rob van der willigen http://~robvdw/cnpa04/coll1/audperc_2007_p6.ppt auditory perception
Post on 19-Dec-2015
226 views
TRANSCRIPT
![Page 1: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/1.jpg)
Rob van der WilligenRob van der Willigenhttp://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppthttp://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt
Auditory PerceptionAuditory Perception
![Page 2: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/2.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture. Today’s goalToday’s goal
Understanding psychophysical methodology and its use to measure absolute threshold and loudness of hearing
![Page 3: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/3.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
“Elemente der Psychophysik”: Interpretation
Physical dimensions of the stimulus influence detectability
Is a Non-trivial relationship has a Probabilistic Nature
Is a highly subjective relationship
Stimulus versus Perception
Recapitulation last weeks’ lecture
![Page 4: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/4.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
A function for detection: the PMF
Psychoacoustics
The psychometric functionprovides an answer to both the measurement of:
(1) a threshold &
(2) the aim to order and distribute stimulus level along a perceptual dimension.
Pb(a
)
)]()([)( bgauFaPb
The sigmoid curve defined by function F is called the Psychometric Function (PMF).
Recapitulation last weeks’ lecture
![Page 5: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/5.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Signal detection theory (SDT)
Signal detection theory (SDT) assumes that within a given neural system there are randomly fluctuating levels of background activation.
Thus, in absence of a stimulus neural activity is randomly distributed over time.
The Probability Density Function (PDF), P(x), determines how often/long spontaneous neural activity x(t) spends at a given value x
The PDF is represented by the blue bars (in each plot)) and exists independent of time. Combining of independent signals (x1 and x2) changes the shape of the PDF. Recapitulation last weeks’
lecture
![Page 6: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/6.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Signal detection theory (SDT)
The PDF of randomly fluctuating levels of neural activation summed over time approximates the normal distribution (red line).
Recapitulation last weeks’ lecture
![Page 7: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/7.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: Yes-No Paradigm
Psychophysical procedures dispose of various testing paradigms, of which I describe the yes-no and the forced-choice (nAFC: n-alternative-forced-choice) paradigm.
With the yes-no mode subjects are given a series of trials, in which they must judge the presence or absence of a stimulus at each case.
It is essentially a detection task.
The ratio between the number of trials containing a stimulus and the total number of trials is usually 0.5, but can be any other value.
The rate of yes-responses for all tested stimulus intensities is defined as the dependent variable.
![Page 8: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/8.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Pay-off Matrix: Yes-No Paradigm
P(no|noise)
P(yes|signal)
P(no|signal)
P(yes|noise)
In a yes/no binary detection task there aretwo states of the physical world (signal or noise) and two types of responses (yes or no).
A Subject can make two types of errors:
(1) say Yes when a noise alone is presented(2) say No when a signal is presented
The frequencies of these two types of error will be determined by two factors :
Sensitivity of observer
Criteria of decision
ERROR
ERROR
1- P(yes|signal) = P(no|signal)
1- P(yes|noise) = P(no|noisel)
![Page 9: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/9.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Signal detection theory (SDT)
Signal detection theory (SDT) formally addresses the influence of spontaneous neural activity (noise) and decision criteria on the choices (responses) made by the observer when presented with a physical stimulus (signal).
Shown are the PDFs of neural activity in absence of a stimulus and in the presence of a stimulus.
Notice the rightward shift of the PDF when a stimulus (signal) is present.
The delectability d’ is a measure of the strength of a physical stimulus.
Recapitulation last weeks’ lecture
![Page 10: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/10.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Response Criterion (bias): Yes-No Paradigm
P(no|noise)
P(yes|signal)
P(no|signal)
P(yes|noise)
Recapitulation last weeks’ lecture
![Page 11: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/11.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Signal detection theory: ROC curves, bias
A systematic change in bias (criterion) can be induced by changing the probability of presenting the stimulus without a signal, Pn.
Note, since stimulus intensity remains the same, d’ does not change
Pn=0.9
Pn=0.5
Pn=0.05
The ROC curve is traced out by plotting P(yes|signal) (hits) against P(yes|noise)(False positive) as the criterion changes systematically.
![Page 12: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/12.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Signal detection theory: ROC curves, d’
ROC curves for various levels of sensitivity: d’=0,1 and >1.
d’ = 0 no detection.
d’ ∞ maximal detection highest sensitivity
![Page 13: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/13.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: nAFC ParadigmA basically different testing mode from the yes – no paradigm is represented by the forced-choice mode:
Subjects are given a variety of n alternatives, from which they have to choose the one containing the stimulus.
The alternatives are presented with either spatial or temporal coincidence, or without either coincidence.
The subjects know that exactly one alternative contains the stimulus, and that the rest has a zero-stimulus.
![Page 14: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/14.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: nAFC Paradigm
The differences between these two methods become obvious when the presented stimuli are faint.
In the yes-no paradigm the proportion of yes-answers approaches zero, whereas in nAFC the proportion of correct answers approaches the value of equal probability for all alternatives, which is the reciprocal value of the number of alternatives.
Likewise this means that e.g. in two-alternative forced-choice (2AFC) tasks the threshold is located where observers give 75% of correct responses, since they already give 50% of correct responses due to the 2AFC-inherent guessing.
The basic advantage of 2AFC consists of its well founded assumption that subjects will opt for the stimulus evoking the strongest perception, regardless their tendency to say “yes” or “no”.
This is in contrast to the yes-no paradigm, where decision making in the presence of uncertainty is according to the subject’s psychological characteristics, like e.g. prudence. Unlike the yes-no mode, the dependent variable of nAFC is the rate of correct responses for all tested stimuli instead of the rate of yes-responses.
![Page 15: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/15.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: nAFC Paradigm / yes-no
nP thnAFCpositive
115.0)|,(
)1(5.0
115.0lim)|/,(
nP
nthnoyespositive
![Page 16: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/16.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: nAFC Paradigm & d’
)(1)()(0
)()1()(
xFxFxP
xFxP
c
c
If the stimulus is not detected then
one guesses with rate , or (1/n).
For 2AFC tasks, the signal detection measure d-prime, d’, can be related toto the proportion of correct responses, Pc (x), when lapses, , are very small (zero) and when corrected for guessing,.
F-1 is the inverse cumulative normal distribution function
1
)()(
xPF cx
2)()(' )(1 xcPFxd
![Page 17: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/17.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Some Maths on the CDF
All probability questions about X can be answered in terms of the CDF F(x).For example:
The probability that X is strictly smaller than b is:
Note that P{X < b} does not necessarily equal F(b)since F(b) also includes the probability that X equals b.
The CDF can be measured bymeans of a psychophysical detection / discrimination task. To obtain the PDF, the CDF must be differentiated.
![Page 18: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/18.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
The CDF can be measured bymeans of a psychophysical detection / discrimination task.
The CDF can be described mathematically by use of the ERROR FUNCTION: erf
The inverse CDF F’(x) can be obtained by the equations as given below.
Some Maths on the CDF
![Page 19: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/19.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Some Maths on the ERF
![Page 20: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/20.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Using the inverse function F-1
follows:
ccPFz n )(fa
1fa
ccPFz s )(hit
1hit
Elimination of c:
'fafahit dzzz ns
Linear function
Psychoacoustics
Signal detection theory: sensitivity and z-score
![Page 21: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/21.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: nAFC vs. yes-no & d’
)]|([)]|([ nyesPzsnyesPzd '
2
)]|([)]|([ nyesPzsnyesPzd
'
Yes-no
2AFC
![Page 22: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/22.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: z-score calc with Matlab
![Page 23: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/23.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: method of limits under 2AFC
![Page 24: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/24.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: method of limits under 2AFC
Alternative to determining d’ from the psychometric curve is the method of limits
One-up / one down adaptive tracking.
Correct response creates an decrease in stimulus level whereas a incorrect response creates a increase in stimulus level.
Averaging over a 5 or more reversals (i.e., change in the correctness of the response) approximates the threshold.
![Page 25: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/25.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: method of limits under 2AFC
One-up / one down adaptive tracking versusTwo-down / one-up (descending stairs)
![Page 26: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/26.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Testing paradigm: method of limits under 2AFC
down up
Descending stairs
![Page 27: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/27.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Intensity (I) of a wave is the rate at which sound energy flows through a unit area (A) perpendicular to the direction of travel:
Pressure, P, is measured in watts [W=J/s]
A is measured in square meters [m2]
Psychoacoustics
Physical parameters of sound waves: Intensity
A
P
Area
PowerTimeArea
Energy
Time
Distance
Area
Force
Velocity ParticlePressureIntensity
![Page 28: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/28.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Physical parameters of sound waves: Intensity
Intensity (and pressure) follows the inverse square law for free field propagation.
At a distance 2r from the source, the area enclosing the source is 4 times as large as the area at a distance r.
Yet the power radiated remains the same irrespective of the distance; consequently the intensity, the power per area, must decrease.
![Page 29: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/29.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
010log10)(
I
ISILdB
Psychoacoustics
Physical parameters of sound waves: Decibel scale
Sound Intensity Level:Intensity threshold of hearing I0 = 10-12 W/m2
010
2
010 log20log10)(
P
P
P
PSPLdB
Sound Pressure Level:Pressure threshold of hearing P0 = 2 x 10-5 N/m2 = 20 Pa
Energy ratio
Pressure ratio
![Page 30: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/30.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Physical parameters of sound waves: RMS values
Intensity (I) – Pressure (po) Relationship:
is mass density or air 1.204 kg/m3 at 20o Celsius.is speed or air, 343.2 m/s, p0 zero-peak pressure amplitude.
z is acoustic impedance or air 413.2 kg/(s·m2) or 413.2 N·s/m3.
pn
I
rms II np
21
2
20
20
2
1p
z
pI
22
22
pII p
![Page 31: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/31.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Physical parameters of sound waves: Decibel scale
![Page 32: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/32.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
0 dB = Threshold Of Hearing (TOH)10 dB = 10 times more intense than TOH20 dB = 100 times more intense than TOH30 dB = 1000 times more intense than TOH
An increase in 10 dB means that the intensity of the sound increases by a factor of 10
If a sound is 10x times more intense than another, then it has a sound level that is 10*x more decibels than the less intense sound
An increase of 6 dB represents a doubling of the sound pressure
An increase of about 10 dB is required before the sound subjectively appears to be twice as loud.
The smallest change of the pressure level we can hear isabout 3 dB
Psychoacoustics
Physical parameters of sound waves: Decibel scale
![Page 33: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/33.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Sound Intensity level of super imposed sources:
where L1, L2, …, Ln are SIL in dB
)10...1010log(10][ 10101021 NLLL
dBSIL
Psychoacoustics
Physical parameters of sound waves: Decibel scale
![Page 34: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/34.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
When dealing with noises, it is advantageous to use density instead of sound intensity e.g., the sound intensity within a bandwidth of 1 Hz.
The logarithmic correlate of the density of sound intensity is called sound intensity density level, usually shortened to density level, l.
For white noise, l and SIL are related by the equations given above where Δf represents bandwidth of the sound.
Psychoacoustics
Physical parameters of sound waves: Noise Density
])[/(log10 10 dBHzfSILl
010log10][
I
IdBSIL
![Page 35: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/35.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
THE BELL DECODER
![Page 36: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/36.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
The Intensity Density Level of three types of NOISES:
Psychoacoustics
Physical parameters of sound waves: Power Spectrum Density
WHITHE NOISE BROWN (RED) NOISE GRAY NOISE
Inte
nsi
ty d
ensi
ty level
[dB
]
Log Frequency [Hz]
![Page 37: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/37.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Power Spectral Density (PSD) is the frequency response of a random or periodic signal.
PSD shows the strength of the variations per unit frequency as a function of frequency.
The PSD is the average of the Fourier transform magnitude squared, over a large time interval.
It tells us how the average intensity is distributed as a function of frequency.
Plot shows de PSD of white Noise
Psychoacoustics
Physical parameters of sound waves: Power Spectrum Density
![Page 38: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/38.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Absolute thresholds
MAF – Minimum Audible Field thresholdssound pressure level for pure tone at absolute
threshold in a free field tested in a room, using loudspeakers, listening binaurally, 1 meter from source SPL calibrated using
microphone, with listener not present.
MAP – Minimum Audible Pressure thresholdsSPL at listener’s tympanic membranesound presented over headphones (monaural)SPL estimated from the sound level in a test
coupler attached to earphone.
Differences in the two measures are due to some binaural advantage, outer-ear filtering (mid frequencies), and physiological noise (low frequencies).
![Page 39: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/39.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Absolute thresholds
Differences in the two measures are due to some binaural advantage, outer-ear filtering (mid frequencies), and physiological noise (low frequencies).
![Page 40: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/40.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Hearing range (MAF)
![Page 41: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/41.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: upper limit
![Page 42: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/42.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Absolute thresholds
Hearing Level (dB HL) Threshold of hearing, relative to the average of the normal population.
For example, the average threshold at 1 kHz is about 4 dB SPL. Therefore, someone with a threshold at 1 kHz of 24 dB SPL has a hearing level of 20 dB HL.
AudiogramsAudiograms measure thresholds in dB HL, and are plotted “upside-down”. Measurements usually made at octave frequencies from 250 Hz to 8000 Hz.
Threshold microstructureIndividuals show peaks and dips as large as 10 dB over very small frequency differences (probably due to OHCs and “cochlear amplifier”).
![Page 43: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/43.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Audiometric curve (audiogram)
Plot A shows the threshold of hearing or audibility curve for a patient with a hearing loss (curve b) and a normal curve (curve a).
Notice that the patient's threshold is higher for every frequency above 128 Hz.
The normal audibility curve is usually converted to a straight line at 0 dB loss, and the patient's values are plotted as deviations from the normal values.
The result is a hearing loss curve b, as shown in plot B.
![Page 44: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/44.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Audiometric curve (hearing loss)
![Page 45: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/45.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Auditory sensitivity: Audiometric curve (hearing loss)
The circles in the audiogram indicate the hearing loss as measured by air conduction, whereas the squares indicate the hearing loss as measured by bone conduction.
Typically, in neural hearing loss (A), both measures show the same pattern of loss.
Surgery is not indicated for this form of hearing loss because the neural tissue probably cannot be repaired, but some improvement in hearing is possible with a hearing aid, depending upon the nature of the damage.
The audiogram of a person with pure conduction hearing loss (B). Here, bone conduction is near normal, i.e., near 0 dB loss, but air conduction is impaired.
Notice that the air audiogram is nearly flat with conduction hearing loss (B), but there is a differential loss, depending upon frequency, in nerve hearing loss (A).
![Page 46: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/46.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Absolute thresholds: temporal integration
Audiometric thresholds and international threshold standards are measured using long-duration tones (> 500 ms).
Detectability of tones with a fixed level decreases with decreasing duration, below about 300 ms.
IL is the minimum intensity which is an effective long duration stimulus for the ear.
represents the integration time of the auditory system.
Thus, the auditory system does not simply integrate stimulus time (Intensity x duration)
It may also vary with frequency.
LLLL ItIIItII 1)(
![Page 47: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/47.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Perceived Loudness: Equal-loudness Contours
1 kHz is used as a reference.
By definition, a 1-kHz tone at a level of 40 dB SPL has a loudness level of 40 phons.
Any sound having the same loudness (no matter what its SPL) also has a loudness level of 40 phons.
Equal-loudness contours are produced using loudness matching experiments (method of adjustment or method of constant stimuli).
The pressure/ intensity in sound wave is not solely responsible for its loudness – frequency is also important.
![Page 48: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/48.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
SPL is not a measure of Perceived Loudness
Defined as the attribute of auditory sensation in terms of which sounds can be ordered on a scale extending from quiet to loud.
Two sounds with the same sound pressure level may not have the same (perceived)loudness
A difference of 6 dB between two sounds does not equal a 2x increase in loudness
Loudness of a broad-band sound is usually greater than that of a narrow-band sound with the same (physical) power (energy content)
![Page 49: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/49.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Perceived Loudness: Equal-loudness Contours
The pressure/ intensity in sound wave is not solely responsible for its loudness – frequency is also important.
![Page 50: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/50.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Perceived Loudness: phone
A unit of LOUDNESS LEVEL (L)of a given sound or noise.Derived from indirect loudness measurements (like Fletcher and
Munson experiment)
If SPL at reference frequency of 1kHz is X dB – the corresponding equal
loudness contour is X phon line.
Phon units can’t be added, subtracted, divided or multiplied.60 phons is not 3 times louder than 20 phons!
The sensitivity to different frequencies is more
pronounced at lower sound levels than at higher.
For example: a 50 Hz tone must be 15 dB higher
than a 1 kHz tone at a level of 70 dB
![Page 51: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/51.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Perceived Loudness: sound level meters
The shapes of equal-loudness contours have been used to design sound level meters (audiometer)
At low sound levels, low-frequency components contribute little to the total loudness of a complex sound.
Thus an A weighting is used to reduces the contribution of low-frequencies
![Page 52: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/52.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Loudness Scaling: Magnitude of perceptual change
Psychoacoustics
Fechner assumed that a JND for a faint background produces the same difference in sensation as does the JND for a loud stimulus.
As it turned out, this assump-tion is not valid, as shown by Stevens (1957) he simply asked subject to asses supra-threshold stimuli.
I
11dI
dII kdS
Measure of loudness: sensation intensity (S) in JND units
constantI/I
![Page 53: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/53.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Louness Scaling: Stevens’ Power law
Psychoacoustics
Another function relating Loudness S in sones to stimulus intensity in I:
The exponent m describes whether sensation is an expansive or compressive function of stimulus intensity.
The coefficient a simply adjusts for the size of the unit of measurement for stimulus intensity threshold above the 1-unit stimulus.
maIS
=0.3
![Page 54: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/54.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Loudness Scaling: sone vs. phon
Psychoacoustics
SONE: a unit to describe the comparative loudness between two or more sounds.
One SONE has been fixed at 40 phons at any frequency (40 phon curve).
2 sones describes sound two times LOUDER than 1 sone sound.
A difference of 10 phons is sufficient to produce the impression of doubling loudness, so 2 sones are 50 phons. 4 sones are twice as loud again, viz. 60 phons.
6.00 )( ppkL
p is the base pressure of a sinusoidal stimulus, po is its absolute threshold.
![Page 55: Rob van der Willigen http://~robvdw/cnpa04/coll1/AudPerc_2007_P6.ppt Auditory Perception](https://reader036.vdocuments.mx/reader036/viewer/2022062320/56649d3a5503460f94a1405a/html5/thumbnails/55.jpg)
Q ui ckTi me™ and a TI FF (LZW) decompressor are needed to see thi s pi cture.
Psychoacoustics
Predicting Loudness
Currently, predictors of loudness are only successfully for sound stimuli extending over many seconds.
Note that the dBA scale does not include bandwidth influences on loudness(etc.).
It is better than the dB SPL scale, but far away from human perception