The timbre of the voice as perceived by the singer him-/herself

Vurma, Allan

doi:10.3109/14015439.2013.775334

Cited by 10 publications

(16 citation statements)

References 8 publications

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“…After Session 1, the experimenter created five different types of stimuli by applying filters to the recorded voices. The filters were determined based on previous studies that intended to reproduce the own-voice: + 3 dB for a signal higher than 1 kHz and − 3 dB for a signal lower than 1 kHz as a step filter 11 ; a filter passing from 300 to 1200 Hz as a bandpass filter 13 ; and a trapezoid-like filter as a low-pass filter 12 . As a result, there were five different types of stimuli: original recorded voice, step filtered voice, bandpass filtered voice, lowpass filtered voice, and adjusted-by-will voice.…”

Section: Methodsmentioning

confidence: 99%

“…Several studies have examined methods to reproduce the own-voice from the recorded-voice by applying filters that emulate bone conduction [11][12][13] . Based on previous studies of the transfer function for the own-voice, the equalization filter was used to reproduce the own-voice from the recorded voice.…”

Section: Neural Representations Of Own-voice In the Human Auditory Comentioning

confidence: 99%

“…Based on previous studies of the transfer function for the own-voice, the equalization filter was used to reproduce the own-voice from the recorded voice. Although the filtered voice was rated closer to the own-voice than to the recorded voice, the suggested filter types varied across studies [11][12][13] . A previous report 14 compared multiple filters and examined which filter was most effective in emulating the subject' s own-voice, and found that the best filter differed across subjects, indicating large individual differences, and that perception of the own-voice is constant across different sessions within a subject, indicating the stability of own-voice perception.…”

Section: Neural Representations Of Own-voice In the Human Auditory Comentioning

confidence: 99%

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Neural representations of own-voice in the human auditory cortex

Hosaka

Kimura

Yotsumoto

2021

Sci Rep

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We have a keen sensitivity when it comes to the perception of our own voices. We can detect not only the differences between ourselves and others, but also slight modifications of our own voices. Here, we examined the neural correlates underlying such sensitive perception of one’s own voice. In the experiments, we modified the subjects’ own voices by using five types of filters. The subjects rated the similarity of the presented voices to their own. We compared BOLD (Blood Oxygen Level Dependent) signals between the voices that subjects rated as least similar to their own voice and those they rated as most similar. The contrast revealed that the bilateral superior temporal gyrus exhibited greater activities while listening to the voice least similar to their own voice and lesser activation while listening to the voice most similar to their own. Our results suggest that the superior temporal gyrus is involved in neural sharpening for the own-voice. The lesser degree of activations observed by the voices that were similar to the own-voice indicates that these areas not only respond to the differences between self and others, but also respond to the finer details of own-voices.

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Section: Methodsmentioning

confidence: 99%

Section: Neural Representations Of Own-voice In the Human Auditory Comentioning

confidence: 99%

Section: Neural Representations Of Own-voice In the Human Auditory Comentioning

confidence: 99%

See 1 more Smart Citation

Neural representations of own-voice in the human auditory cortex

Hosaka

Kimura

Yotsumoto

2021

Sci Rep

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“…In experiment 1, the sound profile that best represents own voice was examined. We used filters described in previous studies, as follows: +3 dB for a signal higher than 1 kHz and -3 dB for a signal lower than 1 kHz as a step filter [ 11 ]; a trapezoid like filter as a lowpass filter [ 12 ]; filter passing from 300 to 1200 Hz as a bandpass filter [ 13 ]. In addition to these three types of filters, an adjusted voice protocol, in which the participants adjusted all or part of pitch, vibrato, and frequency cut off filters of recorded voice to reproduce own-voice, was added for comparison.…”

Section: Methodsmentioning

confidence: 99%

Auditory traits of "own voice"

Kimura

Yotsumoto

2018

PLoS ONE

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People perceive their recorded voice differently from their actively spoken voice. The uncanny valley theory proposes that as an object approaches humanlike characteristics, there is an increase in the sense of familiarity; however, eventually a point is reached where the object becomes strangely similar and makes us feel uneasy. The feeling of discomfort experienced when people hear their recorded voice may correspond to the floor of the proposed uncanny valley. To overcome the feeling of eeriness of own-voice recordings, previous studies have suggested equalization of the recorded voice with various types of filters, such as step, bandpass, and low-pass, yet the effectiveness of these filters has not been evaluated. To address this, the aim of experiment 1 was to identify what type of voice recording was the most representative of one’s own voice. The voice recordings were presented in five different conditions: unadjusted recorded voice, step filtered voice, bandpass filtered voice, low-pass filtered voice, and a voice for which the participants freely adjusted the parameters. We found large individual differences in the most representative own-voice filter. In order to consider roles of sense of agency, experiment 2 investigated if lip-synching would influence the rating of own voice. The result suggested lip-synching did not affect own voice ratings. In experiment 3, based on the assumption that the voices used in previous experiments corresponded to continuous representations of non-own voice to own voice, the existence of an uncanny valley was examined. Familiarity, eeriness, and the sense of own voice were rated. The result did not support the existence of an uncanny valley. Taken together, the experiments led us to the following conclusions: there is no general filter that can represent own voice for everyone, sense of agency has no effect on own voice rating, and the uncanny valley does not exist for own voice, specifically.

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“…It is known that the timbre of the voice is different for the singer him/herself compared with how it sounds to others, as for the singer an essential part of his/her own voice reaches his/her hearing system via bone conduction (the transfer function of which is different from the air's transfer function), and because of the triggering of the stapedius reflex, which also affects how a singer perceives the timbre of his/her own voice (Vurma, 2013). …”

Section: Discussionmentioning

confidence: 99%

Timbre-induced pitch shift from the perspective of Signal Detection Theory: the impact of musical expertise, silence interval, and pitch region

Vurma¹

2014

Front. Psychol.

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The paradigm of Signal Detection Theory (SDT) was used to analyze the ability of professional pianists (N = 16) and string players (N = 15) to discriminate small F0 differences between consecutive musical tones, presented in pairs, with identical and with different (bright and dull) timbres. The sensitivity (d′) and response bias (c) were heavily dependent on the timbral arrangement of the pairs of tones (the “comparable tones”), which can be interpreted as the influence of timbre-induced pitch shift on F0 discrimination. The participants were somewhat biased to “miss” signals when comparable tones had identical timbres and to make “false alarms” when the tones had different timbres. The d′ was lowest when the tones with a lower F0 in those stimulus-pairs containing tones with different timbres had a brighter timber, and highest when both tones had bright timbre. On average, the string players had a somewhat higher d′ and their perception was slightly less influenced by timbre-induced pitch shift when compared to the pianists. Nevertheless, the dependence of d′ and c on the timbral arrangement of the tones was registered in the case of all the participants at all the investigated pitch regions around D#3, D4, and C#5. Furthermore, the presence of a silence of 3.5 s—a silence interval—between the tones to be compared had an impact on both d′- and c-values as well as on the degree of vulnerability to timbre-induced pitch shift.

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The timbre of the voice as perceived by the singer him-/herself

Cited by 10 publications

References 8 publications

Neural representations of own-voice in the human auditory cortex

Neural representations of own-voice in the human auditory cortex

Auditory traits of "own voice"

Timbre-induced pitch shift from the perspective of Signal Detection Theory: the impact of musical expertise, silence interval, and pitch region

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