Learning to perceive pitch differences

This paper reports two experiments concerning the stimulus specificity of pitch discrimination learning. In experiment 1, listeners were initially trained, during ten sessions (about 11,000 trials), to discriminate a monaural pure tone of 3000 Hz from ipsilateral pure tones with slightly different frequencies. The resulting perceptual learning (improvement in discrimination thresholds) appeared to be frequency-specific since, in subsequent sessions, new learning was observed when the 3000-Hz standard tone was replaced by a standard tone of 1200 Hz, or 6500 Hz. By contrast, a subsequent presentation of the initial tones to the contralateral ear showed that the initial learning was not, or was only weakly, ear-specific. In experiment 2, training in pitch discrimination was initially provided using complex tones that consisted of harmonics 3-7 of a missing fundamental (near 100 Hz for some listeners, 500 Hz for others). Subsequently, the standard complex was replaced by a standard pure tone with a frequency which could be either equal to the standard complex's missing fundamental or remote from it. In the former case, the two standard stimuli were matched in pitch. However, this perceptual relationship did not appear to favor the transfer of learning. Therefore, the results indicated that pitch discrimination learning is, at least to some extent, timbre-specific, and cannot be viewed as a reduction of an internal noise which would affect directly the output of a neural device extracting pitch from both pure tones and complex tones including low-rank harmonics.     

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.     

Effects of signal envelope on the pitch of short complex tones

Envelope-induced pitch shifts were measured for exponentially decaying complex tones consisting of two sinusoidal components with frequencies f1 = nf0 + 50 Hz and f2 = (n + 1) f0 + 50 Hz, where n equals 3, 4, or 5 and exponential decay rates were 0, 0.5, 1, and 2 dB/ms. Four subjects adjusted a sinusoidal comparison tone to match the virtual pitch of the (missing) fundamental and the pitches of the lower and upper partials f1 and f2. Pitch shifts for f1 are generally less, and pitch shifts for f2 always greater, than envelope-induced shifts observed in isolated sinusoidal tones of comparable frequency and envelope decay rate. Pitch-shift functions for virtual pitch are similar in magnitude and shape to average pitch-shift functions of the partials, which supports the idea that virtual pitch depends on spectral pitch.     

Selective adaptation to frequency-modulated tones: evidence for an information-processing channel selectively sensitive to frequency changes.

Exposure to an FM tone elevates FM threshold but not AM threshold. This holds for a wide range of frequency deviations (delta F = +/- 0.4 Hz- +/- 30 Hz at least) provided that modulation frequency is low (fm = 2 Hz), but if fm is somewhat higher (e.g., 8 Hz) the finding only holds for small frequency deviations. FM threshold can rise with time up to an adapting duration of at least 1200 s, through this buildup depends on frequency deviation. Exposure to an AM tone elevates AM threshold, but not FM threshold, over a wide range of modulation depths (at least m = 5%--50%). Quasi-FM (QFM) adapting tones resemble FM adapting tones in their effects upon FM and AM sensitivities, even though QFM and AM adapting tones have identical power spectra. Exposure to a pure tone produces no difference between FM and AM threshold elevations. These data can be explained if the human auditory pathway contains separate information-processing channels for AM and FM signals whose sensitivities do not overlap even with suprathreshold stimuli. We suppose that the FM channel (but not the AM channel) is sensitive to changing differences (or ratios) between signals from different sites along the basilar membrane.     

Pitch discrimination and phase sensitivity in young and elderly subjects and its relationship to frequency selectivity.

Frequency difference limens for pure tones (DLFs) and for complex tones (DLCs) were measured for four groups of subjects: young normal hearing, young hearing impaired, elderly with near-normal hearing, and elderly hearing impaired. The auditory filters of the subjects had been measured in earlier experiments using the notched-noise method, for center frequencies (fc) of 100, 200, 400, and 800 Hz. The DLFs for both impaired groups were higher than for the young normal group at all fc's (50-4000 Hz). The DLFs at a given fc were generally only weakly correlated with the sharpness of the auditory filter at that fc, and some subjects with broad filters had near-normal DLFs at low frequencies. Some subjects in the elderly normal group had very large DLFs at low frequencies in spite of near-normal auditory filters. These results suggest a partial dissociation of frequency selectivity and frequency discrimination of pure tones. The DLCs for the two impaired groups were higher than those for the young normal group at all fundamental frequencies (fo) tested (50, 100, 200, and 400 Hz); the DLCs for the elderly normal group were intermediate. At fo = 50 Hz, DLCs for a complex tone containing only low harmonics (1-5) were markedly higher than for complex tones containing higher harmonics, for all subject groups, suggesting that pitch was conveyed largely by the higher, unresolved harmonics. For the elderly impaired group, and some subjects in the elderly normal group, DLCs were larger for a complex tone with lower harmonics (1-12) than for tones without lower harmonics (4-12 and 6-12) for fo's up to 200 Hz. Some elderly normal subjects had markedly larger-than-normal DLCs in spite of near-normal auditory filters. The DLCs tended to be larger for complexes with components added in alternating sine/cosine phase than for complexes with components added in cosine phase. Phase effects were significant for all groups, but were small for the young normal group. The results are not consistent with place-based models of the pitch perception of complex tones; rather, they suggest that pitch is at least partly determined by temporal mechanisms.     

Effects of signal envelope on the pitch of short sinusoidal tones

The pitch of short sinusoidal tones with exponentially rising or decaying envelopes is judged higher than the pitch of a gated tone of the same frequency, duration, and energy. The upward pitch shift depends on the rise or decay rate, the intensity, and the frequency. The effect, which requires a nonlinearity in the auditory system, cannot be adequately explained by existing models of hearing. Control experiments on pitch matching for short tones of varying duration and varying intensity are described. These suggest that envelope-induced pitch effects are linked to changes in average intensity, so that they are essentially the same as intensity-induced pitch changes. A model based on these considerations is proposed.     

The relation between the human frequency-following response and the low pitch of complex tones

The relation between the auditory brain stem potential called the frequency-following response (FFR) and the low pitch of complex tones was investigated. Eleven complex stimuli were synthesized such that frequency content varied but waveform envelope periodicity was constant. This was accomplished by repeatedly shifting the components of a harmonic complex tone upward in frequency by delta f of 20 Hz, producing a series of six-component inharmonic complex tones with constant intercomponent spacing of 200 Hz. Pitch-shift functions were derived from pitch matches for these stimuli to a comparison pure tone for each of four normal hearing adults with extensive musical training. The FFRs were recorded for the complex stimuli that were judged most divergent in pitch by each subject and for pure-tone signals that were judged equal in pitch to these complex stimuli. Spectral analyses suggested that the spectral content of the FFRs elicited by the complex stimuli did not vary consistently with component frequency or the first effect of pitch shift. Furthermore, complex and pure-tone signals judged equal in pitch did not elicit FFRs of similar spectral content.     

Discrimination of fundamental frequency of synthesized vowel sounds in a noise background

An experiment was carried out, investigating the relationship between the just noticeable difference of fundamental frequency (jndfo) of three stationary synthesized vowel sounds in noise and the signal-to-noise ratio. To this end the S/N ratios were measured at which listeners could just discriminate a series of changes in fo in the range from 10% to 0.5%. Similar measurements were obtained for pulse trains and for pure tones as a reference for the results. A measure of S/N ratio based on an approximation of the critical bandwidth appeared to provide a fairly good predictor of the masked threshold of each signal, measured in a second experiment. Using this measure, it was found that a given change in the fundamental of a pulse train could be discriminated at a lower S/N ratio than in a pure tone with a frequency equal to that fundamental. The results for the vowel sounds were found to be in between those for a low-frequency pure tone and those for a pulse train. Owing to the signal-generation method (viz., changing fo by changing the sampling frequency), three cues could in principle be used to discriminate a change in the fundamental of a vowel: A change in the residue pitch, a change in the pitch of a single prominent harmonic, or a change in the spectral envelope of the signal. It can be inferred from the results that the subjects used that particular cue which yielded best performance. Which cue was optimal depended not only on the vowel but also on fo and on the presented change in fo.(ABSTRACT TRUNCATED AT 250 WORDS)     

Steps in loudness summation

The dependence of binaural loudness summation on interaural phase of tones ranging between 250 and 1400 Hz was investigated in a series of experiments using a loudness-matching procedure. Observers matched loudness of monaural-binaural and binaural-binaural pairs of alternating tones by adjusting the amplitude of one of the two. Adjustable and reference components of each tone pair were equal in frequency and were varied independently in interaural phase angle through the range +/- 177 degrees. For each tone frequency, steps in loudness summation of approximately 3 dB were obtained in the vicinity of a constant value of phase angle, theta t, which depends on the Hornbostel-Wertheimer constant (tau H) according to the relations theta t = 2 pi f tau H for tones of low frequency (f less than or equal to 1/2 tau H), and theta t = 2 pi(1 - f tau H) for tones of higher frequency (1/2 tau H less than or equal to f less than or equal to 1/tau H). Spatial relationships among alternating tones observed in the above conditions covaried with relative loudness in a complex manner, but exhibited qualitative changes in the vicinity of theta t.     

A psychophysical pitch function determined by absolute magnitude estimation and its relation to the musical pitch scale

A psychophysical pitch function, describing the relation of perceived magnitude of pitch to the frequency of a pure tone, was determined by absolute magnitude estimation. Pitch estimates were made by listeners with relative pitch and by absolute pitch possessors for 27 tones spanning a frequency range of 31.5-12,500 Hz in 1/3 octave steps. Results show that the pitch function, plotted in log-log coordinates, is steeper below 200 Hz than at higher frequencies. It is hypothesized that the pitch function's bend may reflect the diversity of neurophysiological mechanisms of pitch encoding in frequency ranges below and above 200 Hz. The variation of the function's slope implies that pitch distances between tones with the same frequency ratios are perceived as larger below 200 Hz than at higher frequencies. It is argued that this implication may apply only to a purely sensory concept of pitch distance and cannot be extended to the perception of musical intervals, a phenomenon governed by musical cognitive principles. The results also show that pitch functions obtained for listeners with relative and absolute pitch have a similar shape, which means that quantitative pitch relations determined for both groups of listeners do not differ appreciably along the frequency scale.     

Evidence against an effect of grouping by spectral regularity on the perception of virtual pitch

Two experiments investigated the role of the regularity of the frequency spacing of harmonics, as a separate factor from harmonicity, on the perception of the virtual pitch of a harmonic series. The first experiment compared the shifts produced by mistuning the 3rd, 4th, and 5th harmonics in the pitch of two harmonic series: the odd-H and the all-H tones. The odd-H tone contained odd harmonics 1 to 11, plus the 4th harmonic; the all-H tone contained harmonics 1 to 12. Both tones had a fundamental frequency of 155 Hz. Pitch shifts produced by mistuning the 3rd harmonic, but not the 4th and 5th harmonics, were found to be significantly larger for the odd-H tone than for the all-H tone. This finding was consistent with the idea that grouping by spectral regularity affects pitch perception since an odd harmonic made a larger contribution than an adjacent even harmonic to the pitch of the odd-H tone. However, an alternative explanation was that the 3rd mistuned harmonic produced larger pitch shifts within the odd-H tone than the 4th mistuned harmonic because of differences in the partial masking of these harmonics by adjacent harmonics. The second experiment tested these explanations by measuring pitch shifts for a modified all-H tone in which each mistuned odd harmonic was tested in the presence of the 4th harmonic, but in the absence of its other even-numbered neighbor. The results showed that, for all mistuned harmonics, pitch shifts for the modified all-H tone were not significantly different from those for the odd-H tone. These findings suggest that the harmonic relations among frequency components, rather than the regularity of their frequency spacing, is the primary factor for the perception of the virtual pitch of complex sounds.     

Influence of spectral locus and F0 changes on the pitch and timbre of complex tones.

Harmonic complex tones comprising components in different spectral regions may differ considerably in timbre. While the pitch of "residue" tones of this type has been studied extensively, their timbral properties have received little attention. Discrimination of F0 for such tones is typically poorer than for complex tones with "corresponding" harmonics [A. Faulkner, J. Acoust. Soc. Am. 78, 1993-2004 (1985)]. The F0 DLs may be higher because timbre differences impair pitch discrimination. The present experiment explores effects of changes in spectral locus and F0 of harmonic complex tones on both pitch and timbre. Six normally hearing listeners indicated if the second tone of a two-tone sequence was: (1) same, (2) higher in pitch, (3) lower in pitch, (4) same in pitch but different in "something else," (5) higher in pitch and different in "something else," or (6) lower in pitch and different in "something else" than the first. ("Something else" is assumed to represent timbre.) The tones varied in spectral loci of four equal-amplitude harmonics m, m + 1, m + 2, and m + 3 (m = 1,2,3,4,5,6) and ranged in F0 from 200 to 200 +/- 2n Hz (n = 0,1,2,4,8,16,32). Results show that changes in F0 primarily affect pitch, and changes in spectral locus primarily affect timbre. However, a change in spectral locus can also influence pitch. The direction of locus change was reported as the direction of pitch change, despite no change in F0 or changes in F0 in the opposite direction for delta F0 < or = 0-2%. This implies that listeners may be attending to the "spectral pitch" of components, or to changes in a timbral attribute like "sharpness," which are construed as changes in overall pitch in the absence of strong F0 cues. For delta F0 > or = 2%, the direction of reported pitch change accord with the direction of F0 change, but the locus change continued to be reported as a timbre change. Rather than spectral-pitch matching of corresponding components, a context-dependent spectral evaluation process is thus implied in discernment of changes in pitch and timbre. Relative magnitudes of change in derived features of the spectrum such as harmonic number and F0, and absolute features such as spectral frequencies are compared. What is called "spectral pitch," contributes to the overall pitch, but also appears to be an important dimension of the multidimensional percept, timbre.     

Musical pitch of two-tone complexes and predictions by modern pitch theories.

Most studies of the musical pitch of harmonic tone complexes have utilized signals comparing two or more successive harmonics. The present study provides systematic data on melodic interval recognition by three musically experienced subjects with sounds whose missing fundamentals were represented by two nonsuccessive harmonics nf0,(n + m)f0, delivered to separate ears. Data were obtained in the ranges 1 less than or equal to n less than or equal to 9, 2 less than or equal to m less than or equal to 4, and 200 Hz less than or equal to f0 less than or equal to 1000 Hz. The data are interpreted in the light of three theories, the "optimum processor theory," the "virtual pitch theory," and the "pattern transformation theory." For each theory, a constraint on preformance is proposed based on interference between the "analytic" and "synthetic" pitch perception modes. The former is obtained with large spacings between harmonics, where listeners are more likely to perceive harmonics as individual tones, each having their own pitch. This degrades the listener's ability to hear the fundamental pitch.     

Frequency discrimination of complex tones with overlapping and non-overlapping harmonics

These experiments address the following issues. (1) When two complex tones contain different harmonics, do the differences in timbre between them impair the ability to discriminate the pitches of the tones? (2) When two complex tones have only a single component in common, and that component is the most discriminable component in each tone, is the frequency discrimination of the component affected by differences in residue pitch between the two tones? (3) How good is the pitch discrimination of complex tones with no common components when each tone contains multiple harmonics, so as to avoid ambiguity of pitch? (4) Is the pitch discrimination of complex tones with common harmonics impaired by shifting the component frequencies to nonharmonic values? In all experiments, frequency difference limens (DLCs) were measured for multiple-component complex tones, using an adaptive two-interval, two-alternative, forced-choice task. Three highly trained subjects were used. The main conclusions are as follows. (1) When two tones have the first six harmonics in common, DLCs are larger when the upper harmonics are different than when the upper harmonics are in common or are absent. It appears that differences in timbre impair DLCs. (2) Discrimination of the frequency of a single common partial in two complex tones is worse when the two tones have different residue pitches than when they have the same residue pitch. (3) DLCs for complex tones with no common harmonics are generally larger than those for complex tones with common harmonics. For the former, large individual differences occur, probably because subjects are affected differently by differences in timbre. (4) DLCs for harmonic complex tones are smaller than DLCs for complex tones in which the components are mistuned from harmonic values. This can probably be attributed to the less distinct residue pitch of the inharmonic complexes, rather than to reduced discriminability of partials. Overall, the results support the idea that DLCs for complex tones with common harmonics depend on residue pitch comparisons, rather than on comparisons of the pitches of partials.     

Pitch shift of pure and complex tones induced by masking noise

Psychoacoustic experiments were performed to measure the pitch-shift effects of pure and complex tones resulting from the addition of a masking noise to the tonal stimuli. Harmonic residue tones with either two or three harmonics and a fundamental frequency of 200 Hz were chosen as test tones. The pitch shifts of virtual and spectral pitches of the residue tones were measured as a function of the intensity of a low-pass noise with 600-Hz cutoff frequency. The SPL of this noise varied between 30 and 70 dB. In another experiment, the pitch shifts of single pure tones corresponding to the frequencies and SPLs of the harmonics of the residue tones were measured using the same masking noise. The results from five subjects for the harmonic residue tones show only a weak dependence of pitch shift on masking noise intensity. This dependence exists for both spectral and virtual pitches. In the case of single pure tones, pitch shift depends more distinctly on noise intensity. Pitch shifts of up to 5% were found in the range of noise intensity investigated. The magnitude of pitch shift shows pronounced interindividual differences, but the direction of the shift effect is always the same. In all cases pitch increases with higher masking noise levels.     

Ear dominance in perception of dichotic chords: pure tones versus tone glides.

Pitch judgments for dichotic chords composed of two pure tones often show a bias in favor of the chord-component going to one ear. This "ear-advantage for pitch" (EAP) varies between subjects, but is very stable within subject and is thought to reflect differences in spectral "sensitivity" of the two auditory pathways. The present study explored this hypothesis by examining pitch judgments of complexes composed of tones dichotically paired with frequency-varying signals. The direction and strength of EAP was first established using pure tones, then rising tone glides were introduced into the channel going to thenondominant ear. Since a glide possesses less energy at a given frequency than a pure tone of equal duration, an increase in EAP was expected. An increase in EAP was consistently observed for only one subject; three subjects showed small, variable effects; and six subjects displayed a decrease in EAP. The results suggested that factors other than relative spectral sensitivity affect observed EAP.     

Thresholds for the detection of inharmonicity in complex tones

Thresholds were measured for the detection of inharmonicity in complex tones. Subjects were required to distinguish a complex tone whose partials were all at exact harmonic frequencies from a similar complex tone with one of the partials slightly mistuned. The mistuning which allowed 71% correct identification in a two-alternative forced-choice task was estimated for each partial in turn. In experiment I the fundamental frequency was either 100, 200, or 400 Hz, and the complex tones contained the first 12 harmonics at equal levels of 60 dB SPL per component. The stimulus duration was 410 ms. For each fundamental the thresholds were roughly constant when expressed in Hz, having a mean value of about 4 Hz (range 2.4-7.3 Hz). In experiment II the fundamental frequency was fixed at 200 Hz, and thresholds for inharmonicity were measured for stimulus durations of 50, 110, 410, and 1610 ms. For harmonics above the fifth the thresholds increased from less than 1 Hz to about 40 Hz as duration was decreased from 1610-50 ms. For the lower harmonics (up to the fourth) threshold changed much less with duration, and for the three shorter durations thresholds for each duration were roughly a constant proportion of the harmonic frequency. The results suggest that inharmonicity is detected in different ways for high and low harmonics. For low harmonics the inharmonic partial appears to "stand out" from the complex tone as a whole. For high harmonics the mistuning is detected as a kind of "beat" or "roughness," presumably reflecting a sensitivity to the changing relative phase of the mistuned harmonic relative to the other harmonics.(ABSTRACT TRUNCATED AT 250 WORDS)     

Perception of the missing fundamental in nonhuman primates

In preparation for neurophysiological experiments aimed at mechanisms of pitch perception, four rhesus monkeys were trained to press a button when the fundamental frequencies (missing or present) of two complex tones in a tone pair matched. Both tones were based on a five-component harmonic series. Zero to three of the lowest components could be missing in the first tone, while the second (comparison) tone contained all five harmonics. The range of fundamentals tested varied from 200 to 600 Hz. Three monkeys learned to match tones missing their fundamentals to comparison harmonic complexes with the same pitch, whereas the fourth monkey required the physical presence of the fundamental. Consideration of several cues available to the monkeys suggests that the animals could perceive the missing fundamental.     

Cortical responses to the 2f1-f2 combination tone measured indirectly using magnetoencephalography

The simultaneous presentation of two tones with frequencies f(1) and f(2) causes the perception of several combination tones in addition to the original tones. The most prominent of these are at frequencies f(2)-f(1) and 2f(1)-f(2). This study measured human physiological responses to the 2f(1)-f(2) combination tone at 500 Hz caused by tones of 750 and 1000 Hz with intensities of 65 and 55 dB SPL, respectively. Responses were measured from the cochlea using the distortion product otoacoustic emission (DPOAE), and from the auditory cortex using the 40-Hz steady-state magnetoencephalographic (MEG) response. The perceptual response was assessed by having the participant adjust a probe tone to cause maximal beating ("best-beats") with the perceived combination tone. The cortical response to the combination tone was evaluated in two ways: first by presenting a probe tone with a frequency of 460 Hz at the perceptual best-beats level, resulting in a 40-Hz response because of interaction with the combination tone at 500 Hz, and second by simultaneously presenting two f(1) and f(2) pairs that caused combination tones that would themselves beat at 40 Hz. The 2f(1)-f(2) DPOAE in the external auditory canal had a level of 2.6 (s.d. 12.1) dB SPL. The 40-Hz MEG response in the contralateral cortex had a magnitude of 0.39 (s.d. 0.1) nA m. The perceived level of the combination tone was 44.8 (s.d. 11.3) dB SPL. There were no significant correlations between these measurements. These results indicate that physiological responses to the 2f(1)-f(2) combination tone occur in the human auditory system all the way from the cochlea to the primary auditory cortex. The perceived magnitude of the combination tone is not determined by the measured physiological response at either the cochlea or the cortex.     

Psychometric functions for discrimination of two-component complex tones in listeners with normal hearing and listeners with hearing loss

This study compared the ability of 5 listeners with normal hearing and 12 listeners with moderate to moderately severe sensorineural hearing loss to discriminate complementary two-component complex tones (TCCTs). The TCCTs consist of two pure tone components (f1 and f2) which differ in frequency by delta f (Hz) and in level by delta L (dB). In one of the complementary tones, the level of the component f1 is greater than the level of component f2 by the increment delta L; in the other tone, the level of component f2 exceeds that of component f1 by delta L. Five stimulus conditions were included in this study: fc = 1000 Hz, delta L = 3 dB; fc = 1000 Hz, delta L = 1 dB; fc = 2000 Hz, delta L = 3 dB; fc = 2000 Hz, delta L = 1 dB; and fc = 4000 Hz, delta L = 3 dB. In listeners with normal hearing, discrimination of complementary TCCTs (with a fixed delta L and a variable delta f) is described by an inverted U-shaped psychometric function in which discrimination improves as delta f increases, is (nearly) perfect for a range of delta f's, and then decreases again as delta f increases. In contrast, group psychometric functions for listeners with hearing loss are shifted to the right such that above chance performance occurs at larger values of delta f than in listeners with normal hearing. Group psychometric functions for listeners with hearing loss do not show a decrease in performance at the largest values of delta f included in this study. Decreased TCCT discrimination is evident when listeners with hearing loss are compared to listeners with normal hearing at both equal SPLs and at equal sensation levels. In both groups of listeners, TCCT discrimination is significantly worse at high center frequencies. Results from normal-hearing listeners are generally consistent with a temporal model of TCCT discrimination. Listeners with hearing loss may have deficits in using phase locking in the TCCT discrimination task and so may rely more on place cues in TCCT discrimination.