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.     

Headphone simulation of free-field listening. II: Psychophysical validation

Listeners reported the apparent spatial positions of wideband noise bursts that were presented either by loudspeakers in free field or by headphones. The headphone stimuli were digitally processed with the aim of duplicating, at a listener's eardrums, the waveforms that were produced by the free-field stimuli. The processing algorithms were based on each subject's free-field-to-eardrum transfer functions that had been measured at 144 free-field source locations. The headphone stimuli were localized by eight subjects in virtually the same positions as the corresponding free-field stimuli. However, with headphone stimuli, there were more front-back confusions, and source elevation seemed slightly less well defined. One subject's difficulty with elevation judgments, which was observed both with free-field and with headphone stimuli, was traced to distorted features of the free-field-to-eardrum transfer function.     

Headphone simulation of free-field listening. I: Stimulus synthesis

This article describes techniques used to synthesize headphone-presented stimuli that simulate the ear-canal waveforms produced by free-field sources. The stimulus synthesis techniques involve measurement of each subject's free-field-to-eardrum transfer functions for sources at a large number of locations in free field, and measurement of headphone-to-eardrum transfer functions with the subject wearing headphones. Digital filters are then constructed from the transfer function measurements, and stimuli are passed through these digital filters. Transfer function data from ten subjects and 144 source positions are described in this article, along with estimates of the various sources of error in the measurements. The free-field-to-eardrum transfer function data are consistent with comparable data reported elsewhere in the literature. A comparison of ear-canal waveforms produced by free-field sources with ear-canal waveforms produced by headphone-presented simulations shows that the simulations duplicate free-field waveforms within a few dB of magnitude and a few degrees of phase at frequencies up to 14 kHz.     

Equal-loudness-level contours for pure tones

Equal-loudness-level contours provide the foundation for theoretical and practical analyses of intensity-frequency characteristics of auditory systems. Since 1956 equal-loudness-level contours based on the free-field measurements of Robinson and Dadson [Br. J. Appl. Phys. 7, 166-181 (1956)] have been widely accepted. However, in 1987 some questions about the general applicability of these contours were published [H. Fastl and E. Zwicker, Fortschritte der Akustik, DAGA '87, pp. 189-193 (1987)]. As a result, a new international effort to measure equal-loudness-level contours was undertaken. The present paper brings together the results of 12 studies starting in the mid-1980s to arrive at a new set of contours. The new contours estimated in this study are compared with four sets of classic contours taken from the available literature. The contours described by Fletcher and Munson [J. Acoust. Soc. Am. 5, 82-108 (1933)] exhibit some overall similarity to our proposed estimated contours in the mid-frequency range up to 60 phons. The contours described by Robinson and Dadson exhibit clear differences from the new contours. These differences are most pronounced below 500 Hz and the discrepancy is often as large as 14 dB.     

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.     

Temporal summation of pure tones in birds.

Two parakeets and two field sparrows were trained by a method of avoidance conditioning to respond to pure tones. Absolute thresholds were obtained for 10 durations of a 2.86-kHz tone. The temporal integration function for these four birds can best be described by a time constant pi of 230 ms. These data are similar to those reported for a number of other species.     

Hearing thresholds for pure tones above 16 kHz

Hearing thresholds for pure tones between 16 and 30 kHz were measured by an adaptive method. The maximum presentation level at the entrance of the outer ear was about 110 dB SPL. To prevent the listeners from detecting subharmonic distortions in the lower frequencies, pink noise was presented as a masker. Even at 28 kHz, threshold values were obtained from 3 out of 32 ears. No thresholds were obtained for 30 kHz tone. Between 20 and 28 kHz, the threshold tended to increase rather gradually, whereas it increased abruptly between 16 and 20 kHz.     

Evidence for different types of mechanoreceptors from measurements of the psychophysical threshold for vibrations under different stimulation conditions

The shape of the psychophysical frequency threshold curve for vibrations presented to the skin in the frequency region 5-1000 Hz is strongly dependent on the static force that the vibrator exerts on the skin and on whether there is a rigid surround around the vibrating contactor (presence of contrast). Where there is no rigid surround, an increase in static force reduces the threshold in the high-frequency region and increases it at low frequencies. When the static forces are sufficiently large, the thresholds reach a minimum value above 30 Hz and a maximum one below 30 Hz, this being the crossover frequency. Under these conditions in the frequency region around 200 Hz, where the threshold is determined by the Pacini receptor system, the vibration sensitivities of finger pad and thenar eminence (glabrous skin) are equal, while the value for the inner side of the forearm (hairy skin) is 12 dB higher. However, when a rigid surround is used, the threshold increases above 30 Hz and decreases below 30 Hz. The latter increase in sensitivity, which is introduced by the presence of contrast cues, amounts to about 20 dB and is sharply tuned at 18 Hz for the glabrous skin of the finger. It is argued that in this case the threshold is determined by the Meissner receptor system. This increase in sensitivity is less pronounced (about 10 dB) and less sharply tuned for the other sites. Finally, when the contact of the vibrating surface to the skin is at a minimum, the vibration threshold has the same displacement value (about 3 microns) over the whole frequency region independent of the site of stimulation and whether or not a rigid surround is present.     

Reference equivalent threshold levels for pure tones and 1/3-oct noise bands: insert earphone and TDH-49 earphone

Reference equivalent threshold sound pressure levels (RETSPLs) were determined for 20 subjects for pure tones and 1/3-oct noise bands. Two transducers were used: a Telephonics TDH-49 earphone mounted in an MX-41/AR cushion, and a Danavox SMW insert earphone coupled to an "HA-2" earmold. RETSPLs for pure tones transduced by the TDH-49 earphone were very similar to those published previously. For each transducer, RETSPLs for 1/3-oct noise bands were essentially identical to the RETSPLs for pure tones near the center of each band. Applications for threshold testing using the insert earphone and/or 1/3-oct noise bands are discussed.     

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.     

Thresholds for hearing mistuned partials as separate tones in harmonic complexes

When a low harmonic in a harmonic complex tone is mistuned from its harmonic value by a sufficient amount it is heard as a separate tone, standing out from the complex as a whole. This experiment estimated the degree of mistuning required for this phenomenon to occur, for complex tones with 10 or 12 equal-amplitude components (60 dB SPL per component). On each trial the subject was presented with a complex tone which either had all its partials at harmonic frequencies or had one partial mistuned from its harmonic frequency. The subject had to indicate whether he heard a single complex tone with one pitch or a complex tone plus a pure tone which did not "belong" to the complex. An adaptive procedure was used to track the degree of mistuning required to achieve a d' value of 1. Threshold was determined for each ot the first six harmonics of each complex tone. In one set of conditions stimulus duration was held constant at 410 ms, and the fundamental frequency was either 100, 200, or 400 Hz. For most conditions the thresholds fell between 1% and 3% of the harmonic frequency, depending on the subject. However, thresholds tended to be greater for the first two harmonics of the 100-Hz fundamental and, for some subjects, thresholds increased for the fifth and sixth harmonics. In a second set of conditions fundamental frequency was held constant at 200 Hz, and the duration was either 50, 110, 410, or 1610 ms. Thresholds increased by a factor of 3-5 as duration was decreased from 1610 ms to 50 ms. The results are discussed in terms of a hypothetical harmonic sieve and mechanisms for the formation of perceptual streams.