Adaptive auditory brightness perception

Siedenburg, Kai; Barg, Feline Malin; Schepker, Henning

doi:10.1038/s41598-021-00707-7

Cited by 7 publications

(4 citation statements)

References 52 publications

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“…The results of Experiment 4 replicated those of Experiment 3 by showing larger adaptation effects when trials were grouped together based on adaptor types, suggesting that adaptation effects can accumulate across time. This result is consistent with previous observations on adaptive perception of auditory brightness (Siedenburg et al, 2021). Moreover, the adaptation effects were similar whether the trials in the entire block or just each half of the block were grouped by adaptor types and presentation ears, suggesting that the accumulation may saturate within 30 consecutive trials or less.…”

Section: Discussionsupporting

confidence: 92%

Contrastive adaptation effects along a voice/non-voice continuum

Gao,

Oxenham

2024

Preprint

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Adaptation to the environment is a universal property of perception across all sensory modalities. It can enhance the salience of new events in an ongoing background and helps maintain perceptual constancy in the face of variable sensory input. Several contrastive adaptation effects have been identified using sounds within the categories of human voice and musical instruments. The present study investigated whether such contrast effects can occur between voice and non-voice stimulus categories. A 10-step continuum between “voice” (/a/, /o/, or /u/ vowels) and “instrument” (bassoon, horn, or viola) sounds was generated for each of the nine possible pairs. In each trial, an adaptor, either a voice or instrument, was played four times and was followed by a target from along the appropriate continuum. When trials with voice and instrumental adaptors were grouped into separate blocks, strong contrastive adaptation effects were observed, with the target more likely to be identified as a voice following instrumental adaptors and vice versa (Experiment 1). The effects were not observed for visual image adaptors (Experiment 2). The effects were somewhat larger when the adaptors and the target were presented to the same than to different ears, but significant adaptation was observed in both conditions, suggesting contributions of central mechanisms, following binaural integration (Experiment 3). The effect accumulated when the same type of adaptors was presented consecutively, and persisted following the end of the adaptors (Experiment 4). The discovery of voice/non-voice contrastive pairs opens the possibility of studying perceptual or neuronal voice selectivity while keeping acoustic features constant.

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Section: Discussionsupporting

confidence: 92%

Contrastive adaptation effects along a voice/non-voice continuum

Gao,

Oxenham

2024

Preprint

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“…Further, the literature on auditory adaptation has revealed consistent effects of previous context on auditory processing. This ranges from adaptation to speech sounds (Holt, 2005;Schweinberger et al, 2008) to the spectral slope of music excerpts (Siedenburg et al, 2021a). Thus, our report of context effects in level-related preference judgements in popular music extends the literature on context effects by a new type of ecologically relevant task.…”

Section: Presentation Order Affects Preferencesupporting

confidence: 70%

The Optimal Mix? Presentation Order Affects Preference Ratings of Vocal Amplitude Levels in Popular Music

Knoll

Siedenburg

2022

Music & Science

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Mixing popular music is a complex task requiring the consideration of artistic goals, as well as preferences of both the mixing engineer and potential listeners. Vocals are of particular importance in the mixing process. Here, we tested whether listeners possess stable preferences for the mixing level of vocals, whether these preferences are subject to order effects, and the extent to which individual differences between listeners play a role. In Experiments 1 and 2 participants rated which of two mixes in a pair of song excerpts (unchanged reference versus comparison mix with adjusted vocal level) they preferred. Each excerpt pair was presented in two orders – reference first and comparison first. Generally, listeners preferred increased vocal levels and showed pronounced primacy effects, yielding higher ratings for the mix that was presented first. To circumvent order effects, Experiment 3 presented and asked for a rating of only one excerpt at a time and showed ratings similar to reference-first excerpt pairs in Experiments 1 and 2. No systematic influences of demographic variables were observed. However, we found two clusters of participants that differed in their overall preferences, with one group showing stronger preferences for higher vocal levels. The present findings underscore the role of listening history of the immediate past in complex auditory tasks such as evaluating the level of a salient sound source in a musical mixture.

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“…The CCunres cue is the one most directly related to SE as conceived in timbre models of e.g. brightness [ 16 ]. To check for these a priori mappings, correlations between the three different auditory cues, and between the cues and behavioral data, will be presented together with the modeling results.…”

Section: Computational Modelingmentioning

confidence: 99%

“…SE cues are thought to affect timbre and source recognition [ 14 , 15 ]. In particular, the balance of low vs. high energy imposed by SE is associated to a timbre dimension termed brightness [ 16 , 17 ]. However, as we will now briefly review, there is also a growing amount of evidence that SFS and SE interact for pitch perception, and that the distinction between pitch and brightness may not be as clear-cut as initially thought.…”

Section: Introductionmentioning

confidence: 99%

A unitary model of auditory frequency change perception

2023

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Changes in the frequency content of sounds over time are arguably the most basic form of information about the behavior of sound-emitting objects. In perceptual studies, such changes have mostly been investigated separately, as aspects of either pitch or timbre. Here, we propose a unitary account of “up” and “down” subjective judgments of frequency change, based on a model combining auditory correlates of acoustic cues in a sound-specific and listener-specific manner. To do so, we introduce a generalized version of so-called Shepard tones, allowing symmetric manipulations of spectral information on a fine scale, usually associated to pitch (spectral fine structure, SFS), and on a coarse scale, usually associated timbre (spectral envelope, SE). In a series of behavioral experiments, listeners reported “up” or “down” shifts across pairs of generalized Shepard tones that differed in SFS, in SE, or in both. We observed the classic properties of Shepard tones for either SFS or SE shifts: subjective judgements followed the smallest log-frequency change direction, with cases of ambiguity and circularity. Interestingly, when both SFS and SE changes were applied concurrently (synergistically or antagonistically), we observed a trade-off between cues. Listeners were encouraged to report when they perceived “both” directions of change concurrently, but this rarely happened, suggesting a unitary percept. A computational model could accurately fit the behavioral data by combining different cues reflecting frequency changes after auditory filtering. The model revealed that cue weighting depended on the nature of the sound. When presented with harmonic sounds, listeners put more weight on SFS-related cues, whereas inharmonic sounds led to more weight on SE-related cues. Moreover, these stimulus-based factors were modulated by inter-individual differences, revealing variability across listeners in the detailed recipe for “up” and “down” judgments. We argue that frequency changes are tracked perceptually via the adaptive combination of a diverse set of cues, in a manner that is in fact similar to the derivation of other basic auditory dimensions such as spatial location.

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Adaptive auditory brightness perception

Cited by 7 publications

References 52 publications

Contrastive adaptation effects along a voice/non-voice continuum

Contrastive adaptation effects along a voice/non-voice continuum

The Optimal Mix? Presentation Order Affects Preference Ratings of Vocal Amplitude Levels in Popular Music

A unitary model of auditory frequency change perception

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