Roughness grows faster with modulation depth for tones than for noise

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 (#expands, via linked claim)

Categorization

• XREF: connects to: Roughness is proportional to the product of modulation frequency and masking depth; Fast amplitude modulations within a critical band produce roughness perception — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1237; Frequency separation between two tones systematically shifts fusion, roughness, then resolution (+4 more)

Related

• Roughness is proportional to the product of modulation frequency and masking depth (similarity 0.95)
• Fast amplitude modulations within a critical band produce roughness perception (similarity 0.94)
• Frequency modulation produces up to six times the roughness of amplitude modulation (similarity 0.92)
• Periodic modulation enhances perceived fluctuation strength beyond random noise (similarity 0.90)
• Low modulation frequencies produce fluctuation sensation while higher ones produce roughness (similarity 0.89)
• Roughness from harmonics requires fundamental frequencies below 100 Hz (similarity 0.88)
• Perceived roughness from beating depends on basilar-membrane critical bands. (similarity 0.88)
• Modulation frequency determines whether sound is heard as fluctuation, roughness, or multiple tones (similarity 0.88)
• Roughness depends on modulation degree or FM index plus modulation rate (similarity 0.87)
• Clashing tones within one critical band produce roughness that underlies dissonance (similarity 0.87)
• Roughness reflects rate of change, so fast modulation roughens while slow change does not (similarity 0.86)
• Fluctuation strength depends on the critical-band interval a frequency sweep traverses (similarity 0.86)
• Frequency-modulated tones lose fluctuation strength above 1 kHz centre frequency (similarity 0.86)
• Only about twenty audible roughness steps span the entire perceptual range (similarity 0.86)
• Wideband frequency modulation produces far more roughness than amplitude modulation (similarity 0.86)

Broader Connections

• Fast amplitude modulations within a critical band produce roughness perception #expands (0.78) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1237
• Frequency separation between two tones systematically shifts fusion, roughness, then resolution #qualifies (0.75)
• Perception of two tones progresses from beats to roughness to smoothness #qualifies (0.75)
• Critical bandwidth marks the perceptual shift from rough to smooth tone resolution #complicates (0.72)