Loudness recruitment is an abnormally rapid growth of perceived loudness above the hearing threshold that slows to normal growth as the intensity of the signal increases. Recruitment is common in sensorineural hearing loss and in simulated hearing loss with noise masking. This study looked at possible differences in loudness recruitment with age, noise level, and frequency. Participants from two age groups were tested. Group A included participants aged 18 to 30 years and Group B included participants aged 50 to 75 years. Participants practiced the Alternate Binaural Loudness Balance (ABLB) test without noise present. They then repeated the tests with masking noise. Tests were completed with two different noise levels (50 dB SPL and 70 dB SPL), and two different test tone frequencies (1000 Hz and 2000 Hz). Participants identified loudness matching points to reference intensities of 20, 40, 60, and 80 dB HL. Participants completed 3 trials at each intensity level. Difference scores of the intensity of the loudness matching point minus the intensity of the reference tone were computed and analyzed statistically. An analysis of variance (ANOVA) for repeated measures fails to show significance for between-subjects effect for age, within subject effect for frequency, and trial. An ANOVA for repeated measures shows significant within subject effect for noise and for intensity. The 70 dB SPL noise level shows greater difference scores and a steeper loudness matching function slope than the 50 dB SPL noise level. The greater difference scores and steeper slope are expected due to the higher hearing threshold created with the higher noise level. As the intensity level increases, the difference score decreases. The decrease in difference scores with increasing intensity levels shows the presence of loudness recruitment. The results of this study suggest the use of masking noise in order to measure recruitment is an acceptable simulation. Age alone does not account for changes in loudness recruitment. Therefore, recruitment measurement with noise masking may be a potential marker of early auditory dysfunction.

Audio plays a crucial role in the immersive and emotional experience of playing videogames, and loudness is a key aspect of game audio that can greatly impact player engagement and immersion. There are existing loudness standards such as AES-EBU R128, which is mostly commonly used by social media platforms such as YouTube and Spotify. Moreover, SONY has developed the Sony Computer Entertainment America (SCEA) Loudness Standard for maintaining consistent and balanced loudness levels in game audio as well. However, there is a need for more section-specific standards that consider the unique requirements of different genres and elements of game audio. This thesis is proposing a new approach to loudness standardization for game audio by analyzing existing standards, identifying their limitations, and evaluating the impact of loudness on the gaming experience. The results have implications for game developers and audio designers, potentially enhancing player immersion and engagement.

There are many useful guidelines and theories to be found on mixing and mastering. One of these statements is that the monitoring level affects how well one can detect and evaluate the Dynamic Range Compression (DRC) when mixing. However, some of the sources that support this idea are contradictory as to whether a low or high monitoring level is better for this purpose. No previous research on this subject has been found, even though monitoring levels are presumed to be essential for the mixing and mastering engineer. The aim of the study was to investigate if the monitoring level will affect the listeners’ detection threshold for DRC when applied to a vocal track. For this, one higher and one lower monitoring level was chosen, and a simple up-down method was used to obtain the X50 in each monitoring condition, in which these were compared. The results indicate that the monitoring level does not affect the listeners’ threshold of detection for DRC. Moreover, it can be stated that the monitoring level in which the participants had the most habit of working in did not affect the result either. This research can be used to take more informed decisions regarding monitoring levels and to revisit some previous observations.

The purpose of the study was to explore whether musicians experience Garner interference among the auditory dimensions of pitch and loudness. Specifically, the study explored whether the dimensions of intonation and loudness, when presented to musicians in a five-note musical pattern, were perceived as integral or separable in nature.

The purpose of this study was to evaluate how the BS.1770 Loudness Standard is affected by the amount of difference signal present in the signal being measured, and if this affection is different between the two playback systems Headphones and Loudspeakers. The study was restricted to rock music productions in a stereo format. The results obtained from the study might provide useful information to mixing and mastering engineers, as it evaluates the correlation between spatial information and subjective loudness. The study consisted of an active listening test, containing six stimuli with different Sum and Difference Ratio (SDR). The test was done in both headphones and loudspeakers, and the difference in volume as set by the subjects were noted. The results from the headphone version and the loudspeaker version were then compared in a paired t-test to see if there was a significant difference between the two formats. The results pointed to the factors of Playback System and SDR to have non- significant effect on the results. After analyzing the possible error sources, it became apparent that other factors had a far greater effect on the results. The results imply that the BS.1770 Loudness Standard can accurately measure the loudness of a given stereo rock music material, despite the fact that it does not consider the differences between the channels when conducting the measurement. Whether or not the effect being studied is significant in other conditions is not verified, due to the restrictions of the study. Further studies would be needed in order to verify the findings of this study, preferably with more attention to detail since there were apparent flaws in the method used.

A perda auditiva no idoso acarreta em dificuldade na percepção da fala. O teste comumente utilizado na logoaudiometria é a pesquisa do índice de reconhecimento de fala máximo (IR-Max) em uma única intensidade de apresentação da fala. Entretanto, o procedimento mais adequado seria a realização do teste em diversas intensidades, visto que o índice de acerto depende da intensidade da fala no momento do teste e está relacionado com o grau e configuração da perda auditiva. A imprecisão na obtenção do IR-Max poderá gerar uma hipótese diagnóstica errônea e o insucesso no processo de intervenção na perda auditiva. Objetivo: Verificar a interferência do nível de apresentação da fala, no teste de reconhecimento de fala, em idosos com perda auditiva sensorioneural com diferentes configurações audiométricas. Métodos: Participaram 64 idosos, 120 orelhas (61 do gênero feminino e 59 do gênero masculino), idade entre 60 e 88 anos, divididos em grupos: G1- composto por 23 orelhas com configuração horizontal, G2- 55 orelhas com configuração descendente, G3- 42 orelhas com configuração abrupta. Os critérios de inclusão foram: perda auditiva sensorioneural de grau leve a severo, não usuário de aparelho de amplificação sonora individual (AASI), ou com tempo de uso inferior a dois meses, e ausência de alterações cognitivas. Foram realizados os seguintes procedimentos: pesquisas do limiar de reconhecimento de fala (LRF), do índice de reconhecimento de fala (IRF) em diversas intensidades e do nível de máximo conforto (MCL) e desconforto (UCL) para a fala. Para tal, foram utilizadas listas com 11 monossílabos, para diminuir a duração do teste. A análise estatística foi composta pelo teste Análise de Variância (ANOVA) e teste de Tukey. Resultados: A configuração descendente foi a de maior ocorrência. Indivíduos com configuração horizontal apresentaram índice médio de acerto mais elevado de reconhecimento de fala. Ao considerar o total avaliado, 27,27% dos indivíduos com configuração horizontal revelaram o IR-Max no MCL, assim como 38,18% com configuração descendente e 26,19% com configuração abrupta. O IR-Max foi encontrado no UCL, em 40,90% dos indivíduos com configuração horizontal, 45,45% com configuração descendente e 28,20% com configuração abrupta. Respectivamente, o maior e o menor índice médio de acerto foram encontrados em: G1- 30 e 40 dBNS; G2- 50 e 10 dBNS; G3- 45 e 10 dBNS. Não há uma única intensidade de fala a ser utilizada em todos os tipos de configurações audiométricas, entretanto, os níveis de sensação que identificaram os maiores índices médios de acerto foram: G1- 20 a 30 dBNS, G2- 20 a 50 dBNS; G3- 45 dBNS. O MCL e o UCL-5 dB para a fala não foram eficazes para determinar o IR-Max. Conclusões: O nível de apresentação teve influência no desempenho no reconhecimento de fala para monossílabos em idosos com perda auditiva sensorioneural em todas as configurações audiométricas. A perda auditiva de grau moderado e a configuração audiométrica descendente foram mais frequentes nessa população, seguida da abrupta e horizontal. / Hearing loss in elderly causes difficulty in speech perception. The test commonly used in speech audiometry is the search for the maximum speech recognition score (PB-Max) in a single presentation intensity of speech. However, the most adequate procedure would be the test at multiple intensities considering that the correct level depends on the intensity of the speech at the moment of the test and is related to the degree and configuration of hearing loss. The imprecision in obtaining the PB-Max can produce an erroneous diagnostic hypothesis and failure in the intervention process in hearing loss. Purpose: To verify the interference of the level of speech presentation, through the speech recognition test, in elderly patients with sensorineural hearing loss with different audiometric configurations. Methods: Participants were 64 elderly, 120 ears (61 females and 59 males), ages ranging from 60 to 88, divided into three groups: G1- comprising 23 ears with flat configuration, G2- 55 ears with gradually sloping, G3- 42 ears with steeply sloping configuration. The criteria of inclusion of individuals were: sensorineural hearing loss from mild to severe degree, no hearing aid users, or period of use lower than two months, and absence of any cognitive impairment. The following procedures were performed: speech recognition threshold (SRT), word recognition scores at multiple intensities, most comfortable loudness level (MCL) and uncomfortable loudness level (UCL) using speech stimuli. For the procedure above, lists of 11 monosyllabic words were presented, in order for the test duration to be reduced. Statistical analysis was made by the test Analysis of Variance (ANOVA) and Tukey\'s test. Results: The gradually sloping configuration was the most common. Subjects with flat configuration showed higher correct mean level in speech recognition. Considering the total ears assessed, 27.27% of subjects with flat configuration revealed the PB-max in MCL, as well as, 38.18% with gradually sloping and 26.19% with steeply sloping configuration. The PB-max was found in the UCL, in 40.90% of the subjects with a flat configuration, 45.45% with gradually sloping configuration and 28.20% with steeply sloping configuration. Respectively, the highest and the lowest correct mean indexes were found: G1- 30 and 40 dB SL; G2- 50 and 10 dB SL; G3- 45 and 10 dB SL. There is not a single speech intensity to be used in all types of audiometric configurations, however, the sensation levels that identified the correct mean levels were found: G1 - 20-30 dB SL, G2 - 20-50 dB SL; G3 - 45 dB SL. The MCL and UCL-5 dB using speech stimuli, were not effective to determine the PB-Max. Conclusion: The presentation level influenced the performance in speech recognition for monosyllables in elderly patients with sensorineural hearing loss in all audiometric configurations. Moderate hearing loss and gradually sloping configuration were more frequent in this population, followed by steeply sloping and flat configuration.

O trabalho apresenta reflexões sobre o processo de criação de Fábrica de Calcinha, pesquisa artística realizada pela autora com o objetivo de explorar a sonoridade como ativadora e norteadora da composição da cena. O processo de criação partiu da sonoridade percebida no centro da cidade de Porto Alegre. O encontro com este material foi estimulado pelo procedimento de Derivas Sonoras, das quais participaram a própria autora, um músico e um performer. Construiu-se, assim, um arquivo de objetos sonoros (Schaeffer, 1966), objetos perceptivos decodificados pela mente como um som, gravados na memória dos corpos e em dispositivos tecnológicos, e recuperados em diferentes etapas do processo de criação. A escuta se afirmou como poética de trabalho, mediando as interações que deram forma ao material cênico. Para a organização das diferentes ações cênicas (físicas, sonoras e vocais) criadas em improvisações, foi utilizado, sobretudo, um modelo de partitura cênica desenvolvido pelo encenador e compositor Heiner Goebbels. / The dissertation presents reflections on the process of creating Fabrica de Calcinha (Panty Factory), artistic research done by the author in order to explore the sonority as activating and guiding the composition of a scene. The creation process started from the sounds perceived in the center of Porto Alegre. We used the Dérive Sonore procedure as stimuli for this encounter, which was carried out by the author herself, a musician and a performer. We were, thus, able to build a database of sound objects (Schaeffer, 1966), perceptual objects decoded by the mind as a sound, recorded in the memory of bodies and technological devices and recovered at different stages of the creation process. The listening of the material affirmed itself as poetic work mediating the interactions that shaped the scenic material. For the organization of the different performing actions (physical, sound and vocals) created in improvisations, we primarily used a scenic music score model developed by the director and composer Heiner Goebbels.

Excerpt: It is often the case that veterans who experience hyperacusis have hearing loss and tinnitus; what sets the patient with PTSD apart is an increased likelihood that will rate sound tolerance problems as more severe than tinnitus and hearing loss.

Thesis--University of Oklahoma. / Includes bibliographical references (leaves 52-53).

abstract: Following the success in incorporating perceptual models in audio coding algorithms, their application in other speech/audio processing systems is expanding. In general, all perceptual speech/audio processing algorithms involve minimization of an objective function that directly/indirectly incorporates properties of human perception. This dissertation primarily investigates the problems associated with directly embedding an auditory model in the objective function formulation and proposes possible solutions to overcome high complexity issues for use in real-time speech/audio algorithms. Specific problems addressed in this dissertation include: 1) the development of approximate but computationally efficient auditory model implementations that are consistent with the principles of psychoacoustics, 2) the development of a mapping scheme that allows synthesizing a time/frequency domain representation from its equivalent auditory model output. The first problem is aimed at addressing the high computational complexity involved in solving perceptual objective functions that require repeated application of auditory model for evaluation of different candidate solutions. In this dissertation, a frequency pruning and a detector pruning algorithm is developed that efficiently implements the various auditory model stages. The performance of the pruned model is compared to that of the original auditory model for different types of test signals in the SQAM database. Experimental results indicate only a 4-7% relative error in loudness while attaining up to 80-90 % reduction in computational complexity. Similarly, a hybrid algorithm is developed specifically for use with sinusoidal signals and employs the proposed auditory pattern combining technique together with a look-up table to store representative auditory patterns. The second problem obtains an estimate of the auditory representation that minimizes a perceptual objective function and transforms the auditory pattern back to its equivalent time/frequency representation. This avoids the repeated application of auditory model stages to test different candidate time/frequency vectors in minimizing perceptual objective functions. In this dissertation, a constrained mapping scheme is developed by linearizing certain auditory model stages that ensures obtaining a time/frequency mapping corresponding to the estimated auditory representation. This paradigm was successfully incorporated in a perceptual speech enhancement algorithm and a sinusoidal component selection task. / Dissertation/Thesis / Ph.D. Electrical Engineering 2011