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2020 | OriginalPaper | Chapter

4. Psychoacoustics

Author : Tim Ziemer

Published in: Psychoacoustic Music Sound Field Synthesis

Publisher: Springer International Publishing

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Abstract

Auditory perception is the mental representation of the acoustical outside world. Psychoacoustics describes characteristics of auditory perception and relates them to the physics of the sound field. This chapter discusses psychoacoustical foundations that play a role in spatial audio. For psychoacoustic sound field synthesis these are critical bands and masking, source localization and principles of auditory scene analysis. Their resolution, limitations, thresholds and just noticeable differences can be leveraged to present the necessary information for a desired listening experience with the precision needed for a natural, spatial listening experience.

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previous chapter Biology of the Auditory System

next chapter Spatial Sound of Musical Instruments

Mainly based on Zwicker and Fastl (1999).

This formula can be found, e.g., in Terhardt et al. (1982), p. 682, Lin and Abdulla (2015), p. 24 and Kostek (2005), p. 10.

See Ashihara (2007) for an overview of experiments.

See Bruhn (2002a), pp. 667ff and Zwicker and Fastl (1999), pp. 175ff.

See also Zwicker and Fastl (1999), pp. 83f, Middlebrooks and Green (1991), pp. 150f and Grantham (1986), and Sect. 4.3.

See e.g. Bruhn (2002a), p. 669.

See e.g. Bader (2013), p. 325.

The experiment is described in detail in Ziemer et al. (2007).

Cf. Zwicker and Fastl (1999), p. 293.

See Bader (2013), p. 324.

These data are given in Zwicker and Fastl (1999), pp. 188–191.

See Klinke (1970) p. 318.

See e.g. Luce (1993), p. 74, and Schneider (2018), p. 618. The effect is illustrated in Fig. 4.6.

As discussed in Thurlow (1971), p. 230, and in Sect. 3.2.2.

See Hellbrück (1993), pp. 101ff.

Cf. Zwicker and Fastl (1999), p. 159.

See also Blauert (1974), p. 173, Allen (2008), pp. 28ff and Kostek (2005), p. 9.

See Gelfand (1990), p. 353.

According to Gelfand (1990) or, respectively Fastl (1977), p. 317.

See Gelfand (1990), pp. 406f.

See e.g. Zwicker and Fastl (1999), p. 33. An examination of nonlinearities in the auditory system and roughness can be found e.g. in Zwicker and Fastl (1999), pp. 50ff and 257ff.

See Gelfand (1990), p. 356.

See Zwicker, p. 82. According to Gelfand (1990), pre-masking effects up to 100 ms were observed, see Gelfand (1990), p. 374.

According to Brandter (2007), p. 126.

See Brandter (2007), p. 125.

Cf. Brandter (2007), p. 120.

Discussed in detail in Fastl (1977), Fastl (1979) and Gelfand (1990), p. 375.

See Gelfand (1990), pp. 369f.

See Blauert (1974) and Blauert (1985), translated in Blauert (1997).

See Blauert (1997), p. 409.

See Bruhn (2002b), p. 444, definitions of bottom-up- and top-down-processing see e.g. Myers (2008), p. 214.

See e.g. Webers (2003), p. 120.

See Webers (2003), p. 120.

See Kling and Riggs (1971), p. 351 and Blauert (1997), p. 360.

See Myers (2008), p. 240, Zwicker and Fastl (1999), pp. 293f and Kling and Riggs (1971), p. 355.

See Kling and Riggs (1971), p. 351.

See Kling and Riggs (1971), p. 352.

See Larcher and Jot (1999).

See e.g. Kling and Riggs (1971), pp. 350ff and Morikawa and Hirashara (2010), p. 419.

As discussed in Sect. 3.2.2, see also Hall (2008), p. 343, Davis (2007), p. 750 and Ross et al. (2007).

See e.g. Middlebrooks and Green (1991), pp. 142f.

See Morikawa and Hirashara (2010), p. 419.

The so-called “duplex theory”, see e.g. Bruhn and Michel (2002), p. 651.

See Martens (1987) and Sodnik et al. (2006).

See Middlebrooks and Green (1991), p. 145.

See Verheijen (1997), p. 8.

Detailed information on the inverse distance law which describes the sound pressure decay is given in Sect. 5.1.6. Details on contours of equal loudness can be found e.g. in Zwicker and Fastl (1999), pp. 203ff.

See e.g. Strube (1985), p. 69.

See Theile (1980) and Bregman (1990).

See David jr. (1988), p. 159, Friedrich (2008), p. 39, Hall (2008), p. 469 and Blauert (1997), p. 411.

See e.g. Dickreiter (1978), p. 77 and Friesecke (2007), p. 139.

See e.g. Blauert (1974), p. 180 or Strube (1985), p. 68.

According to Blauert (1974), p. 224.

See Zurek and Saberi (2003).

Particularly based on Bregman (1990).

See Bregman (1990), pp. 38f, 137, 204, 395, and 451.

This section gives an overview of grouping principles. However, a broader overview concerning factors influencing sequential streaming is given in Moore and Gockel (2002).

See Bregman (1990), p. 72.

Bregman (1990), p. 450.

Bregman (1990), p. 130.

See Bregman (1990), p. 204.

Bregman (1990), p. 236.

Referred to as “Körte’s law”, see Bregman (1990), p. 22.

Bregman (1990), p. 21.

See Bregman (1990), p. 76, 90, and 93.

See Bregman (1990), p. 447.

See e.g. Cariani and Micheyl (2012), p. 360.

See e.g. Bregman (1990), p. 183 or Schmidhuber et al. (2011).

See e.g. Bregman (1990), p. 405.

See Werner (2012), pp. 4ff.

See Bregman (1990), p. 136.

See Garner (1974), p. 10.

See Bregman (1990), p. 165.

See Bregman (1990), pp. 305f.

This gestalt quality is known as “Übersummenhaftigkeit”, see von Ehrenfels (1890), pp. 249ff.

See Bregman (1990), p. 172.

See Bregman (1990), p. 140.

See Bregman (1990), p. 475.

See Theile (1980), especially p. 24.

See Ono et al. (2002), p. 2 and Theile (1980), p. 12. Details on the comb filter effect in stereo playback are given in Sect. 7.2.2.

See Bregman (1990), p. 693.

Concepts, algorithms and the state of research are extensively illuminated in Rosenthal and Okuno (1998) and Wang and Brown (2006).

See Bregman (1990), pp. 183f.

See McGurk and McDonald (1976).

See e.g. Donnadieu (2007), p. 305.

See Donnadieu (2007), pp. 305f.

See Bregman (1990), pp. 256ff.

See Shepard (1964), Burns (1981) and Leman (1995), pp. 23ff for details on pitch perception and the Shepard illusion.

Ziemer and Schultheis (2018a), Ziemer et al. (2018) and Ziemer and Schultheis (2018b) explain how the Shepard tone is created and how it is perceived by passive listeners and in an interactive task.

See Bregman (1990), pp. 496ff, 677f, 457f and p. 464.

See Bregman (1990), p. 457.

See Bader (2013), pp. 632ff.

See e.g. Lerch (2008), pp. 872ff. Extensive discussion about MP3 can be found in Ruckert (2005).

See e.g. Blauert (2008), Fastl (2010) and Spors et al. (2013).

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Title: Psychoacoustics
Author: Tim Ziemer
Publisher: Springer International Publishing
Book: Psychoacoustic Music Sound Field Synthesis
Print ISBN: 978-3-030-23032-6

Electronic ISBN: 978-3-030-23033-3

Copyright Year: 2020
DOI: https://doi.org/10.1007/978-3-030-23033-3_4

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