Speech models built on optimal listening neglect constant signal degradation
Evidence
Lossy audio coding systems: These systems make use of similar techniques to that of lossless coding but, in addition, reduce the data further by quantizing the signal to minimize the number of bits per sample. In order to achieve this with the minimum of perceived distortion, some form of psychoacoustic model is applied to control the amount of quantization that a particular part of the signal suffers. Because this type of coding removes, or loses, information from the audio signal, it is known as a “lossy coding system.” Unlike the lossless systems, these coders do not preserve the input signal; the output signal is not identical to the original input. The output signal is thus distorted but hopefully in a way that does not disturb and is inaudible to the listener. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2581 (
#expands, via linked claim)
Telecommunication devices, such as mobile phones, often involve algorithms to suppress background noise using non-linear DSP methods with time-variant processing. An unwanted side effect is that the noise suppression algorithms may also degrade the quality of speech, especially if the background noise is non-stationary. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 2452 (
#complicates, via linked claim)
Categorization
- XREF: connects to: Programs are compressed for noisy portable listening environments; Signal degradation delays semantic integration and raises listening effort — Dijk, Pim van, Physiology, Psychoacoustics and…, 3951; Semantic knowledge helps listeners interpret degraded speech signals (+3 more)
Broader Connections
- Auditory-model difference measures predict audible quality degradation
#complicates(0.75) - Noise suppression algorithms can degrade speech quality in non-stationary noise
#complicates(0.72) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 2452 - Lossy coding exploits psychoacoustic models to make removed information inaudible
#expands(0.72) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2581