2. Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah 1 ESE250: Digital Audio Basics Week 6 February 19, 2013 Human Psychoacoustics

3. 2 Course Map Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

4. Where are we? Week 2  Received signal is sampled & quantized  q = PCM[ r ] Week 4  Sampled signal first transformed into frequency domain  Q = DFT[ q ] Week 3  Quantized Signal is Coded  c =code[ q ] Week 5  signal oversampled & low pass filtered  Q = LPF[ DFT(q+n) ] Week 6  Transformed signal analyzed  Using human psychoacoustic models Week 7  Acoustically Interesting signal is “perceptually coded”  C = MP3[ Q] Over Sample DFT LPF DecodeProduce r(t)r(t) p(t)p(t) q + n C Perceptual Coding Store / Transmit Q + N Q Week 4 Week 6 Week 5Week 3 [Painter & Spanias. Proc.IEEE, 88(4):451–512, 2000] 3 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

5. 4 The Physical Ear External Sound Waves  Guided by outer ear  into auditory canal Excite Inner Ear  Through mechanical linkage  connecting ear drum  to cochlea [R. Munkong and B.-H. Juang. IEEE Sig. Proc. Mag., 25(3):98–117, 2008] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

6. 5 The Physical Ear Initiates signal processing  frequency domain analysis  Via analog computation  Video: CochleaCochlea What part of the Cochlea vibrates for an 800 Hz square wave? [R. Munkong and B.-H. Juang. IEEE Sig. Proc. Mag., 25(3):98–117, 2008] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

7. 6 The Cognitive Ear Modern Psychoacoustics  Benefits greatly from o decades of neural recording o contemporary brain imaging technology [R. Munkong and B.-H. Juang. IEEE Sig. Proc. Mag., 25(3):98–117, 2008] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

8. 7 Power Spectrum Model of Hearing Rough Picture (main content of today’s lecture):  Critical Bands: Auditory system contains finite array of adaptively tunable, overlapping bandpass filters  Frequency Bins: humans process a signal’s component (against noisy background) in the one filter with closest center frequency  Masking: certain signal components in a given band are “favored” and others are filtered out Established through decades of psychoacoustic experiments B.C.J. Moore. Int.Rev.Neurobiol., 70:49–86, 2005. Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

9. 8 Auditory Thresholds In the lab, you varied the frequency, amplitude and phase of signals What was the effect of each, if any, on the sound you heard?  Frequency  Amplitude  Phase Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

10. Auditory Thresholds Harvey Fletcher (1940)  Played pure tones varying o frequency, f [ Hz] o Intensity, I [Dyn ¢ cm -2 ] = 10 -5 [N ¢ cm -2 ] = 0.1 Pa o phase changes tend to be inaudible  Large listener population o Young o Acute Recorded extreme thresholds  faintest audible  greatest tolerable Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah (http://www.et.byu.edu/)

11. 10 Auditory Thresholds Results:  pain-free hearing range extends at most over 20 Hz – 20 KHz  with sensitivity » 2 ¢ 10 -4 ¢ 0.1 Pa = 20  Pa Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah 0.1 Pa [H. Fletcher. Rev. Mod. Phys., 12(1):47–65, 1940].

12. 11 The decibel unit Define standard pressure: p 0 = 0.0002 ¢ 0.1 Pa = 20  Pa Threshold of human hearing Compute Sound Pressure Level as: L SPL = 20 log 10 (p/p 0 ) dB L SPL for p 1 = 20  Pa, for p 2 = 200  Pa, for p 3 = 20 mPa Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Compare to Ambient sea-level pressure: 1 Atmosphere = 10 5 Pascal Q: why use log-log scale? A 1 : dynamic range A 2 : “loudness” is a power function 0.1 Pa

13. 12 The decibel unit – Hearing intensity Week 6 – Psychoacoustics (http://www.dspguide.com/ch22/1.htm)

14. 13 Let’s try to reproduce these results! Week 6 – Psychoacoustics (http://www.dspguide.com/ch22/1.htm) We will listen to single sine tones starting at a frequency of 10KHz, all the way up to 20KHz, so each student can figure out their cut-off frequency Suggestions to improve this experiment?

15. 14 Animal hearing ranges Dogs:  Greater hearing range: 40Hz to 60KHz  Ultrasonic dog whistles Mice:  Large ears in comparison to their bodies  Hearing range: 1KHz to 70KHz  Can’t hear low frequency noises  Communicate with high frequency  Distress call (40KHz), alert of predator [Pictures from Wikipedia] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

16. 15 Why Sinusoids? Why not some other harmonic series?  Fourier’s analysis shows  harmonic analysis could be based on  arbitrary smooth periodic fundamental Why does the animal receiver use sinusoids? Hamiltonian Mechanics  Simplest physical model of vibrating masses  Coupled spring-mass-damper mechanics  Produce sinusoidal harmonics Video: CochleaCochlea m x b k …. all sound is produced by vibrating masses …. Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

17. 16 Masking - Spatial Masking Paradigms  “Masker” masking “maskee”  Tone Masking Noise o pure tone  of 80 SPL  at 1 kHz o just masks “critical band” noise  of 56 SPL  centered at 1 kHz  Masker-to-Maskee ratio o Constant for fixed relative frequency and varying amplitude o Changes with varying relative frequency [T. Painter and A. Spanias. Proc. IEEE, 88(4):451–512, 2000.] 1 “Bark” frequency interval Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

18. 17 Masking [H. Fletcher. Rev. Mod. Phys., 12(1):47–65, 1940]. The first graph shows the masking pattern for a 200Hz tone  Mostly masks tones around 200Hz, but also at harmonics The second graph shows the same plot for different frequencies, but only the fundamental part  Notice that the band gets wider for increasing frequencies …masker at fundamental can somewhat mask maskees at the harmonics … … but the “spreading curve” is traditionally depicted over the fundamental only Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

19. 18 Tone Masking Noise Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Are the following signals masked?  200 Hz tone at 80dB  200 Hz tone at 40dB  300 Hz tone at 40dB  400 Hz tone at 40dB  700 Hz tone at 30dB

20. 19 Masking [H. Fletcher. Rev. Mod. Phys., 12(1):47–65, 1940]. Tone Masking Noise (Fig 12)  value above quiet threshold  such that a signal at the abscissa frequency  can be heard in presence of top: 200 Hz tone bottom: various frequencies Noise Masking Tone (Fig 13)  dots show pure tone magnitude (in dB)  required to be audible above noise o Of the magnitude on the middle curve o centered at that frequency o with bandwidth  at least wider  than the bars of Fig 12 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

21. 20 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Are the following signals masked by the noise?  200Hz at 60dB  1KHz at 60dB Noise Masking Tone

22. 21 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Are the following signals masked by the noise?  200Hz at 60dB o Yes!  1KHz at 60dB Noise Masking Tone noise

23. 22 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Are the following signals masked by the noise?  200Hz at 60dB o No!  1KHz at 60dB Noise Masking Tone

24. 23 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Are the following signals masked by the noise?  200Hz at 60dB  1KHz at 60dB o No! Noise Masking Tone

25. 24 Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Are the following signals masked by the noise?  200Hz at 60dB  1KHz at 60dB o No! Noise Masking Tone

26. 25 Masking - Temporal Temporal Masking  Masker effect persists for tenths of a second  Masker effect is “acausal” o on ~ 2/100 timescales Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

27. 26 Pitch JND JND = “just noticeable difference”  change in stimulus that “just” elicits perceptual notice  where “just” means that a smaller variations of stimulus cannot be discerned [H. Fletcher. Rev. Mod. Phys., 12(1):47–65, 1940]. Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah What can you say about the JND:  Below 1000 Hz? o roughly constant o ~ 3 Hz  Above 1000 Hz? o roughly log-log linear o Log[Jnd(f 2 )] - Log[ Jnd(f 1 )] ~ n (Log[f 2 ] - Log[f 1 ]) Suggests that as frequency increases  broader frequency bands  “assigned” to same length of cochlear tissue  Remember cochlea model What is n? e.g. f 1 =2000 f 2 =4000 6 = 10 – 4 ~ n( Log 10 [2] ) ) n ~ 20

28. 27 JND experiment Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah The following audio files contain a single tone playing for 10 seconds. The sine starts at 200Hz, then changes to a higher frequency (201, 202, 203, 205, 210). This change occurs after a number of “noises”: 1, 2, 3, 4, 5, 6, 7, 8 or 9. Can you notice when the change happens?

29. 28 Critical Bands Decades of empirical study reveal that human audio frequency perception is quantized into < 30 “critical bands” of perceptually near-identical pitch classes corresponding to ~equal length bands of cochlear tissue (neurons) Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

30. 29 Critical Bands: Evidence  Tone masking Noise (Fig. a & c) o noise audibility threshold o for small bandwidth noise o remains constant o until tone frequency locus o falls away from critical bandwidth  Noise masking Tone (Fig. b & d) o same effect o with masker and maskee roles reversed [T. Painter and A. Spanias. Proc. IEEE, 88(4):451–512, 2000.] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

31. 30 The Bark Scale “Bark” units: Uniform JND scale for frequency  Maps frequency intervals into their respective critical band number [E. Zwicker. J. Acoust. Soc.Am., 33(2):248, February 1961] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

32. 31 The Bark Scale Frequency-to-Bark function  First Principles vs. Empirical Modeling [E. Zwicker. J. Acoust. Soc.Am., 33(2):248, February 1961] Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

33. 32 Compression opportunities Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Consider the following recording Any ways to improve the compression?

34. 33 Compression opportunities Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Zooming in on a smaller portion Any ways to improve the compression? 200Hz205Hz Frequency 195Hz 193 194 196 197 198 199 201 202 203 204 206 207 208 dB 80 0 20 40 60 100 120 Masked

35. 34 Compression opportunities Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Zooming in on a smaller portion Any ways to improve the compression? 200Hz205Hz Frequency 195Hz 193 194 196 197 198 199 201 202 203 204 206 207 208 dB 80 0 20 40 60 100 120 JND: Could only represent integer frequency values

36. 35 Compression opportunities Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah Zooming in on a smaller portion Any ways to improve the compression? 200Hz205Hz Frequency 195Hz 193 194 196 197 198 199 201 202 203 204 206 207 208 dB 80 0 20 40 60 100 120

37. 36 Next Week Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah How can we use what we know about human perception to compress music?  Frequency hearing range  Masking o Temporal o Spatial o JND o Barks

38. 37 Big Ideas Sound is a pressure wave that makes the Cochlea vibrate  with frequencies from ~20Hz (at the tip) to ~20KHz (at the base) This vibration is sinusoidal (physics)  This is why sound harmonics are best represented as sinusoidal signals Masking  Temporal – A masker tone can mask another tone that is present either right before or a little after the masker  Spatial – A single tone can mask an entire frequency band (that contains the tone) if its intensity is high enough  There are <30 such bands (Bark scale), and they are wider for higher frequencies Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

39. 38 Admin Lab 5 report due tomorrow On Thursday: Lab 6  You will be designing your own experiments o To measure the range of frequencies you can hear o To perform spatial masking experiments Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah

40. 39 ESE250: Digital Audio Basics End Week 6 Lecture Human Psychoacoustics Week 6 – Psychoacoustics ESE 250 S’13 DeHon Kadric Kod Wilson-Shah