and it was found that the relation between induction limits and masking changed with frequency. The results obtained for induction and masking are discussed in terms of general principles governing restoration of obliterated sounds.     

Detection versus discrimination of brief tones by cats with auditory cortex lesions.

In recent years, a number of investigators have provided evidence that the auditory cortex has a critical role in both the detection and discrimination of brief sounds. Dogs and humans with lesions of the neocortical auditory centers have been reported to exhibit significantly elevated detection thresholds for signals shorter than 16 ms in duration. In tests of frequency discrimination, the same subjects also exhibited severe deficits whenever tonal signals were less than 20--40 mn in lengths. In the present report, we present evidence brief tones. Operated cats, while exhibiting normal difference limens for 1-kHz tones of 100-ms duration, have significantly elevated limens for discriminating tones of 8- and 2-ms duration. With further testing, the same operated cats can be shown to have normal absolute thresholds for detecting brief tones.     

Characteristics of whistles from the acoustic repertoire of resident killer whales (Orcinus orca) off Vancouver Island, British Columbia

The acoustic repertoire of killer whales (Orcinus orca) consists of pulsed calls and tonal sounds, called whistles. Although previous studies gave information on whistle parameters, no study has presented a detailed quantitative characterization of whistles from wild killer whales. Thus an interpretation of possible functions of whistles in killer whale underwater communication has been impossible so far. In this study acoustic parameters of whistles from groups of individually known killer whales were measured. Observations in the field indicate that whistles are close-range signals. The majority of whistles (90%) were tones with several harmonics with the main energy concentrated in the fundamental. The remainder were tones with enhanced second or higher harmonics and tones without harmonics. Whistles had an average bandwidth of 4.5 kHz, an average dominant frequency of 8.3 kHz, and an average duration of 1.8 s. The number of frequency modulations per whistle ranged between 0 and 71. The study indicates that whistles in wild killer whales serve a different function than whistles of other delphinids. Their structure makes whistles of killer whales suitable to function as close-range motivational sounds.     

Speech masking. II: Simultaneous masking thresholds under "naturalistic" listening conditions

This article investigates the role of listening conditions in determining thresholds for probe tones masked by natural speech. These thresholds are of interest because they are a sensitive probe of the activity profile, or spectrum, of sounds such as speech in the auditory system. Most human performance tests are carried out under highly artificial listening conditions, which may not reflect how people listen to speech in common listening environments. In this study, reference conditions (similar to minimal uncertainty listening conditions used in many performance tests) were compared to a "naturalistic" listening condition and to another, intermediate, condition. In the naturalistic listening condition, listeners did not know the frequency or the position of probe tones; additionally, they were required to attend to the semantic content of sentences. In the reference condition, listeners knew the frequency and position of probe tones masked by single syllables. Average thresholds were elevated by 4 dB in the naturalistic listening condition with respect to the reference condition, and thresholds tended to be elevated more for higher-frequency probe tones. The results provide previously unknown information about the resolution of speech sounds in the auditory system during speech comprehension.     

Discriminating harmonicity

Simultaneous tones that are harmonically related tend to be grouped perceptually to form a unitary auditory image. A partial that is mistuned stands out from the other tones, and harmonic complexes with different fundamental frequencies can readily be perceived as separate auditory objects. These phenomena are evidence for the strong role of harmonicity in perceptual grouping and segregation of sounds. This study measured the discriminability of harmonicity directly. In a two interval, two alternative forced-choice (2I2AFC) paradigm, the listener chose which of two sounds, signal or foil, was composed of tones that more closely matched an exact harmonic relationship. In one experiment, the signal was varied from perfectly harmonic to highly inharmonic by adding frequency perturbation to each component. The foil always had 100% perturbation. Group mean performance decreased from greater than 90% correct for 0% signal perturbation to near chance for 80% signal perturbation. In the second experiment, adding a masker presented simultaneously with the signals and foils disrupted harmonicity. Both monaural and dichotic conditions were tested. Signal level was varied relative to masker level to obtain psychometric functions from which slopes and midpoints were estimated. Dichotic presentation of these audible stimuli improved performance by 3-10 dB, due primarily to a release from "informational masking" by the perceptual segregation of the signal from the masker.     

Interaural time sensitivity of high-frequency neurons in the inferior colliculus

Recent psychoacoustic experiments have shown that interaural time differences provide adequate cues for lateralizing high-frequency sounds, provided the stimuli are complex and not pure tones. We present here physiological evidence in support of these findings. Neurons of high best frequency in the cat inferior colliculus respond to interaural phase differences of amplitude modulated waveforms, and this response depends upon preservation of phase information of the modulating signal. Interaural phase differences were introduced in two ways: by interaural delays of the entire waveform and by binaural beats in which there was an interaural frequency difference in the modulating waveform. Results obtained with these two methods are similar. Our results show that high-frequency cells can respond to interaural time differences of amplitude modulated signals and that they do so by a sensitivity to interaural phase differences of the modulating waveform.     

An account of monaural phase sensitivity

Listeners can detect phase differences between the envelopes of sounds occupying remote frequency regions, and between the fine structures of partials that interact within a single auditory filter. They are insensitive to phase differences between partials that differ sufficiently in frequency to preclude within-channel interactions. A new model is proposed that can account for all three of these findings, and which, unlike currently popular approaches, does not discard across-channel timing information. Sensitivity is predicted quantitatively by analyzing the output of a cochlear model using a spectro-temporal decomposition inspired by responses of neurons in the auditory cortex, and by computing a distance metric between the responses to two stimuli to be discriminated. Discriminations successfully modeled include phase differences between pairs of bandpass filtered harmonic complexes, and between pairs of sinusoidally amplitude modulated tones, discrimination between amplitude and frequency modulation, and discrimination of transient signals differing only in their phase spectra ("Huffman sequences").     

Enhancing a tone by shifting its frequency or intensity

When a test sound consisting of pure tones with equal intensities is preceded by a precursor sound identical to the test sound except for a reduction in the intensity of one tone, an auditory "enhancement" phenomenon occurs: In the test sound, the tone which was previously softer stands out perceptually. Here, enhancement was investigated using inharmonic sounds made up of five pure tones well resolved in the auditory periphery. It was found that enhancement can be elicited not only by increases in intensity but also by shifts in frequency. In both cases, when the precursor and test sounds are separated by a 500-ms delay, inserting a burst of pink noise during the delay has little effect on enhancement. Presenting the precursor and test sounds to opposite ears rather than to the same ear significantly reduces the enhancement resulting from increases in intensity, but not the enhancement resulting from shifts in frequency. This difference suggests that the mechanisms of enhancement are not identical for the two types of change. For frequency shifts, enhancement may be partly based on the existence of automatic "frequency-shift detectors" [Demany and Ramos, J. Acoust. Soc. Am. 117, 833-841 (2005)].     

The influence of extraneous sounds on the perceptual estimation of first-formant frequency in vowels

The contribution of extraneous sounds to the perceptual estimation of the first-formant (F1) frequency of voiced vowels was investigated using a continuum of vowels perceived as changing from/I/to/epsilon/as F1 was increased. Any phonetic effects of adding extraneous sounds were measured as a change in the position of the phoneme boundary on the continuum. Experiments 1-5 demonstrated that a pair of extraneous tones, mistuned from harmonic values of the fundamental frequency of the vowel, could influence perceived vowel quality when added in the F1 region. Perceived F1 frequency was lowered when the tones were added on the lower skirt of F1, and raised when they were added on the upper skirt. Experiments 6 and 7 demonstrated that adding a narrow-band noise in the F1 region could produce a similar pattern of boundary shifts, despite the differences in temporal properties and timbre between a noise band and a voiced vowel. The data are interpreted using the concept of the harmonic sieve [Duifhuis et al., J. Acoust. Soc. Am. 71, 1568-1580 (1982)]. The results imply a partial failure of the harmonic sieve to exclude extraneous sounds from the perceptual estimation of F1 frequency. Implications for the nature of the hypothetical harmonic sieve are discussed.     

Rainforests as concert halls for birds: are reverberations improving sound transmission of long song elements?

In forests reverberations have probably detrimental and beneficial effects on avian communication. They constrain signal discrimination by masking fast repetitive sounds and they improve signal detection by elongating sounds. This ambivalence of reflections for animal signals in forests is similar to the influence of reverberations on speech or music in indoor sound transmission. Since comparisons of sound fields of forests and concert halls have demonstrated that reflections can contribute in both environments a considerable part to the energy of a received sound, it is here assumed that reverberations enforce also birdsong in forests. Song elements have to be long enough to be superimposed by reflections and therefore longer signals should be louder than shorter ones. An analysis of the influence of signal length on pure tones and on song elements of two sympatric rainforest thrush species demonstrates that longer sounds are less attenuated. The results indicate that higher sound pressure level is caused by superimposing reflections. It is suggested that this beneficial effect of reverberations explains interspecific birdsong differences in element length. Transmission paths with stronger reverberations in relation to direct sound should favor the use of longer signals for better propagation.     

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.     

Accuracy of pitch matching for pure tones and for complex tones with overlapping or nonoverlapping harmonics.

The discrimination of the fundamental frequency (fo) of pairs of complex tones with no common harmonics is worse than the discrimination of fo for tones with all harmonics in common. These experiments were conducted to assess whether this effect is a result of pitch shifts between pairs of tones without common harmonics or whether it reflects influences of spectral differences (timbre) on the accuracy of pitch perception. In experiment 1, pitch matches were obtained between sounds drawn from the following types: (1) pure tones (P) with frequencies 100, 200, or 400 Hz; (2) a multiple-component complex tone, designated A, with harmonics 3, 4, 8, 9, 10, 14, 15, and fo = 100, 200, or 400 Hz; (3) A multiple-component complex tone, designated B, with harmonics 5, 6, 7, 11, 12, 13, 16, and with fo = 100, 200 or 400 Hz. The following matches were made; A vs A, B vs B, A vs P, B vs P and P vs P. Pitch shifts were found between the pure tones and the complex tones (A vs P and B vs P), but not between the A and B tones (A vs B). However, the variability of the A vs B matches was significantly greater than that of the A vs A or B vs B matches. Also, the variability of the A vs P and B vs P matches was greater than that for the A vs B matches. In a second experiment, frequency difference limens (DLCs) were measured for the A vs A, B vs B, and A vs B pairs of sounds. The DLCs were larger for the A vs B pair than for A vs A or B vs B. The results suggest that the poor frequency discrimination of tones with no common harmonics does not result from pitch shifts between the tones. Rather, it seems that spectral differences between tones interfere with judgements of their relative pitch.     

Acoustic analysis of trill sounds

In this paper, the acoustic-phonetic characteristics of steady apical trills--trill sounds produced by the periodic vibration of the apex of the tongue--are studied. Signal processing methods, namely, zero-frequency filtering and zero-time liftering of speech signals, are used to analyze the excitation source and the resonance characteristics of the vocal tract system, respectively. Although it is natural to expect the effect of trilling on the resonances of the vocal tract system, it is interesting to note that trilling influences the glottal source of excitation as well. The excitation characteristics derived using zero-frequency filtering of speech signals are glottal epochs, strength of impulses at the glottal epochs, and instantaneous fundamental frequency of the glottal vibration. Analysis based on zero-time liftering of speech signals is used to study the dynamic resonance characteristics of vocal tract system during the production of trill sounds. Qualitative analysis of trill sounds in different vowel contexts, and the acoustic cues that may help spotting trills in continuous speech are discussed.     

The mechanical waveform of the basilar membrane. IV. Tone and noise stimuli

Analysis of mechanical cochlear responses to wide bands of random noise clarifies many effects of cochlear nonlinearity. The previous paper [de Boer and Nuttall, J. Acoust. Soc. Am. 107, 1497-1507 (2000)] illustrates how closely results of computations in a nonlinear cochlear model agree with responses from physiological experiments. In the present paper results for tone stimuli are reported. It was found that the measured frequency response for pure tones differs little from the frequency response associated with a noise signal. For strong stimuli, well into the nonlinear region, tones have to be presented at a specific level with respect to the noise for this to be true. In this report the nonlinear cochlear model originally developed for noise analysis was modified to accommodate pure tones. For this purpose the efficiency with which outer hair cells modify the basilar-membrane response was made into a function of cochlear location based on local excitation. For each experiment, the modified model is able to account for the experimental findings, within 1 or 2 dB. Therefore, the model explains why the type of filtering that tones undergo in the cochlea is essentially the same as that for noise signals (provided the tones are presented at the appropriate level).     

Perceived magnitude of two-tone-noise complexes: loudness, annoyance, and noisiness

An investigation of the perceived effects of tonal components was undertaken to establish a broader data base for quantification and prediction of annoyance of sounds containing added tones. The current study was concerned with two-tone-noise complexes. The stimuli were tone pairs added to a low-pass noise that was attenuated by 5 dB/oct above 600 Hz. Overall perceived magnitude is shown to be a function of the frequency separation (delta F) between the tonal components, tone-to-noise ratio, and the overall SPL of the noise-tone complex. Results obtained with two tones are compared to those obtained in an earlier study with single tones [R. P. Hellman, J. Acoust. Soc. Am. 75, 209-218 (1984)]. The observed effects appear relevant to the rules governing loudness summation across frequency, to measurements of psychoacoustic consonance and roughness, and to the issue of mutual masking among the component stimuli. The implications of the findings in relation to proposed tone-correction procedures are also discussed.     

Induced loudness reduction as a function of exposure time and signal frequency

Induced loudness reduction (ILR) is the decline in the loudness of a weaker tone induced by a preceding stronger tone. In this study we investigate how ILR depends on exposure time and signal frequency. For 12 listeners, successive magnitude estimation was used to measure the loudness of 70-dB-SPL test tones, presented with and without preceding 80-dB-SPL inducer tones at the same frequency. Experiment 1 measured the evolution of ILR over time at 0.5 kHz. The results suggest that ILR may begin after a single inducer presentation, and increases over at least 2 to 3 min as the inducer and test tones are repeated every few seconds. Following the cessation of the inducer, the recovery of loudness is slow and still incomplete after 1 min. Experiment 2 extended the measurements to additional signal frequencies. The results show that the amount of ILR and its evolution over time are approximately the same at frequencies from 0.5 to 8 kHz. Similarly, loudness matching showed no effect of frequency on ILR, which averaged 8.2 dB. These findings, together with previously noted similarities among ILR, ipsilaterally induced loudness adaptation, and temporary loudness shift, indicate that loudness reduction induced by stronger sounds is a very common phenomenon.     

Adjustment on subjective annoyance of low frequency noise by adding additional sound

Structure-borne noise originating from a heat pump unit was selected to study the influence on subjective annoyance of low frequency noise (LFN) combined with additional sound. Paired comparison test was used for evaluating the subjective annoyance of LFN combined with different sound pressure levels (SPL) of pink noise, frequency-modulated pure tones (FM pure tones) and natural sounds. The results showed that, with pink noise of 250-1000 Hz combined with the original LFN, the subjective annoyance value (SAV) first dropped then rose with increasing SPL. When SPL of the pink noise was 15-25 dB, SAV was lower than that of the original LFN. With pink noise of frequency 250-20,000 Hz added to LFN, SAV increased linearly with increasing SPL. SAV and the psychoacoustic annoyance value (PAV) obtained by semi-theoretical formulas were well correlated. The determination coefficient (R²) was 0.966 and 0.881, respectively, when the frequency range of the pink noise was 250-1000 and 250-20,000 Hz. When FM pure tones with central frequencies of 500, 2000 and 8000 Hz, or natural sounds (including the sound of singing birds, flowing water, wind or ticking clock) were, respectively, added to the original sound, the SAV increased as the SPL of the added sound increased. However, when a FM pure tone of 15 dB with a central frequency of 2000 Hz and a modulation frequency of 10 Hz was added, the SAV was lower than that of the original LFN. With SPL and central frequency held invariable, the SAV declined primarily when modulation frequency increased. With SPL and modulation frequency held invariable, the SAV became lowest when the central frequency was 2000 Hz. This showed a preferable correlation between SAV and fluctuation extent of FM pure tones.     

Analysis of multitone microwave signals on optical fiber system using external laser modulation

In this paper, we Analyze multitone microwave signals on optical fiber with different tone signals and utilizing various possibilities of regeneration and amplification by different means. We compare out the performance analysis of Erbium doped fiber amplifiers (EDFAs) and Semi-conductor Optical Amplifiers (SOA). One tone's frequency varies from 1 to 20 GHz through parametric runs and other has fixed frequency of 5 GHz and third harmonic tones may be monitored.     

Auditory stream segregation in monkey auditory cortex: effects of frequency separation, presentation rate, and tone duration

Auditory stream segregation refers to the organization of sequential sounds into "perceptual streams" reflecting individual environmental sound sources. In the present study, sequences of alternating high and low tones, "...ABAB...," similar to those used in psychoacoustic experiments on stream segregation, were presented to awake monkeys while neural activity was recorded in primary auditory cortex (A1). Tone frequency separation (AF), tone presentation rate (PR), and tone duration (TD) were systematically varied to examine whether neural responses correlate with effects of these variables on perceptual stream segregation. "A" tones were fixed at the best frequency of the recording site, while "B" tones were displaced in frequency from "A" tones by an amount = delta F. As PR increased, "B" tone responses decreased in amplitude to a greater extent than "A" tone responses, yielding neural response patterns dominated by "A" tone responses occurring at half the alternation rate. Increasing TD facilitated the differential attenuation of "B" tone responses. These findings parallel psychoacoustic data and suggest a physiological model of stream segregation whereby increasing delta F, PR, or TD enhances spatial differentiation of "A" tone and "B" tone responses along the tonotopic map in A1.     

Analysis and modelling of overtone singing in the sygyt style

Overtone singing, also called biphonic singing, xöömij or chant diphonique in french; is a special singing style that exhibits two or more separate sounds - one “drone” sound of relatively low pitch and one or more high pitch melody sounds. The perceived pitches of the upper tones are multiples of the drone sound, i.e. taken from its overtone scale. Compared to voiced sounds of western style singers, the relative amplitude of the melody pitches is quite high, and the formant bandwidth of overtone sounds is small. This paper tries to answer the question of how these formant properties are achieved. Experimental investigations and numerical calculations prove the existence of two closely neighboured formants for the production of the melody sound in the sygyt style.