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Brian C J Moore - One of the best experts on this subject based on the ideXlab platform.

  • contributions of von bekesy to psychoacoustics
    Hearing Research, 2012
    Co-Authors: Brian C J Moore
    Abstract:

    Abstract This paper reviews the contributions of von Bekesy to psychoacoustics, comparing his findings and interpretations to those that have emerged since his work. The areas covered include the perception of pitch for pure tones and complex tones, the effect of frequency on the apparent location of pure tones, estimation of the velocity of the traveling wave on the basilar membrane using judgments of lateralization, and the Relative Loudness of monaural and diotic sounds. While subsequent research has failed to replicate some of his findings, other findings have stood the test of time. There is no doubt that von Bekesy made very substantial contributions to psychoacoustic research.

Frances Grant - One of the best experts on this subject based on the ideXlab platform.

  • Relative Loudness of low- and high-frequency bands of speech-shaped babble, including the influence of bandwidth and input level
    The Journal of the Acoustical Society of America, 2002
    Co-Authors: Gitte Keidser, Rickard Katsch, Harvey Dillon, Frances Grant
    Abstract:

    In a balancing test, ten normal-hearing listeners adjusted filtered speech-shaped babble-noise to equally loud levels. On average, they selected about 10 dB less gain for bands below 1 kHz than for bands above and including 1 kHz. The findings applied to two bandwidths (octave and equivalent rectangular bandwidth) and two levels (65 and 85 dB SPL). The outcome suggests that hearing aid fitting procedures aiming to equalize Loudness of speech bands should prescribe less low-frequency gain than procedures aiming to normalize Loudness of speech bands. A significant interaction was found between bandwidth and input level for the high-frequency bands.

  • Relative Loudness perception of low and high frequency sounds in the open and occluded ear.
    The Journal of the Acoustical Society of America, 2000
    Co-Authors: Gitte Keidser, Rickard Katsch, Harvey Dillon, Frances Grant
    Abstract:

    A comparison of published equal Loudness contours indicates that different shapes are obtained at a comfortable level when the measurements are done in an occluded ear than when they are done in an open ear, even though all measurements are expressed as dB SPL at the eardrum. This paper presents the result from a Loudness balancing test which confirms this observation. Eleven normal-hearing listeners balanced the level of a 500- and a 3000-Hz octave band babble-noise to the level of a 1500-Hz octave band babble-noise. The balancing test was completed in open and occluded ears using a loudspeaker and a hearing aid receiver, respectively. A probe tube microphone was used to measure the actual levels presented near the individual’s eardrum. The results show that an average of 10 dB higher level was selected for the 500-Hz octave band when listening with the occluded ear than when listening with the open ear. A large range of factors is discussed, but no physical explanation for the discrepancy was found. The findings could have consequences for psychoacoustic experiments and for the use of Loudness measurements for hearing aid prescription.

Gitte Keidser - One of the best experts on this subject based on the ideXlab platform.

  • Relative Loudness of low- and high-frequency bands of speech-shaped babble, including the influence of bandwidth and input level
    The Journal of the Acoustical Society of America, 2002
    Co-Authors: Gitte Keidser, Rickard Katsch, Harvey Dillon, Frances Grant
    Abstract:

    In a balancing test, ten normal-hearing listeners adjusted filtered speech-shaped babble-noise to equally loud levels. On average, they selected about 10 dB less gain for bands below 1 kHz than for bands above and including 1 kHz. The findings applied to two bandwidths (octave and equivalent rectangular bandwidth) and two levels (65 and 85 dB SPL). The outcome suggests that hearing aid fitting procedures aiming to equalize Loudness of speech bands should prescribe less low-frequency gain than procedures aiming to normalize Loudness of speech bands. A significant interaction was found between bandwidth and input level for the high-frequency bands.

  • Relative Loudness perception of low and high frequency sounds in the open and occluded ear.
    The Journal of the Acoustical Society of America, 2000
    Co-Authors: Gitte Keidser, Rickard Katsch, Harvey Dillon, Frances Grant
    Abstract:

    A comparison of published equal Loudness contours indicates that different shapes are obtained at a comfortable level when the measurements are done in an occluded ear than when they are done in an open ear, even though all measurements are expressed as dB SPL at the eardrum. This paper presents the result from a Loudness balancing test which confirms this observation. Eleven normal-hearing listeners balanced the level of a 500- and a 3000-Hz octave band babble-noise to the level of a 1500-Hz octave band babble-noise. The balancing test was completed in open and occluded ears using a loudspeaker and a hearing aid receiver, respectively. A probe tube microphone was used to measure the actual levels presented near the individual’s eardrum. The results show that an average of 10 dB higher level was selected for the 500-Hz octave band when listening with the occluded ear than when listening with the open ear. A large range of factors is discussed, but no physical explanation for the discrepancy was found. The findings could have consequences for psychoacoustic experiments and for the use of Loudness measurements for hearing aid prescription.

Sean Mclennan - One of the best experts on this subject based on the ideXlab platform.

  • SONORITY CONTOURS IN SPEECH RECOGNITION Sonority Contours in Speech Recognition: An examination of the Hoosier Mental Lexicon 1
    2014
    Co-Authors: Sean Mclennan
    Abstract:

    The sonority scale that ranks phonemes according to Relative “Loudness ” has long played a significant role in the fields of Phonology and Historical Linguistics, yet it is conspicuously absent from the speech recognition literature. In this preliminary study using the Hoosier Mental Lexicon, it was found that approximately half of the 20,000 words in the lexicon have unique sonority contours. Moreover, it was found that there is no correlation between “sorority ” (group of words that share a single sonority contour) size and either word frequency or familiarity. Each sorority is indistinguishable from a random sample of words with respect to these two criteria. This implies that sonority contours may constitute an independent factor in word recognition that may have effects analogous to frequency. Sororities may also have implications for defining word neighborhoods. 1 I would like to thank Cynthia Clopper, Caitlin Dillon, Lorin Lachs, and David Pisoni for their invaluable input into this paper. All errors are my own. 1 SONORITY CONTOURS IN SPEECH RECOGNITIO

Fontana Federico - One of the best experts on this subject based on the ideXlab platform.

  • Use of personalized binaural audio and interactive distance cues in an auditory goal-reaching task
    University of Music and Performing Arts Graz. Institute of Electronic Music and Acoustics, 2015
    Co-Authors: Geronazzo Michele, Avanzini Federico, Fontana Federico
    Abstract:

    Presented at the 21st International Conference on Auditory Display (ICAD2015), July 6-10, 2015, Graz, Styria, Austria.While the angular spatialization of source sounds through individualized Head-related transfer functions (HRTFs) has been extensively investigated in auditory display research, also leading to effective real-time rendering of these functions, conversely the interactive simulation of egocentric distance information has received less attention. The latter, in fact, suffers from the lack of realtime rendering solutions also due to a too sparse literature on the perception of dynamic distance cues. By adding a virtual environment based on a Digital waveguide mesh (DWM) model simulating a small tubular shape to a binaural rendering system through selection techniques of HRTF, we have come up with an auditory display affording interactive selection of absolute 3D spatial cues of angular spatialization as well as egocentric distance. The tube metaphor in particular minimized Loudness changes with distance, hence providing mainly direct-to-reverberant and spectral cues. A goal-reaching experiment assessed the proposed display: participants were asked to explore a virtual map with a pen tablet and reach a sound source (the target) using only auditory information; then, subjective time to reach and traveled distance were analyzed. Results suggest that participants achieved a first level of spatial knowledge, i.e., knowledge about a point in space, by performing comparably to when they relied on more robust, although Relative, Loudness cues. Further work is needed to add fully physical consistency to the proposed auditory display