Effect of reverberation on loudness perceptionInsert footer on Slide Master© University of Reading 2010 www.reading.ac.uk Department of Psychology 12.

Slides:



Advertisements
Similar presentations
David Griesinger Acoustics, Cambridge, Massachusetts, USA
Advertisements

Revised estimates of human cochlear tuning from otoacoustic and behavioral measurements Christopher A. Shera, John J. Guinan, Jr., and Andrew J. Oxenham.
SOUND PRESSURE, POWER AND LOUDNESS MUSICAL ACOUSTICS Science of Sound Chapter 6.
Binaural Hearing Or now hear this! Upcoming Talk: Isabelle Peretz Musical & Non-musical Brains Nov. 12 noon + Lunch Rm 2068B South Building.
Effects. Dynamic Range Processors Fixed Time Delay Effects Variable Time Delay Effects Reverberation Effects Time and Pitch Changing Effects Distortion.
CS 551/651: Structure of Spoken Language Lecture 11: Overview of Sound Perception, Part II John-Paul Hosom Fall 2010.
Speech Science XII Speech Perception (acoustic cues) Version
Auditorium Acoustics Chapter 23. Sound Propagation Free field sound pressure proportional to 1/r SPL drops 6 dB with every doubling of distance. Indoors.
WEEK 11 Revision class 1. Assignment Two – 20% Sound Measurements and Observations Due: Week 11 via electronic submission Weighting: 30% Learning.
Localizing Sounds. When we perceive a sound, we often simultaneously perceive the location of that sound. Even new born infants orient their eyes toward.
SIMS-201 Characteristics of Audio Signals Sampling of Audio Signals Introduction to Audio Information.
SWE 423: Multimedia Systems Chapter 3: Audio Technology (1)
Structure of human ear Understanding the processes of human auditory system are key for posting requirements for architectural acoustics. This gives us.
Source Localization in Complex Listening Situations: Selection of Binaural Cues Based on Interaural Coherence Christof Faller Mobile Terminals Division,
Watkins, Raimond & Makin (2011) J Acoust Soc Am –2788 temporal envelopes in auditory filters: [s] vs [st] distinction is most apparent; - at higher.
SUBJECTIVE ATTRIBUTES OF SOUND Acoustics of Concert Halls and Rooms Science of Sound, Chapters 5,6,7 Loudness, Timbre.
Localization cues with bilateral cochlear implants Bernhard U. Seeber and Hugo Fastl (2007) Maria Andrey Berezina HST.723 April 8 th, 2009.
EE2F1 Speech & Audio Technology Sept. 26, 2002 SLIDE 1 THE UNIVERSITY OF BIRMINGHAM ELECTRONIC, ELECTRICAL & COMPUTER ENGINEERING Digital Systems & Vision.
1 Manipulating Digital Audio. 2 Digital Manipulation  Extremely powerful manipulation techniques  Cut and paste  Filtering  Frequency domain manipulation.
Reverberation parameters and concepts Absorption co-efficient
EE2F1 Speech & Audio Technology Sept. 26, 2002 SLIDE 1 THE UNIVERSITY OF BIRMINGHAM ELECTRONIC, ELECTRICAL & COMPUTER ENGINEERING Digital Systems & Vision.
Conny Andersson Standards Standards IEC Sound examples
Basic Concepts: Physics 1/25/00. Sound Sound= physical energy transmitted through the air Acoustics: Study of the physics of sound Psychoacoustics: Psychological.
Frequency Coding And Auditory Space Perception. Three primary dimensions of sensations associated with sounds with periodic waveforms Pitch, loudness.
Modernising Children’s Hearing Aid Services Sound Field Testing MCHAS TEAM Wave 4 SFR 17/05/04.
Acoustics/Psychoacoustics Huber Ch. 2 Sound and Hearing.
Review Exam III. Chapter 10 Sinusoidally Driven Oscillations.
♠♠♠♠ 1Intro 2.Loudness 3.Method. 4.Results 5.Concl. ♦♦ ◄◄ ► ► 1/161Intro 2.Loudness 3.Method. 4.Results 5.Concl. ♦♦ ◄ ► IIT Bombay ICA 2010 : 20th Int.
Dynamic Range and Dynamic Range Processors
Sound Overview The Facts of Sound The Ear and Sound Sound Vocabulary Musical Instruments and Sound.
Hearing: auditory coding mechanisms. Harmonics/ Fundamentals ● Recall: most tones are complex tones, consisting of multiple pure tones ● The lowest frequency.
Properties of Sound Physical Science Ms. Pollock
Chapter 7: Loudness and Pitch. Loudness (1) Auditory Sensitivity: Minimum audible pressure (MAP) and Minimum audible field (MAF) Equal loudness contours.
perceptual constancy in hearing speech played in a room, several metres from the listener has much the same phonetic content as when played nearby despite.
Sounds in a reverberant room can interfere with the direct sound source. The normal hearing (NH) auditory system has a mechanism by which the echoes, or.
Acoustics of classrooms, restaurants and offices Eng.Ivaylo Hristev.
speech, played several metres from the listener in a room - seems to have the same phonetic content as when played nearby - that is, perception is constant.
Developing a model to explain and stimulate the perception of sounds in three dimensions David Kraljevich and Chris Dove.
Hearing Research Center
The human auditory system
MONO SOUND. In everyday life we listen with two ears. As we compare these two separate sound images of the external world, they build a three dimensional.
SOUND PRESSURE, POWER AND LOUDNESS MUSICAL ACOUSTICS Science of Sound Chapter 6.
Applied Psychoacoustics Lecture 2: Basic Measurement Methods, Signal Detection Theory Jonas Braasch.
Bee Technologies Inc. 20AUG  Equal-loudness contour is a measure of sound pressure (dB SPL), over the frequency spectrum, for which the human.
Digital Audio. Acknowledgement Some part of this lecture note has been taken from multimedia course made by Asst.Prof.Dr. William Bares and from Paul.
When the Brain is attending a cocktail party When the Brain is attending a cocktail party Rossitza Draganova.
Katherine Morrow, Sarah Williams, and Chang Liu Department of Communication Sciences and Disorders The University of Texas at Austin, Austin, TX
Listeners weighting of cues for lateral angle: The duplex theory of sound localization revisited E. A. MacPherson & J. C. Middlebrooks (2002) HST. 723.
Syllables and Stress October 21, 2015.
Copyright © 2011 by Denny Lin1 Simple Synthesizer Part 3 Based on Floss Manuals (Pure Data) “Building a Simple Synthesizer” By Derek Holzer Slides by Denny.
Introduction to psycho-acoustics: Some basic auditory attributes For audio demonstrations, click on any loudspeaker icons you see....
Nuclear Accent Shape and the Perception of Syllable Pitch Rachael-Anne Knight LAGB 16 April 2003.
Applied Psychoacoustics Lecture 4: Pitch & Timbre Perception Jonas Braasch.
Digital Audio I. Acknowledgement Some part of this lecture note has been taken from multimedia course made by Asst.Prof.Dr. William Bares and from Paul.
Quizette on Monday get ready Psychoacoustics today.
Fletcher’s band-widening experiment (1940)
SOUND PRESSURE, POWER AND LOUDNESS
Physics Acoustics for Musicians selected slides, March 5, 2002 Loudness at different frequencies Critical band Masking The ear Neurological response.
SPATIAL HEARING Ability to locate the direction of a sound. Ability to locate the direction of a sound. Localization: In free field Localization: In free.
What is the absolute power of a sound with an intensity of X dB IL? What is the absolute power corresponding to 20 dB IL? What is the absolute power corresponding.
Auditory Perception 1 Streaming 400 vs. 504 Hz 400 vs. 566 Hz 400 vs. 635 Hz 400 vs. 713 Hz A 400-Hz tone (tone A) is alternated with a tone of a higher.
distance, m (log scale) -25o 0o +25o C50, dB left right L-shaped
Auditory Localization in Rooms: Acoustic Analysis and Behavior
Precedence-based speech segregation in a virtual auditory environment
Mid-Term Review John W. Worley AudioGroup, WCL
III. Analysis of Modulation Metrics IV. Modifications
Attentional Tracking in Real-Room Reverberation
Loudness asymmetry in real-room reverberation: cross-band effects
Speech Perception (acoustic cues)
A Comparison of Cues for Auditory Motion Judgments
Presentation transcript:

Effect of reverberation on loudness perceptionInsert footer on Slide Master© University of Reading Department of Psychology 12 May 2015 Effects of reverberation on loudness perception Andrew Raimond

Effect of reverberation on loudness perception2 Overview Previous Experiments –Pilot; Real-room reverberation; Mono v Dichotic. Current Experiments –Time order effects –Effects of frequency bands

Effect of reverberation on loudness perception Loudness asymmetry 3 Time Amplitude Damped Sound Ramped Sound Damped Ramped Attack Decay Attack Decay

Effect of reverberation on loudness perception Loudness context effect 4 Which is loudest? Time Ramped Damped Damped Ramped Ramped Damped

Effect of reverberation on loudness perception Reverberation The “tails” on damped stimuli resemble effects of room reflections (Stecker & Hafter, 2000; Watkins, 2005). 5 Dry speech Reverberated speech Dry Speech Reverberant Speech

Effect of reverberation on loudness perception Loudness judgement 6

Effect of reverberation on loudness perception Questions Perceived reduction in loudness of damped stimuli relative to ramped stimuli –is this still apparent with sounds that have tails processed from real- room reflections? The loudness context effect –is this still apparent with sounds that have tails processed from real- room reflections? 7

Effect of reverberation on loudness perception Real-room reverberation However, tails added by real-room reverberation differ from the envelopes used by Stecker & Hafter: - Real-room decays are not smooth - Durations of real-room decays are usually longer - Room-reflections de-correlate the signal at the two ears 8 Left Channel Right Channel

Effect of reverberation on loudness perception Experiment 1: Real-room Can real-room reverberation over-ride artificial shaping used by Stecker & Hafter? Perceived reduction in loudness of damped stimuli relative to ramped stimuli? The loudness context effect? –Loudness asymmetry –Loudness context effect –Convolution with real-room reverberation overrides shaping used by Stecker & Hafter. –Effects of real-room reflections are more substantial than shaping used by Stecker & Hafter 9

Effect of reverberation on loudness perception Experiment 2: Monaural v Dichotic Certain room-reflection ‘tail effects’ that have been found in speech perception experiments are increased in monaural conditions (Watkins, 2005). Is the loudness context effect also increased when sounds are presented in monaural real-room reverberation? –Loudness asymmetry –Loudness context effect –Effects of the real-room tails successfully oppose effects of the function-shaped tails, as there was a substantial context effect that depended on the direction of the real-room tail. –As with ‘tail effects’ in speech, this context effect is found in both monaural and dichotic conditions, but is less prominent in dichotic conditions. –There appears to be a ‘de-reverberation’ in dichotic conditions that may be due to the de- correlation between the two ears’ signals with the real-room BRIRs 10

Effect of reverberation on loudness perception11 Damped-Ramped Ramped-Damped Ramped-Ramped Damped-Damped 1700 ms 1350 ms 1000 ms (Loudest) (Least loud) Experiment 3: Time order effects Time 500 ms ISI

Effect of reverberation on loudness perception12 Experiment 3: Time order effects Ramped- Ramped 850 ms Damped- Damped 850 ms Peak-to-Peak 1700 ms Damped- Ramped 500 ms Ramped- Damped 1200 ms 850 ms

Effect of reverberation on loudness perception 2IC task. Pure tones of equal power (330 Hz, 250 ms). Gated with either Ramped or Damped envelope, convolved with real-room 2.5 m BRIRs. Played through left channel. Standard stimulus (80 dB SPL), then ISI of 500,850,1200 or 1550 ms Then Test stimulus (selected at random from 70,72,.., 90 dB SPL) Which is loudest? 13 Experiment 3: Time order effects

Effect of reverberation on loudness perception Damped Test Experiment 3: Results ms ISI Proportion Test > Standard responses Test level (dB SPL) Ramped Standard Damped Standard Ramped Test P.S.E

Effect of reverberation on loudness perception Damped Test Ramped Test Experiment 3: Results ms ISI Proportion Test > Standard responses Test level (dB SPL) Ramped Standard Damped Standard P.S.E

Effect of reverberation on loudness perception Damped Test Ramped Test Experiment 3: Results ms ISI Proportion Test > Standard responses Test level (dB SPL) Ramped Standard Damped Standard P.S.E

Effect of reverberation on loudness perception Damped Test Ramped Test Experiment 3: Results ms ISI Proportion Test > Standard responses Test level (dB SPL) Ramped Standard Damped Standard P.S.E

Effect of reverberation on loudness perception Experiment 3: Pooled Results 18 Ramped Damped 850 ms ISI 500 ms ISI Total Proportion Test > Standard Responses Ramped Test Damped Test Standard Type Ramped Damped

Effect of reverberation on loudness perception Experiment 3: Pooled Results 19 Ramped Damped 1550 ms ISI1200 ms ISI Total Proportion Test > Standard Responses Ramped Test Damped Test Standard Type Ramped Damped

Effect of reverberation on loudness perception Proportion Test > Standard responses Damp test 850 ms ISI Ramp test 500 ms ISI Experiment 3: Results 20 Equal Peak-to-Peak Times Test level (dB SPL) P.S.E Damp test 1200ms ISI Ramp test 850ms ISI Damped StandardRamped Standard P.S.E

Effect of reverberation on loudness perception Experiment 3: Conclusions 21 Loudness asymmetry and loudness context effect are not dependant on Peak-to-Peak distance. While still able to make loudness judgments, loudness asymmetry disappears with ISIs longer than 850 ms.Thus, loudness context effect does so too. However, standard only contains one 300 ms reverberant tail, in one frequency region. Wideband (speech) contexts contain many more reverberant tails.

Effect of reverberation on loudness perception Experiment 4: 22 Ongoing experiments: Effects of frequency bands

Effect of reverberation on loudness perception Experiment 4: Effects of frequency bands 23 Perceptual constancy for reverberation is more effective within wideband sounds (Watkins & Makin, 2007). Perceptual mechanism seems to operate on a band-by-band basis. Test and standards used in Stecker & Hafter and in previous experiments have all occupied the same narrowband frequency region (300-Hz). Use standards and test sounds in different frequency bands to examine loudness asymmetry Investigate if loudness context effects are still apparent with cross-band standards and test sounds.

Effect of reverberation on loudness perception Thanks Thank you! 24