Professor Dr.-Ing. Hugo Fastl, Professor Dr.-Ing. Eberhard — Psychoacoustics- Facts and Models

768 published claims from this book.

• A 1 dB level change anchors the model for just-noticeable slow sound variations
• A 1 dB level change anchors the model of just-noticeable slow variations.
• A 1 dB level change marks a recurring just-noticeable unit in hearing
• A 100 ms tone burst and a 400 ms pause feel equally long
• A 100 ms tone burst sounds as long as a 400 ms pause does
• A 40 dB level increase shifts pure-tone pitch by at most about 3 percent
• A 40-dB level rise increases fluctuation strength by a factor of roughly 2.5
• A closed equation approximates sensory pleasantness from sharpness, roughness, tonality, and loudness
• A critical band spans roughly 1.3 mm, some 145 hair cells wide.
• A filter’s output speed of change is limited by its bandwidth
• A fluctuating noise simulating speech features is a standard test stimulus
• A following loud sound reduces the loudness of an earlier short sound
• A frequency-modulated masker’s excursion along the critical-band scale sets the test-tone threshold.
• A gap-based level-discrimination test detects acoustic neurinoma early
• A gated tone sounds continuous at a level called the pulsation threshold
• A just-noticeable frequency shift moves basilar excitation a constant 0.05 mm.
• A low-level-only dip in tuning curves reveals the ear’s active frequency-enhancing processes
• A masker can mask sounds occurring before it is switched on.
• A masker raises the audibility threshold of a test sound.
• A minority of listeners show quadratic distortion that depends non-ideally on level and phase.
• A normal-sounding ear is internally a sound source audible in the closed canal
• A nostalgic ‘Good old Times’ association could explain railway-noise preference
• A single exponent of 0.23 governs the loudness power law
• A single source generates all three kinds of otoacoustic emissions.
• A single tone burst yields a continuous spectrum while periodic pulses yield line spectra
• A spectral gap in switched-off noise yields a tonal afterimage, not a noisy one
• A-weighted dB values misrepresent perceived loudness for complex sounds.
• A-weighted sound power exaggerates perceived loudness differences in marketing
• A-weighted sound power ratios overestimate perceived loudness differences in noise emissions.
• A-weighted SPL was a compromise standard known to give misleading noise results
• A-weighting can miss dominant low-frequency energy in broadband sounds
• A-weighting underestimates low-frequency components, inflating perceived loudness of road noise
• A-weighting’s low-frequency blind spot explains roughly four dB of the railway bonus
• A-weighting’s underestimate of low-frequency energy explains about four dB of the railway bonus.
• Above 10 Hz, loudness grows 10 phon per tenfold rise in repetition rate.
• Above 250 Hz modulation, frequency-modulated sounds behave as steady state.
• Above 500 Hz, Bark scale maps logarithmically to frequency change
• Above 500 Hz, critical-band rate grows logarithmically with frequency, roughly 20 percent per Bark.
• Above a threshold, modulation is heard as separate sideband tones rather than as flutter.
• Abrupt level changes create audible clicks via broad short-time spectra.
• Abrupt tone onset and offset generate broadband transient energy at distant frequencies.
• Absent otoacoustic emissions signal abnormal inner or middle ear function
• Absolute hearing threshold is a statistical construct, defined at 50% detection probability.
• Acoustic neurinoma distinctly elevates level-difference thresholds while most hearing impairments do not.
• Active stimulus control by subjects can bias psychophysical measurements
• Adaptive procedures adjust stimulus intensity based on prior responses and converge on thresholds
• Adding equal sound intensities yields a 3 dB total increment
• Adding lower-frequency sound can decrease perceived sharpness
• Adding multiple maskers raises masked thresholds most when each contributes equally
• Adding noise can make listeners hear nonexistent high-frequency brilliance in music.
• Adding soft noise makes listeners perceive brilliance that is not actually present
• Adding sound intensities of equal level yields only a three-decibel increase
• Adding tones lowers threshold only until about nine tones span the critical band
• Adding two post-maskers together can reduce rather than increase masking
• Adjustment methods bias moderate sounds toward louder settings for good audibility.
• Alternately presented sounds can be perceived as continuous when actually gated
• AM and FM sidebands become perceptually identical once spacing exceeds the critical bandwidth.
• AM noise masking depth is frequency-independent while FM tones are strongly frequency-dependent
• Amplitude discrimination depends on relative loudness increment, not absolute change
• Amplitude modulation and frequency modulation differ only by sideband phase at low indices
• Amplitude modulation faster than the tone’s own steady pitch is heard as pitch change
• Amplitude-modulated broadband noise yields only 15% of a pure tone’s pitch strength.
• Amplitude-modulated broadband noise yields only faint pitch despite flat spectrum
• Amplitude-modulated tones produce three distinct sensations depending on modulation frequency
• An amplitude-modulated tone is a carrier plus two side lines
• An amplitude-modulated tone produces a three-line spectrum
• Analog hearing models let experimenters measure physical states real ears hide
• Annoyance from sounds is quantitatively described as psychoacoustic annoyance.
• Annoyance ratings can be predicted from measurable hearing sensations.
• Annoyance rises with loudness, sharpness, roughness, and impulsive temporal components.
• Any sound narrower than a critical band produces identical loudness regardless of its width.
• Aperiodic noise maskers are studied using repeated random pulse sequences with long periods.
• Asymmetric pre- and post-masking durations distort symmetric reversals in FM masking patterns.
• At equal A-weighted level, railway noise is judged quieter than road and aircraft noise
• At very high modulation rates, listeners detect AM only via average intensity change.
• Audibility thresholds rise about 10 dB per tenfold sound duration reduction
• Auditory critical bandwidth stays constant at 100 Hz below 500 Hz then rises proportionally.
• Auditory Gestalt perception mirrors vision through spectral-pitch contours
• Auditory masking depends only on energy within a band surrounding the signal.
• Auditory threshold for broadband noise is set by the most sensitive frequency region only
• Auditory tuning curves derive from constant basilar membrane velocity rather than displacement
• Averaging across dB versus intensity units changes the computed mean
• Band-pass noise audibly self-modulates far above its threshold
• Bandpass noise pitch corresponds to spectral edge frequencies which fuse when close
• Barkhausen created the loudness level measure in the 1920s
• Basilar membrane displacements during speech are only tens of nanometers, near atomic scale
• Basilar-membrane models are validated by frequency responses comparable to tuning curves
• Basilar-membrane resonance peaks shift downward as input level rises
• Bekesy-tracking measures threshold curves by letting the subject reverse intensity direction
• Below 40 phon, loudness falls faster than the 10-phon-per-doubling rule predicts
• Binaural envelope-delay sensitivity drops once tone separation exceeds the critical band.
• Binaural hearing enables sound-source direction perception that one ear cannot produce
• Binaural loudness exceeds monaural loudness, more so for soft than loud sounds
• Binaural loudness is measured by matching against a monaural comparison tone in filtered noise
• Binaural masking release can be tested under non-simultaneous masking conditions
• Binaural masking-level difference measures hearing improvement from interaural stimulus asymmetries
• Binaural unmasking depends on masker duration but not signal duration
• BMLD magnitude drops sharply when masker and signal share no frequency components
• BMLD magnitude fluctuates wildly with signal timing within a noise burst
• BMLDs grow only slightly with masker density level and peak at intermediate bandwidths
• Brief tone durations severely impair frequency discrimination
• Broad-band noise masking erases individual differences in quiet threshold
• Broadband factory noise loudness in phons far exceeds its measured dB level
• C-weighting captures low frequencies better at high sound pressures
• Cancellation equalizes internally produced combination tones with an external tone
• Cancellation methods quantify the ear’s internally produced difference tones
• Cancellation phase steps can jump up or down by 360 degrees at level minima
• Cancellation tones alter inner-ear nonlinearity by only 1-2 dB at worst
• Carrier interaural time shifts encode lateralization only below 1.6 kHz, envelope shifts above
• Carrier time shifts lateralize only low frequencies; envelope time shifts work at high frequencies
• Changing a tone’s phase alters both its temporal envelope and its instantaneous frequency.
• Clinical hearing-loss diagnoses rest on subjective psychoacoustic data because human neurophysiology is rarely available.
• Closely spaced tones sum by sound pressure to peak loudness
• Closing the ear canal makes internal body noise audible and measurable
• Cochlear amplification is instantaneous and symmetrically saturating in its transfer.
• Cochlear hydromechanics can be approximated by one-dimensional lumped sections.
• Cognitive source identification can be experimentally decoupled from loudness perception
• Combination tones arise at a place well separated from both primaries.
• Combination tones arise from the hearing system’s own nonlinearity
• Combination tones beat against other near-pitched instruments unless masked
• Combination tones become audible only above roughly 70 dB primary level
• Combination tones can be cancelled by adding matched opposite-phase tones
• Combined cochlear implant and hearing aid restores sound localization ability.
• Combined maskers interact predictably in simultaneous but not nonsimultaneous masking
• Combined masking adds most when the two maskers are equally strong
• Comparing two tones improves frequency sensitivity beyond detecting a continuous modulation
• Computer models substitute specific loudness differences where masking-depth data are unavailable
• Computerized loudness models track the 1 kHz tone within 2 percent
• Conductive hearing loss shifts tuning curves upward without degrading frequency resolution.
• Constant 1-Bark windows yield triangular noise patterns and rectangular tone patterns
• Continuous loudness curves assume the ear has hundreds of movable critical-band filters
• Conversational speech moves the basilar membrane only about the diameter of an atom
• Critical bandrate scale stabilizes frequency discrimination measures across durations
• Critical bands govern tonal discrimination and timbre, not overall hearing resolution
• Critical bandwidth at 1 kHz is 160 Hz and governs loudness behavior
• Critical bandwidth at 2 kHz center frequency is 300 hertz
• Critical bandwidth at one kilohertz is about 150 hertz
• Critical bandwidth marks the perceptual shift from rough to smooth tone resolution
• Critical bandwidth marks the point where noise loudness begins to grow with bandwidth
• Critical bandwidth rises above 500 Hz, matching the 5-Bark reference point.
• Critical bandwidth stays constant near 100 Hz up to 500 Hz then grows
• Critical bandwidth stays constant with masker level up to about 50 dB.
• Critical bandwidth varies a hundredfold across the audible range.
• Critical-band and excitation levels are intermediate model values expressed logarithmically.
• Critical-band intensity derivation yields triangular patterns for noise and rectangular ones for tones.
• Critical-band noise masking can be approximated by simple tone complexes
• Critical-band rate and excitation level are the intermediate transforms for hearing models
• Critical-band rate correlates with pitch, frequency discrimination, and basilar-membrane position.
• Critical-band rate is measured in Barks, ranging 0 to 24 across the audible spectrum.
• Cubic difference tones arise inside the ear, not in the equipment
• Cubic difference tones form from summed wavelets traveling to a characteristic place
• Cubic difference tones in hearing defy regular nonlinear transfer models
• Deficits in any perceptual dimension impair everyday communication
• Delayed emission spectra concentrate energy in discrete frequency maxima
• Delayed emissions are suppressed in proportion to the evoking burst’s audibility
• Delayed evoked emissions are the ear’s response to short impulses
• Delayed evoked emissions respond linearly to impulses below about 18 dB sensation level
• Delayed evoked otoacoustic emissions show discrete spectral peaks rather than continuous energy
• Delayed otoacoustic emissions arise from decaying basilar-membrane oscillations that sum in phase
• Delayed otoacoustic emissions arrive faster for higher stimulus frequencies
• Delayed otoacoustic emissions grow linearly then saturate 10-20 dB above threshold
• Delayed otoacoustic emissions obey linear superposition at low amplitudes
• Density level converts to total level once bandwidth is known
• Detecting level variation is about 2.5 times harder than detecting level difference
• Difference noise generated by ear nonlinearities can be heard before the test tone itself
• Different printer types differ up to threefold in perceived loudness
• Digital transmission makes meaningful reduction of information flow important.
• Distortion product emissions are objectively measurable in the ear canal
• Distortion product emissions arise only in a live ear, not passive cavities
• Doubling perceived loudness requires a 10 dB increase.
• Duration perception distortion is largely level-independent above 30 phon
• Each basilar membrane location acts as a bandpass filter tuned to a center frequency
• Each masker dominates masking only within its own frequency region.
• Earphone frequency response must be measured on real ears, not couplers
• Ears detect direction changes as small as 5 degrees via 50-microsecond delays
• Echo loudness decays nonlinearly so level peaks misrepresent perceived peaks
• Envelope-structured sounds produce time-variant temporal masking patterns.
• Equal-level narrow-band maskers mask less at higher centre frequencies
• Equal-loudness contours flatten at low frequencies as level rises
• Equal-power masking assumption is wrong and only partly power detection holds
• Even very steep low-pass noise slopes produce pitch far weaker than a pure tone.
• Everyday speech communication usually occurs under partial masking conditions
• Evoked emissions vanish exactly when the evoking tone becomes inaudible
• Excitation detectors are modeled as independently acting channels with occasional coherence effects
• Excitation patterns can be computed from masking data in either direction
• Excitation slopes are steeper toward lower frequencies than higher ones
• Excitation slopes become frequency-independent above 200 Hz center frequency
• Experimental results in psychoacoustics depend on the measurement procedure used
• Feedback in outer haircells enhances sensitivity while lateral spread shapes frequency selectivity.
• Filter bandwidth limits how fast a band-pass noise envelope can fluctuate
• Five tones replicate narrow-band noise masking while single tones distort it
• Fletcher assumed tone audibility requires power match within a critical band
• Fletcher defined critical bands as noise regions whose power equals a just-masked tone’s
• Fletcher’s equal-power assumption implies a low-frequency critical band near 50 Hz
• Fletcher’s equal-power masking assumption is demonstrably false
• Fluctuating noise is a more sensitive test for hearing loss than continuous noise
• Fluctuation strength is predictable from excitation patterns
• Fluctuation strength requires at least 3 dB modulation depth before it rises
• Fluent speech in all languages fluctuates at about four elements per second
• FM fluctuation strength scales with the number of critical bands crossed
• FM tones require integrating masking depths across the critical-band scale
• FM-tone fluctuation strength declines with center frequency above 1 kHz while AM does not
• For broadband noise, AM detection extends up to 500 Hz without sideband interference
• Forced-choice procedures inform subjects after each trial which interval held the signal.
• Forced-choice procedures typically provide post-trial feedback on the correct answer
• Forward masking follows masker termination and is also called post masking
• Fourth-order distortion products are nearly inaudible and appear only above 85-90 dB.
• Free-field versus diffuse-field transmission gains differ by under eight decibels up to 8 kHz
• Frequency deviation measures one-sided swing while total variation doubles it
• Frequency discrimination depends on pitch strength and worsens as pitch strength falls
• Frequency discrimination stems from steep filter slopes plus 1 dB level sensitivity
• Frequency discrimination thresholds rise dramatically from 500 Hz to 5000 Hz
• Frequency is a poor physical scale for describing inner-ear effects; critical-band rate works better.
• Frequency just-noticeable differences rise sharply at low sensation levels
• Frequency modulation detection is level-independent but thrice frequency-difference detection
• Frequency resolving power is measured by holding cochlear location constant while varying frequency
• Frequency-difference and frequency-modulation thresholds must not be conflated in the literature
• Frequency-discrimination and frequency-modulation thresholds are commonly conflated in the literature
• Frequency-modulated maskers produce two masking peaks where instantaneous frequency crosses the test tone twice
• Frequency-modulated tones grow louder only above roughly 20 Hz modulation
• Frequency-modulated tones lose fluctuation strength above 1 kHz centre frequency
• Frequency-modulation detection relies on the steep lower excitation slope at 27 dB per Bark
• Frequency-ripple spacing and emission delay time are inversely related
• Front sound sources can be misperceived as coming from behind
• Gaussian envelopes minimize the bandwidth-duration product of a signal
• Gaussian gating minimizes the bandwidth-duration product for tone bursts.
• Gaussian shapes minimize the bandwidth-duration product
• Gaussian-shaped tone bursts minimize spectral splatter in gated tones
• Guitar-string inharmonicity creates audible beats on low strings.
• Halving exposure duration permits a 10 dB increase in safe sound level
• Harmonic complex tones dominate daily life through speech and music
• Harmonic spacing on a log scale determines masking-pattern dip size
• Harmonic versus inharmonic spectra of a note are plainly perceptible to a listener
• Headphone lateralization is one-dimensional whereas free-field localization is three-dimensional for sound images
• Healthy hearing detects 1 to 2 dB level changes at 60 dB
• Hearing aids restore loudness sensitivity but cannot restore damaged frequency selectivity.
• Hearing becomes less sensitive to frequency variations as level increases
• Hearing damage risk halves allowed exposure time for every roughly 10 dB increase
• Hearing detects AM better than FM only when sidebands fall within a critical bandwidth
• Hearing is most damage-prone in the 3-8 kHz frequency range
• Hearing masks sounds before they occur via slower and faster sensory build-up times
• Hearing selectivity is modeled via critical-band and excitation intermediate values
• Hearing sensations correlate with stimulus magnitudes but only within the audible range
• Hearing-impaired listeners experience a steeper loudness-growth function known as recruitment
• Hearing-impaired listeners fail to gain temporal resolution in background noise
• Hearing-impaired listeners gain far less from noise gaps than normal listeners
• Hearing-impaired listeners vary more than normal hearers in quiet threshold, complicating averaging
• Hearing-impaired specific loudness jumps to near-normal values 20 dB above threshold
• Hearing-system quadratic distortion is largely independent of frequency separation between primaries.
• Hearing’s fine frequency resolution may be modeled at coarser steps in practice
• Hearing’s own nonlinearity produces audible difference tones even in distortion-free equipment
• Hearing’s salient spectral features can be matched by adjustable Fourier analysis
• High modulation frequencies increase loudness because spectral spread outweighs temporal fluctuation
• Higher noise levels reduce sensitivity to cut-off frequency changes
• Higher-frequency gaps need narrower spectral widths to trigger Zwicker tones
• Historic recordings made around 432 Hz allow fair preference testing
• Human hearing adapts to speakers and rooms but the mechanism remains unknown
• Human hearing is most frequency-selective around 2 kHz
• Human hearing spans 150 dB and three decades of frequency
• Human hearing spans seven orders of magnitude in sound pressure
• Human hearing spans sound pressures from 10-5 to 102 Pa
• Humans can typically discriminate level differences of 1 to 2 dB
• Identifying a sound source can shift annoyance independent of loudness
• Impaired frequency selectivity directly causes poor speech discrimination
• In hearing-impaired regions loudness grows far faster with level
• Incomplete complex tones show twice the pitch deviation of complete ones
• Individual auditory fibres cover only 40-60 dB yet we hear over 100 dB range
• Individual differences make averaging meaningless in cancellation-level data
• Individual variability in distortion-product cancellation grows with primary frequency separation
• Industry pressure forced ISO to standardize A-weighted SPL before a better loudness-based method
• Inkjet printers are much quieter than needle printers
• Inner and outer hair cells differ structurally and likely function differently
• Inner hair cells form one row while outer hair cells form three rows
• Inner hair cells only convert oscillations to spike rates in the model
• Inner-ear blood-flow noise is adapted out because it never stops
• Instrument timbre differences stem from harmonic spectra that shape masking breadth
• Instrument tuning relies on high harmonics because pitch changes there are easier to hear
• Intensity-duration tradeoff in masking holds only for durations under 200 ms
• Interaural level differences alone can shift the perceived position of a sound source
• Interaural level differences and time shifts trade off to cancel each other
• Interaural level differences of 1-2 dB produce just-audible lateral displacement
• Interaural phase differences can produce time-delay sensations measured at threshold.
• Interaural-delay-tuned channels exist only for frequencies below 1500 Hz
• Intermediate separations cause loudness to follow intensity addition instead of pressure addition.
• Internal bodily noise raises the hearing threshold at low frequencies
• Internal body noise, dominated by heartbeats and muscles, masks quiet sounds at low frequencies.
• Internal nonlinear distortion products, not poorer frequency selectivity, explain noise maskers’ extra low-frequency masking
• Internal physiological noise from blood flow and heartbeat raises low-frequency thresholds
• Intrinsic noise amplitude fluctuation masks detection of imposed amplitude modulation
• ISO 532 B loudness charts span five maximal band levels and two sound-field types
• ISO standardized loudness-based noise metrics because A-weighting proved inadequate
• JND for frequency changes is level-independent while level JNDs shrink with level
• JNDL level dependence unifies across frequency when scaled to loudness level
• Just-audible image displacement needs only 1 to 2 dB level change.
• Just-noticeable amplitude modulation drops steeply as tone level rises
• Just-noticeable amplitude modulation of narrow-band noise is near 6 percent at high centre frequencies
• Just-noticeable amplitude modulation of noise shrinks from 40% to 6% as bandwidth widens.
• Just-noticeable changes are tenfold worse at masked threshold then normalize 20 dB above
• Just-noticeable frequency increments are constant along critical-band rate but rise as pitch strength weakens
• Just-noticeable frequency shifts map to constant basilar distances
• Just-noticeable interaural delay is about 50 microseconds below 1.5 kHz
• Just-noticeable level variations always exceed just-noticeable level differences
• Keeping total level constant while widening bandwidth requires lowering spectral density
• Knowing a sound’s source barely affects how loud we rate it
• Large cutoff-frequency sweeps boost low-pass noise pitch strength 2.4-fold
• Large FM deviations escape narrow-band masking by drifting into unmasked frequency ranges
• Large local excitations can cancel globally because their phases oppose
• Large primary frequency separations yield multiple cancellation-level notches
• Lateralization is one-dimensional while localization spans three dimensions
• Level discrimination for broadband noise is level-independent above 40 dB sound pressure
• Level discrimination tests differ in whether silent gaps separate the compared tones.
• Level discrimination thresholds grow steeply near hearing threshold
• Level JNDs grow fivefold as tone-burst duration drops from 200 to 2 ms
• Level variations within a sound and differences between sounds activate distinct hearing processes.
• Level-induced pitch shift depends on masking height above the quiet threshold
• Listener attitude toward a sound, not just acoustics, shapes perceived pleasantness
• Listeners perceive missing fundamentals from the harmonics that remain
• Localization precision peaks in front, degrades at the sides, improves behind
• Long recovery-time automatic gain control can erase trailing consonant sounds
• Loud maskers can paradoxically improve audibility at condensation peaks.
• Loudness changes shift perceived pitch; reverb conceals the effect musically
• Loudness develops over time after a sound ends, so later noise can interrupt it
• Loudness doubles per 10 phon except below 40 phon where it drops steeply.
• Loudness evaluation may be unchanged by obscuring the sound’s source identity
• Loudness falls to zero at threshold in quiet, forcing a vertical asymptote
• Loudness grows as a power law of physical intensity so relative changes match
• Loudness grows with bandwidth via area tradeoff except at extreme levels
• Loudness halves for every tenfold decrease in tone duration below 100 ms
• Loudness is the sensation most directly tied to sound intensity
• Loudness measures can reveal real improvements A-weighting misses entirely
• Loudness measures span quiet, masked, spectral, and temporal domains
• Loudness meter readings predict subjective evaluations better than A-weighted measures
• Loudness patterns approximate specific loudness by ignoring the lower slope entirely.
• Loudness perception shows distinct behavior in two critical-band-defined regions
• Loudness perception takes time to develop and so can be interrupted by later sounds
• Loudness processing acts as a temporal low-pass filter with about 45 ms integration time
• Loudness reduces sensory pleasantness only beyond roughly 20 sone.
• Loudness rises with bandwidth beyond the critical band despite falling pattern height
• Loudness-calculating procedures outperform simple SPL for practical noise reduction
• Loudness-time functions reveal echoes and reverberation better than level-time ones
• Low modulation frequencies produce fluctuation sensation while higher ones produce roughness
• Low-frequency loudness growth compresses as level rises
• Low-frequency maskers mask most during their rarefaction phase
• Low-frequency rarefaction impulses completely suppress evoked emissions
• Low-frequency rarefaction maximally suppresses otoacoustic emissions
• Low-frequency suppressor impulses suppress cochlear emissions most at rarefaction peaks
• Low-frequency suppressors reduce emissions by saturating cochlear feedback-loop nonlinearity
• Low-pass noise can mask harmonics to create the same virtual-pitch stimulus as filtering.
• Low-pass noise cutoff discrimination degrades with level while high-pass cutoff does not
• Low-pass noise is heard at a pitch matching its cut-off frequency
• Magnitude estimation with an anchor uses a fixed 70 dB car sound as reference.
• Main excitations make critical-band level equal excitation level at signal centers
• Masked threshold always exceeds quiet threshold except when masker and test frequencies differ greatly
• Masked threshold of a tone by white noise is computable from critical-band level
• Masked threshold rise toward high frequencies is about 100 dB per octave.
• Masked threshold rises once noise bandwidth exceeds the critical bandwidth
• Masked threshold shape changes with masker level, becoming more asymmetric at high levels
• Masked thresholds spike within milliseconds of masker onset before settling
• Masked-threshold shape is nonlinear and level-dependent, steepening only at low masker levels.
• Masker peaks at rarefaction produce maximal masking of short tone bursts
• Maskers affect modulation detection through their excitation patterns, not their raw level
• Maskers below a tone raise its pitch while maskers above lower it.
• Maskers’ influence on modulation thresholds vanishes beyond 20 dB above their excitation pattern.
• Masking barely affects modulation perception once signals sit 20 dB above masked threshold
• Masking by bandlimited noise depends only on masker energy within the critical band.
• Masking can occur even when the masker follows the test sound in time.
• Masking depends on the masker’s acceleration, not its amplitude.
• Masking disrupts everyday speech and music whenever competing sounds differ in level
• Masking increments peak when the two individual maskers yield equal threshold shifts
• Masking is graded, with partial masking reducing loudness rather than audibility.
• Masking measurements require noise slopes steeper than the ear’s own selectivity
• Masking occurs before, during, and after a masker is present.
• Masking operates on a continuous scale between audible and fully masked.
• Masking pattern curves are scale-invariant and predictable by horizontal shifts
• Masking pattern shapes differ by center frequency even at equal masker level
• Masking reduces to a comparison of excitation-level patterns over frequency and time
• Masking relates closely to excitation level patterns.
• Masking shifts detection thresholds and may affect just-noticeable sound changes
• Masking shifts thresholds upward and may alter just-noticeable sound changes at all levels.
• Masking spreads from a noise band to tones further away as masker level rises
• Masking thresholds can be transformed into time functions of specific loudness
• Masking-induced pitch shift is a product of three pattern-derived factors
• Masking-pattern slope predicts low-pass noise pitch strength better than filter slope does
• Masking-period patterns require masker masking and test bursts under an eighth of the period
• Masking-period patterns reveal how masker phase within its period affects audibility
• Median and interquartile range stay scale-invariant where means fail
• Medium-level band-stop noise around 43 dB most reliably produces Zwicker tones
• Medium-separated tones add by intensity once the ear stops tracking envelope
• Middle ear impedance match is optimal near 1 kHz
• Model predicts a minimum in cancellation level via phase-aware vector sums
• Model-computed and measured loudness match across the full level range
• Modulation fluctuation strength is governed by excitation patterns
• Modulation frequency determines whether sound is heard as fluctuation, roughness, or multiple tones
• Monotic in-phase masking-level difference is frequency-independent from 250 to 4000 Hz
• Most everyday sounds are harmonic complex tones, not pure tones
• Most human ears display synchronized spontaneous otoacoustic emissions when driven
• Music occupies a wider frequency and dynamic range than speech
• Musical consonance comprises harmony and sensory consonance from separate domains
• Musicians exaggerate physical note and pause durations about fourfold to convey written rhythm
• Narrow critical bandwidths at low frequencies reduce hearing sensitivity via noise fluctuations
• Narrow spectral bands with steep slopes produce stronger pitch than narrow spectral gaps do
• Narrow-band filters smear signal onset despite resolving harmonics
• Narrow-band noise amplitude fluctuations mask periodic amplitude modulation detection
• Narrow-band noise behaves like a randomly amplitude-modulated pure tone.
• Narrow-band noise keeps a Gaussian amplitude distribution that statistically modulates its perceived sound
• Narrow-band noise produces substantial loudness in critical-band regions where no physical sound exists
• Narrow-band noise self-modulates at 0.64 times its bandwidth
• Narrow-band noise self-modulation masks external amplitude modulation
• Narrow-band noise sharpness grows proportionally with critical-band rate up to about 3 kHz
• Narrow-band noise’s intrinsic amplitude jitter masks external amplitude modulation detection
• Narrower noise bands produce single centre pitch rather than edge pitches
• Narrower noise bandwidth raises pitch strength while higher center frequency also raises it
• Near threshold, masked threshold depends on both masker level and threshold-in-quiet via internal noise
• Nearly all normal-hearing babies produce delayed evoked otoacoustic emissions
• No evidence supports preferring 432 Hz piano tuning over 440 Hz
• Noise bandwidth below the critical band does not raise masked threshold.
• Noise bandwidth changes sharpness dramatically across a wide range
• Noise envelope fluctuation rate is inversely proportional to bandwidth
• Noise fluctuations within narrow critical bands raise the masking index
• Noise loudness is level-independent until bandwidth exceeds the critical bandwidth.
• Noise reduction claims should use loudness ratios to stay credible
• Noise reduction should target the largest loudness pattern area
• Noise-burst masked thresholds rise more gradually than tone-burst thresholds with shorter duration
• Noise-impaired listeners show reduced temporal integration, only 4 dB per decade
• Noise-induced hearing loss can unmask audible difference tones
• Noise-induced hearing loss flattens temporal masking valleys and breaks the threshold triad alignment
• Noise-induced high-frequency threshold shifts can make previously inaudible difference tones audible
• Noise-type sounds have far weaker pitch strength than pure or complex tones.
• Noise’s inherent statistical fluctuations degrade frequency-change detectability relative to tones.
• Nonlinear cochlear mechanics make listeners perceive nonexistent difference tones
• Nonsense-syllable tests measure intelligibility by stripping away language-level prediction
• Nonsimultaneous masking summation resists simple generalizations
• Normal hearing is most sensitive near 2 to 5 kHz
• Normal listeners show a straight-line relation for the quiet-modulated-continuous threshold triad
• Normal-hearing listeners need 7 dB lower SNR in fluctuating versus continuous noise
• Normal-hearing test methods rarely transfer to hearing-impaired listeners
• Odd-order difference tones explain why single tones mask differently than noise
• Office speech privacy requires noise levels unattainable in practice.
• Offices judged loud run percentile loudness of ten to twenty sone
• One acum is defined by a 1 kHz narrow-band noise at 60 dB.
• One asper of roughness is standardized by a 70-Hz fully modulated 60-dB tone
• One just-noticeable pitch step shifts excitation across about six inner hair cells
• One vacil equals a 60 dB 1 kHz tone fully amplitude-modulated at 4 Hz
• Only about 20 audible roughness steps span the entire roughness range
• Only about twenty audible roughness steps span the entire perceptual range
• Only tones exceeding a level-dependent masked threshold are audible in noise
• Opposite-phase binaural signals stay louder than in-phase ones up to 40 dB above threshold
• Otoacoustic emission delay times shrink from 20 ms to 4 ms as frequency rises
• Otoacoustic emission spectra show discrete energy maxima stable across sensation levels
• Otoacoustic emission suppression mirrors hearing threshold masking patterns
• Otoacoustic emissions and frequency resolution arise in the inner ear, peripheral to the synapse.
• Otoacoustic emissions originate peripherally before neural encoding begins
• Out-of-phase binaural tones can double perceived loudness
• Outer and middle ear act linearly while inner-ear mechanics are nonlinear
• Outer hair cell damage explains recruitment by disabling active cochlear gain
• Outer hair cell loss alone can account for the recruitment effect
• Outer hair cells act as nonlinear amplifiers with bidirectional lateral feedback
• Outer haircells act locally within the cochlea to modulate inner haircells
• Outer haircells amplify quiet sounds only, while inner haircells respond directly to loud ones.
• Overall noise loudness is judged retrospectively rather than averaged moment to moment
• Overlapping excitation slopes raise the valley minimum by at least 3 dB
• Pairs of incoherent or coherent noises can be modeled as amplitude modulation
• Partial masking of a tone by background noise diminishes as tone level rises
• Partial masking reduces loudness without fully hiding the test tone
• Partial masking shifts pitch away from the masker’s spectral region
• Partial masking steepens the loudness function in a way that mirrors hearing recruitment
• Partial-tone strength thresholds offer graduated levels of audio data reduction
• Partially masked sounds have a reduced loudness range in both time and spectrum
• Partially masking a tone shifts its perceived pitch upward
• Perceived dissonance arises when nearby harmonics fall within critical bandwidth
• Perceived duration of pauses differs from perceived duration of equivalent tone bursts
• Perceived loudness of speech matches near-maximum not average loudness
• Perceived musical dissonance reduces to roughness from beating partials.
• Perceived overall noise loudness tracks the N5 percentile near the maxima, not the average
• Perceived pitch compresses against frequency above roughly 500 Hz
• Perceived sound direction and actual source direction need not coincide
• Perceived speech rhythm centers on events of about 300 ms
• Perceived speech rhythm tracks the loudness-time function of the signal
• Percentile loudness N5 predicts how listeners judge overall noise immission loudness
• Periodic amplitude fluctuations are perceived as stronger than equivalent random fluctuations.
• Periodic gating creates spectral line spacings set by the pulse repetition rate
• Periodic modulation enhances perceived fluctuation strength beyond random noise
• Phase changes become audible in three-tone complexes
• Phase differences affect loudness only at low modulation frequencies the ear can track
• Phase differences among wavelets reduce the total difference-tone amplitude
• Phase shifts between the ears can substitute for onset time delays in detecting sounds.
• Phase-change detection yields a critical bandwidth of 150 Hz at 1 kHz
• Phase-change sensitivity in hearing is bounded by critical bandwidth, scaling with centre frequency.
• Phase-correct vector summation is essential in cochlear models
• Physical frequency is the wrong scale for describing inner-ear effects
• Physical stimuli map to separate hearing sensations only within audible physical ranges
• Physically equal spacing only yields subjectively uniform rhythm for steep-envelope bursts
• Pitch as a sensory dimension has both height and perceptual strength, which vary independently.
• Pitch can be modeled as a positional sensation scaled by discrimination steps
• Pitch correlates with frequency but is also slightly level-dependent
• Pitch from gated noise vanishes when gaps shrink below temporal resolution
• Pitch of a tone is defined by the matching 40 dB reference frequency
• Pitch shift magnitude correlates inversely with pitch strength of masked tones
• Pitch strength and loudness scale at sharply different rates with level changes.
• Pitch strength grows linearly with log duration up to 300 ms.
• Pitch strength is quantifiable by magnitude estimation across diverse sounds
• Pitch strength of amplitude-modulated tones depends critically on the carrier-to-modulation frequency ratio
• Pitch strength of pure tones varies with their frequency
• Pitch strength results were normalized per frequency region for comparison across panels.
• Pitch strength rises only modestly with level while loudness explodes.
• Pitch strength varies independently of perceived pitch height
• Plosive consonants get masked by preceding loud vowels even in free field
• Plosive pauses of 60-150 ms are perceptually shrunk in subjective duration
• Plosive pauses of 60-150 ms go unnoticed in speech perception
• Positive second derivative of masker drives low-frequency masking-period patterns
• Post masking outlasts premasking and asymmetrically distorts threshold patterns.
• Post masking outlasts premasking and can skew frequency-modulation measurements by nearly 20 dB.
• Post-masking decreases when a second masker suppresses audible masker fluctuations
• Post-masking depends on masker bandwidth as well as duration
• Postmasking can last up to 200 milliseconds after a masker ends
• Postmasking decay needs two separate time constants depending on masker duration
• Postmasking depends strongly on masker duration and is highly nonlinear.
• Postmasking stays at simultaneous-masking level for 5ms then decays to quiet by 200ms.
• Postmasking temporal decay is realizable by a two-resistor two-capacitor diode network
• Postmasking threshold decay is not exponential despite fitting one approximately.
• Practical sound fluctuation models substitute specific-loudness differences for masking-depth values
• Premasking arises from the buildup time of sensation, not foreknowledge
• Premasking measurements are only reproducible with trained subjects and remain noisy
• Premasking measurements require trained listeners and yield poor reproducibility
• Presbyacusis shows frequency-dependent recruitment strongest at high frequencies
• Present spontaneous emissions indicate good hearing, absent ones prove nothing
• Psychoacoustic findings explain musician preferences for tympani heads
• Psychoacoustic headphones distort sound unless free-field equalized to compensate their band-pass response
• Psychoacoustic phenomena can be experienced directly through audio demonstrations.
• Psychoacoustic results depend on experimental procedure and sensitivity rises with alternatives.
• Psychoacoustical tuning curves grow more asymmetric at higher test-tone levels
• Psychoacoustics is the quantitative science of the ear as an information receiver.
• Pulsation patterns can replicate masking patterns to under 1 dB accuracy
• Pulsation patterns map test-tone level against frequency like masking patterns do
• Pure tone pitch shift decomposes additively into level and masking components
• Pure-tone and noise maskers produce diverging pulsation patterns only above 1 kHz.
• Pure-tone versus noise masking differences depend on masker frequency
• Quadratic difference tones become audible only above roughly 70 dB primary levels.
• Quadratic difference tones measured by cancellation originate primarily in the middle ear.
• Racing starts and low-gear diesels produce maximal psychoacoustic annoyance
• Raising low-pass noise level measurably raises its perceived pitch
• Raising noise level paradoxically worsens cut-off frequency discrimination as upper slopes flatten.
• Raising sound pressure by 40 dB roughly triples perceived fluctuation strength
• Raising the level of a complex tone shifts its pitch downward.
• Random envelope fluctuations in 100-Hz-wide noise bands produce strong roughness
• Rapid AM of noise is heard via overall level, not its rapid fluctuations
• Rarefaction, not masker level, drives the audibility threshold maximum
• Ratio pitch curve shape matches other psychoacoustic frequency-dependence curves
• Recorded venue acoustics masked loudspeaker resonances that technical signals reveal
• Recruitment can explain why loudness summation is absent in noise-induced hearing loss
• Recruitment means steep loudness growth that catches up to normal at high levels
• Reduced BMLD stems from masking effects, not from signal frequency or masker level
• Reducing audible fluctuations in a masker lowers post-masked thresholds by up to 24 dB
• Regular distortion laws from electroacoustics describe hearing’s own nonlinear products
• Removing lower harmonics barely changes the perceived pitch of a complex tone.
• Repeated noise overexposure converts temporary threshold shifts into permanent hearing loss
• Repeated short tones reach steady threshold when repetition rate exceeds 5 per second
• Reverberation multiplies perceived speech loudness well beyond measured level gains
• Rhythm perception can arise from pitch variation alone without loudness change
• Ripple-noise pitch strength grows linearly with log spectral modulation depth beyond 10 dB
• Ripple-noise pitch strength stays level-independent across a 40 dB range.
• Rippled noise generated by feedback delay produces distinct pitch sensations.
• Room acoustics degrade phase-change sensitivity by roughly threefold
• Room acoustics should be described with perceptual rather than physical values
• Room acoustics should incorporate psychoacoustic not merely physical metrics
• Room resonances, not amplifier phase response, govern audible phase distortion
• Roughness depends on frequency and temporal resolution of hearing
• Roughness depends on modulation degree or FM index plus modulation rate
• Roughness grows by a factor of three per 40 dB of level increase
• Roughness grows faster with modulation depth for tones than for noise
• Roughness is limited by frequency selectivity at low and temporal resolution at high frequencies
• Roughness is proportional to the product of modulation frequency and masking depth
• Roughness only emerges beyond 50 Hz frequency deviation then scales logarithmically
• Roughness reflects rate of change, so fast modulation roughens while slow change does not
• Sensory consonance depends on roughness, sharpness, and tonalness
• Sensory pleasantness cannot be measured as a single elementary auditory sensation
• Sensory pleasantness decreases as sound sharpness increases
• Sensory pleasantness depends most on sharpness, then roughness and tonality.
• Sensory pleasantness is computable from sharpness, roughness, tonality, and loudness.
• Sensory pleasantness is unmeasurable in absolute values
• Sensory pleasantness rises with tonality only up to a ceiling.
• Sensory pleasantness rises with tonality up to a relative value of about 0.4.
• Sensory pleasantness stays flat up to 20 sone then declines with loudness
• Sensory pleasantness was measured across tones, narrow-band noise, and band-pass noise.
• Sequential tone comparison yields finer discrimination than modulation detection.
• Sharpness changes little with level and bandwidth below one critical band.
• Sharpness depends on the spectral envelope, not fine structure
• Sharpness depends primarily on spectral content, not on level or bandwidth.
• Sharpness is modeled as a weighted first moment of specific loudness
• Shifting all spectral components uniformly changes perceived virtual pitch in a sawtooth pattern
• Short masker gaps are bridged by postmasking effects
• Short test tones are masked up to 10 dB more right after masker onset
• Short tone bursts widen in spectrum, so experiments use Gaussian-shaped bursts
• Short tone duration inflates JNDF, and level affects low-pass but not high-pass cutoff discrimination.
• Shorter masker and test-tone durations flatten the lower slope of pulsation patterns
• Shorter tone bursts drastically worsen level discrimination while longer ones do not help
• Sideband audibility shifts the detection criterion at high modulation frequencies
• Signals identical in loudness and pitch can differ markedly in pitch strength
• Simulated Gaussian noise with too few components gives atypical masking results
• Simulated hearing loss via masking preserves temporal integration, unlike real loss
• Simultaneous masking originates in the cochlea while nonsimultaneous masking does not
• Simultaneous masking raises a test tone’s just-audible level above threshold in quiet.
• Simultaneous tones become harder to perceive due to masking effects
• Skin-stimulation devices and cochlear implants both serve as hearing prostheses for deaf people.
• Slightly inharmonic spectra are musically preferred over strictly harmonic ones
• Slope excitation can transmit low frequencies to high critical-band regions.
• Slow amplitude modulation reduces pure tone pitch strength by ten to twenty percent
• SOAE levels fluctuate widely while their frequencies stay remarkably stable
• Sound direction and field type change perceived loudness at a fixed level.
• Sounds can be re-synthesized to preserve loudness while hiding source identity
• Sounds in the median plane are localized to fixed directions based on frequency
• Sounds with a spectral gap leave a clear tonal after-image when switched off
• Sounds with steep spectral peaks evoke stronger pitch than sounds with narrow spectral notches.
• Source identification affects annoyance but not loudness perception
• Spacing of hearing-threshold minima matches the 180-degree phase-shift frequency distance
• Specific loudness derives from Stevens’ power law applied to excitation
• Specific loudness generalizes beyond loudness to describe sharpness
• Specific loudness is better expressed against excitation level than against linear excitation
• Specific loudness rises steeply then saturates toward a power-law asymptote
• Spectral broadening can mask source identity while preserving loudness-time function
• Spectral envelope, not fine structure, determines perceived sharpness
• Spectral pitch model corrections are segmented into adjustable level ranges
• Spectral pitch of pure tones derives from three magnitudes of masking patterns
• Spectral summation precedes temporal summation in loudness processing
• Speech discrimination requires five distinct auditory features
• Speech discrimination requires intact frequency resolution
• Speech intelligibility in rooms can be predicted from fluctuation strength
• Speech loudness equals the value exceeded only seven percent of the time
• Speech loudness is captured by the 7th-percentile loudness value
• Speech-noise test backgrounds were upgraded to match both spectral and temporal envelopes
• Spontaneous and evoked otoacoustic emissions likely share a single source
• Spontaneous emission frequencies remain stable to within one percent
• Spontaneous emission spacing reflects the frequency step producing 180 degrees of phase shift.
• Spontaneous emissions respond to suppressors with a time constant near 15 ms
• Spontaneous otoacoustic emissions align with peaks in stimulus-frequency fine structure
• Spontaneous otoacoustic emissions show a minimum frequency spacing that grows with frequency
• Steady-state loudness models fail for speech, music, and impulsive technical noises.
• Steep low-pass noise slopes yield pitch strength far below that of a pure tone
• Steep-filtered noise produces pitch matching the filter’s cut-off frequency
• Stereo inter-loudspeaker level differences steer perceived sound location between speakers.
• String instrument inharmonicity may be not merely unavoidable but perceptually desirable
• String instruments naturally produce inharmonic partial spectra.
• String-instrument inharmonicity is testable as contributing to sound quality
• Strong condensation can suppress masking below the quiet threshold
• Subject variability in cancellation grows with primary frequency separation
• Subjective and physical duration stay proportional only above about 100 ms
• Subjective duration derives from excitation level, not physical duration
• Subjective duration distortion is largely independent of loudness above 30 phon
• Subjective duration is a separate sensation from physical elapsed time
• Subjective duration of sound bursts can diverge drastically from objective duration
• Subjective duration, not physical duration, governs rhythm perception in music
• Subjects bias adjustment experiments by setting sounds louder for good audibility
• Suppression of evoked emissions tracks the audibility of the evoking tone
• Suppression tuning curves mirror inner-ear neurophysiological frequency selectivity
• Suppressor tones reveal tuning curves matching neural frequency selectivity
• Suppressor tones that reduce SOAEs map the ear’s fine frequency selectivity
• Switching a tone on and off generates broadband transient clicks in distant frequency bands
• Synthetic noises deviate from Gaussian masking when line counts or phases are poorly chosen
• Temperament matters less in fast passages where frequency is ill-defined
• Temporal masking alone masks brief consonants even without room reverberation.
• Temporal masking depth is less than envelope modulation depth due to postmasking
• Temporal masking patterns are characterized by peak and valley values.
• Temporal masking patterns comprise simultaneous, post, and premasking effects
• Temporal partial masking of loudness is robust across sound types and frequencies
• Temporal resolution is quantified by peak and valley masker thresholds
• Ten-phon increments double loudness, mapping phon to sone by powers of two
• Test bursts stay within an eighth of the low-frequency masker’s period
• The 432 Hz grand-piano tuning preference claim fails blind testing
• The annoyance formula predicts ratings for real technical sounds.
• The audible range spans 24 bark-scaled critical bands totaling 0 to 24 Bark.
• The basilar membrane yields only about 640 just-noticeable frequency steps end to end.
• The BMLD arises from subjects using channels where the masker’s interaural effect is reduced
• The choice of averaging unit among level, pressure, or intensity critically shapes threshold data.
• The cochlea can be modeled as a bank of overlapping asymmetric bandpass filters
• The continuity illusion works even with complex signals like music
• The critical bandwidth at 1 kHz measures about 150 Hz via phase detectability.
• The critical-band-rate scale mirrors hearing better than raw frequency
• The ear becomes less nonlinear as sound levels rise
• The ear follows frequency-modulated masker dynamics only up to about 8 Hz modulation
• The ear ignores sideband phase once components fall outside one critical band
• The ear is most easily damaged between 3 and 8 kHz
• The ear itself generates audible nonlinear distortion tones from two simple inputs
• The ear itself generates distortion products even when equipment is clean
• The ear’s upper excitation slope is essential for detecting amplitude modulation at high levels
• The excitation pattern’s upper slope changes nonlinearly with level, unlike the main peak
• The first arriving sound wave dominates perceived direction of a source
• The first arriving sound wave dominates perceived localization regardless of level
• The four otoacoustic emission types are distinguished by whether and how they are evoked
• The G subscript indicates loudness computed from critical-band levels
• The gap width producing a Zwicker tone depends on line spacing
• The hearing system becomes less nonlinear at higher input levels.
• The human ear remains the best speech recognizer and should anchor machine systems
• The inner ear acts as a linear system offering both frequency and temporal resolution.
• The inner ear amplifies quiet sounds by up to 30 dB through active feedback.
• The inner ear can be modeled as an array of asymmetrical overlapping bandpass filters.
• The loudness function approaches a vertical asymptote at the 3 dB threshold in quiet
• The lower slope of auditory excitation patterns is constant at 27 dB per Bark
• The masked threshold’s high-frequency slope steepness depends on masker level
• The masking index varies with frequency, distinguishing UEN from uniform masking noise.
• The measurement scale chosen for averaging radically affects psychoacoustic data summaries
• The median resists stimulus-scale transformations, unlike arithmetic and geometric means
• The minimum masker excitation within its modulation cycle sets masked threshold
• The missing fundamental is still heard when all low harmonics are removed
• The modulation frequency of maximum roughness depends on carrier frequency only below 1 kHz
• The near-miss of Weber’s law means threshold slopes can reach 3 to 6
• The perception of uniform rhythm tracks envelope rises, not onsets
• The railway bonus persists even when sound sources are obscured, ruling out cognitive effects
• The spectral gap width needed to produce a Zwicker tone scales with line spacing
• The spectral pitch model was tuned by fitting published experimental data
• The steep lower slope of the excitation pattern determines frequency modulation detection threshold
• The threshold in quiet is highly reproducible for individual subjects
• The weighted-moment sharpness formula matches measured sharpness across diverse sounds
• Third-octave band filter leakage flattens the lower slope of measured loudness patterns
• Third-octave loudness computation requires steady sounds but handles any spectrum
• Threshold in quiet affects loudness mainly for faint sounds
• Threshold in quiet depends on total sound intensity within one critical band only
• Threshold in quiet has a fine structure of maxima and minima.
• Threshold in quiet is attributed to internal physiological noise
• Threshold in quiet is individually reproducible to within plus or minus six decibels
• Threshold perception integrates total sound intensity across a limited frequency bandwidth.
• Timbre is a residual category masking distinct sensations like sharpness and sensory pleasantness.
• Timbre perception can be analyzed through component-to-component masking interactions
• Timbre served as a residual basket for non-loudness non-pitch sensations
• Tonal masker spread inverts from low to high frequencies as masker level rises
• Tonal maskers create distinct audible regions beyond simple masking
• Tone bursts are heard as longer than pauses of equal physical length
• Tone-burst loudness rises 10 phon per tenfold duration up to 100 ms, then plateaus.
• Tone-on-tone masking thresholds are measured via narrow-band noise maskers instead
• Total loudness includes contributions outside the stimulus’s own band
• Total loudness is the integral of specific loudness over critical-band rate
• Total loudness requires linear scales before integration is valid
• Tracking methods differ from adjustment by letting subjects control only direction, not magnitude
• Train loudness depends on length and speed, not just type
• Transforming a stimulus scale shifts where means but not medians fall
• Tuning curve measurements are plotted on a critical-band-rate scale representing basilar membrane distance
• Two distinct loudness distributions are used in measurement
• Two ear sounds can differ in phase while differing little in amplitude.
• Two physically present tones produce an audible third tone inside the ear
• Two simultaneous maskers partition the spectrum where each dominates
• Two tones presented together produce audible combination tones in the ear
• Two tones within a critical band interact to reduce total loudness
• Two-tone maskers define critical bandwidth at the threshold’s transition point.
• Typical offices lack the acoustics needed to keep speech private.
• Uniform exciting noise delivers equal intensity to every critical band
• Uniform exciting noise loudness grows as intensity raised to the 0.23 power
• Uniform masking noise can substitute for threshold-in-quiet across all frequencies.
• Uniform masking noise is engineered as the inverse of white-noise masking’s frequency dependence.
• Uniform masking noise mirrors white-noise masking and gives flat thresholds
• Uniformly shifting a harmonic complex tone’s components changes pitch non-monotonically with a sawtooth pattern
• Vector phase differences, not amplitudes, determine cancellation tone levels
• Very brief test tones stay within a critical band only at high centre frequencies.
• Virtual pitch arises only for certain fundamental-to-lowest-component combinations
• Virtual pitch is extracted from separately perceived spectral pitches by Gestalt-style recognition
• Virtual pitch only arises under specific combinations of fundamental and lowest-component frequency.
• Vowels dominate perceived loudness while consonants carry intelligibility
• White noise JNDLs are level-independent above 40 dB but narrow-band are not
• White noise masked thresholds rise 10 dB per decade above 1 kHz
• White noise masking of tones is linear but frequency-dependent above 500 Hz
• White noise shows frequency-flat long-term spectra but frequency-dependent short-term spectra
• White noise shows no sideband-mediated detection ceiling for AM.
• White noise’s critical-band intensity rises above 5 Bark because bandwidth grows there
• Wide frequency modulation of noise cutoff greatly amplifies perceived pitch strength
• Wideband frequency modulation produces far more roughness than amplitude modulation
• Widely separated tones add by loudness, not pressure or intensity
• Wider noise bandwidths decrease detectable amplitude modulation via multi-band cooperation
• Yes-No procedures force signal detection decisions without an unsure option
• Young headphone users already show measurable hearing damage in the 3-12 kHz range
• Zwicker-tone pitch sits exactly 1 Bark above the gap’s lower edge