Pure-tone audiometry still represents the main measure to characterize individual hearing loss and the basis for hearing-aid fitting. However, the perceptual consequences of hearing loss are typically associated not only with a loss of sensitivity but also with a loss of clarity that is not captured by the audiogram. A detailed characterization of a hearing loss may be complex and needs to be simplified to efficiently explore the specific compensation needs of the individual listener. Here, it is hypothesized that any listener's hearing profile can be characterized along two dimensions of distortion: Type I and Type II. While Type I can be linked to factors affecting audibility, Type II reflects non-audibility-related distortions. To test this hypothesis, the individual performance data from two previous studies were reanalyzed using an unsupervised-learning technique to identify extreme patterns in the data, thus forming the basis for different auditory profiles. Next, a decision tree was determined to classify the listeners into one of the profiles. The analysis provides evidence for the existence of four profiles in the data. The most significant predictors for profile identification were related to binaural processing, auditory nonlinearity, and speech-in-noise perception. This approach could be valuable for analyzing other data sets to select the most relevant tests for auditory profiling and propose more efficient hearing-deficit compensation strategies.

Musicians typically show enhanced pitch discrimination abilities compared to non-musicians. The present study investigated this perceptual enhancement behaviorally and objectively for resolved and unresolved complex tones to clarify whether the enhanced performance in musicians can be ascribed to increased peripheral frequency selectivity and/or to a different processing effort in performing the task. In a first experiment, pitch discrimination thresholds were obtained for harmonic complex tones with fundamental frequencies (F0s) between 100 and 500 Hz, filtered in either a low- or a high-frequency region, leading to variations in the resolvability of audible harmonics. The results showed that pitch discrimination performance in musicians was enhanced for resolved and unresolved complexes to a similar extent. Additionally, the harmonics became resolved at a similar F0 in musicians and non-musicians, suggesting similar peripheral frequency selectivity in the two groups of listeners. In a follow-up experiment, listeners’ pupil dilations were measured as an indicator of the required effort in performing the same pitch discrimination task for conditions of varying resolvability and task difficulty. Pupillometry responses indicated a lower processing effort in the musicians versus the non-musicians, although the processing demand imposed by the pitch discrimination task was individually adjusted according to the behavioral thresholds. Overall, these findings indicate that the enhanced pitch discrimination abilities in musicians are unlikely to be related to higher peripheral frequency selectivity and may suggest an enhanced pitch representation at more central stages of the auditory system in musically trained listeners.

The precedence effect (PE) refers to the dominance of directional information carried by a direct sound (lead) over the spatial information contained in its multiple reflections (lags) in sound localization. Although the processes underlying the PE have been largely investigated, the extent to which peripheral versus central auditory processes contribute to this perceptual phenomenon has remained unclear. The present study investigated the contribution of peripheral processing to the PE through a comparison of physiological and psychoacoustical data in the same human listeners. The psychoacoustical experiments, comprising a fusion task, an interaural time difference detection task and a lateralization task, demonstrated a time range from 1 to 4.6–5 ms, in which the PE operated (precedence window). Click-evoked otoacoustic emissions (CEOAEs) were recorded in both ears to investigate the lead–lag interactions at the level of the basilar membrane (BM) in the cochlea. The CEOAE-derived peripheral and monaural lag suppression was largest for ICIs of 1–4 ms. Auditory-evoked brainstem responses (ABRs) were used to investigate monaural and binaural lag suppression at the brainstem level. The responses to monaural stimulation reflected the peripheral lag suppression observed in the CEOAE results, while the binaural brainstem responses did not show any substantial contribution of binaural processes to monaural lag suppression. The results demonstrated that the lag suppression occurring at the BM in a time range from 1 to 4 ms, as indicated by the suppression of the lag-CEOAE, was the source of the reduction in the lag-ABRs and a possible peripheral contributor to the PE for click stimuli.

Musicians are highly trained to discriminate fine pitch changes but the neural bases of this ability are poorly understood. It is unclear whether such training-dependent differences in pitch processing arise already in the subcortical auditory system or are linked to more central stages. To address this question, we combined psychoacoustic testing with functional MRI to measure cortical and subcortical responses in musicians and non-musicians during a pitch-discrimination task. First, we estimated behavioral pitch-discrimination thresholds for complex tones with harmonic components that were either resolved or unresolved in the auditory system. Musicians outperformed non-musicians, showing lower pitch-discrimination thresholds in both conditions. The same participants underwent task-related functional MRI, while they performed a similar pitch-discrimination task. To account for the between-group differences in pitch-discrimination, task difficulty was adjusted to each individual's pitch-discrimination ability. Relative to non-musicians, musicians showed increased neural responses to complex tones with either resolved or unresolved harmonics especially in right-hemispheric areas, comprising the right superior temporal gyrus, Heschl's gyrus, insular cortex, inferior frontal gyrus, and in the inferior colliculus. Both subcortical and cortical neural responses predicted the individual pitch-discrimination performance. However, functional activity in the inferior colliculus correlated with differences in pitch discrimination across all participants, but not within the musicians group alone. Only neural activity in the right auditory cortex scaled with the fine pitch-discrimination thresholds within the musicians. These findings suggest two levels of neuroplasticity in musicians, whereby training-dependent changes in pitch processing arise at the collicular level and are preserved and further enhanced in the right auditory cortex.