The critical-band-rate scale mirrors hearing better than raw frequency

Evidence

As usual, we call the value we require “specific loudness” with the symbol N’. Loudness, N, is then the integral of specific loudness over critical-band rate (see Fig. 8.16 lower right) or in mathematical expression: 1 24 Bark N= N’dz, o where the integral is taken over all critical-band rates. — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 1250 (#exemplifies, via linked claim)

Categorization

• XREF: connects to: Masked threshold of a tone by white noise is computable from critical-band level; Auditory filter bandwidth scales nonlinearly with center frequency; Masking acts within critical bandwidths, leaving distant-frequency sounds unaffected — Eric J. Heller, Why You Hear What You Hear- An…, 2009 (+12 more)

Related

• Critical bandwidth marks the perceptual shift from rough to smooth tone resolution (similarity 0.88)
• Total loudness is the integral of specific loudness over critical-band rate (similarity 0.88)
• Loudness stays constant below critical bandwidth then grows beyond it (similarity 0.88)
• Critical bandwidth is measured through masking effects rather than direct perception (similarity 0.88)
• The critical bandwidth at 1 kHz measures about 150 Hz via phase detectability. (similarity 0.87)
• Threshold in quiet depends on total sound intensity within one critical band only (similarity 0.87)
• Critical bandwidth varies a hundredfold across the audible range. (similarity 0.87)
• Auditory filter bandwidth scales nonlinearly with center frequency (similarity 0.87)
• Critical bands govern tonal discrimination and timbre, not overall hearing resolution (similarity 0.86)
• Masked threshold of a tone by white noise is computable from critical-band level (similarity 0.86)
• Critical bands are the most important psychoacoustic principle for music perception (similarity 0.86)
• Critical bandwidth marks the point where noise loudness begins to grow with bandwidth (similarity 0.86)
• Clinical masking directly applies Fletcher’s critical band theory (similarity 0.86)
• Fletcher defined critical bands as noise regions whose power equals a just-masked tone’s (similarity 0.86)
• Loudness rises with bandwidth beyond the critical band despite falling pattern height (similarity 0.86)

Broader Connections

• Total loudness is the integral of specific loudness over critical-band rate #exemplifies (0.90) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 1250
• Loudness is the summed specific loudness across critical-band rates, not the raw spectral level #exemplifies (0.90)
• Masked threshold of a tone by white noise is computable from critical-band level #exemplifies (0.85)
• Critical band bandwidths grow from 100 Hz to over 2 kHz with frequency #contradicts (0.75)
• Masking acts within critical bandwidths, leaving distant-frequency sounds unaffected #corroborates (0.72) — Eric J. Heller, Why You Hear What You Hear- An…, 2009
• Consonance judgments rest on psychoacoustic critical bandwidth #corroborates (0.72)
• Critical bandwidth is measured through masking effects rather than direct perception #complicates (0.72) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 585
• Critical bands govern tonal discrimination and timbre, not overall hearing resolution #qualifies (0.72)
• Auditory filter bandwidth scales nonlinearly with center frequency #corroborates (0.70)
• Binaural envelope-delay sensitivity drops once tone separation exceeds the critical band. #corroborates (0.70) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 911
• Noise fluctuations within narrow critical bands raise the masking index #corroborates (0.70)
• Threshold in quiet depends on total sound intensity within one critical band only #corroborates (0.70) — Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard, Psychoacoustics- Facts and Models, 888