In audiology and psychoacoustics the term critical band, introduced by Harvey Fletcher in the 1940s, refers to the frequency bandwidth of the "auditory filter" created by the cochlea, the sense organ of hearing within the inner ear. Roughly, the critical band is the band of audio frequencies within which a second tone will interfere with the perception of a first tone by auditory masking.
Psychophysiologically, beating and auditory roughness sensations can be linked to the inability of the auditory frequency-analysis mechanism to resolve inputs whose frequency difference is smaller than the critical bandwidth and to the resulting irregular "tickling" of the mechanical system (basilar membrane) that resonates in response to such inputs. Critical bands are also closely related to auditory masking phenomena – reduced audibility of a sound signal when in the presence of a second signal of higher intensity and within the same critical band. Masking phenomena have wide implications, ranging from a complex relationship between loudness (perceptual frame of reference) and intensity (physical frame of reference) to sound compression algorithms.
Other articles related to "auditory filters, auditory filter, filters, auditory, filter":
... In a ‘normal’ ear the auditory filter has a shape similar to the one shown below ... In an Impaired ear, however the auditory filter has a different shape compared to that of a ‘normal’ ear ... The auditory filter of an impaired ear is flatter and broader compared to a normal ear ...
... Filters are used in many aspects of audiology and psychoacoustics including the peripheral auditory system ... A filter is a device that boosts certain frequencies and attenuates others ... In particular, a band-pass filter allows a range of frequencies within the bandwidth to pass through while stopping those outside the cut-off frequencies ...
... The shapes of auditory filters are found by analysis of psychoacoustic tuning, which are graphs that show a subject's threshold for detection of a tone as a function of masker parameters ... To get a true representation of the auditory filters in one subject, many psychoacoustic tuning curves need to be calculated with the signal at different frequencies ... need to be calculated because the auditory filters are asymmetrical, so thresholds should also be measured with the notch asymmetric to the frequency of the signal ...
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