Perceived roughness from beating depends on basilar-membrane critical bands.

Evidence

Roughness (Daniel and Weber, 1997; Fastl and Zwicker, 2007) is a psychoacoustic quantity which is caused by relatively fast amplitude modulations (15–300 Hz) that take place for stimuli within the range of a critical band. For example, narrowband noise always sounds slightly rough, since there are random amplitude fluctuations in it. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1237 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Sensory consonance depends on roughness, sharpness, and tonalness — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 2040; Fast amplitude modulations within a critical band produce roughness perception — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1237; Low modulation frequencies produce fluctuation sensation while higher ones produce roughness — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 1381 (+3 more)

Related

• Fast amplitude modulations within a critical band produce roughness perception (similarity 0.92)
• Clashing tones within one critical band produce roughness that underlies dissonance (similarity 0.89)
• Perceived musical dissonance reduces to roughness from beating partials. (similarity 0.89)
• Roughness grows faster with modulation depth for tones than for noise (similarity 0.88)
• The rate of beating between close partials determines whether they sound consonant or rough (similarity 0.88)
• Roughness from harmonics requires fundamental frequencies below 100 Hz (similarity 0.87)
• Sensory consonance depends on roughness, sharpness, and tonalness (similarity 0.86)
• Frequency modulation produces up to six times the roughness of amplitude modulation (similarity 0.85)
• Roughness is proportional to the product of modulation frequency and masking depth (similarity 0.85)
• Beats transition to roughness to smoothness as partials separate on the basilar membrane. (similarity 0.85)
• Periodic modulation enhances perceived fluctuation strength beyond random noise (similarity 0.84)
• Low modulation frequencies produce fluctuation sensation while higher ones produce roughness (similarity 0.84)
• Perceived roughness to smoothness shifts exactly at the critical bandwidth boundary (similarity 0.84)
• The critical band concept is the key to understanding perceived pitch, loudness, and timbre (similarity 0.84)
• Perception of two tones progresses from beats to roughness to smoothness (similarity 0.84)

Broader Connections

• Critical bandwidth marks the perceptual shift from rough to smooth tone resolution #corroborates (0.95)
• Clashing tones within one critical band produce roughness that underlies dissonance #corroborates (0.95)
• Fast amplitude modulations within a critical band produce roughness perception #corroborates (0.90) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1237
• Low modulation frequencies produce fluctuation sensation while higher ones produce roughness #expands (0.90) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 1381
• Perceived musical dissonance reduces to roughness from beating partials. #expands (0.90) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1350