Recent research on loudness has focused on contextual effects on loudness, both assimilation and recalibration. The current experiments examined loudness recalibration [Marks, J. Exp. Psychol. 20, 382-396 (1994)]. In the first experiment, an adaptive tracking procedure was used to measure loudness recalibration as a function of standard- and recalibration-tone level. The standard-tone frequencies were 500 and 2500 Hz and the levels were 80-, 70-, 60-, and 40-dB SPL, and threshold. Seventeen dB of loudness recalibration was obtained (combined over both frequencies) in the 60-dB SPL condition. This amount of loudness recalibration, while substantial, is still less than that obtained by Marks (22 dB), using the method of paired comparisons. The second experiment sought to duplicate Marks' earlier experiment [Marks, J. Exp. Psychol. 20, 382-396 (1994), experiment 2]. The results of this experiment (21 dB) were almost identical to those obtained by Marks. The results of experiment 1 indicate that loudness recalibration is maximum when the recalibration tone is moderately louder than the subsequent standard tones. Relatively little loudness recalibration is exhibited when the standard-tone level equals the recalibration-tone level. In addition, there is no loudness recalibration at threshold. The tracking procedure also identified that the onset of loudness recalibration is very rapid. The difference between the maximum loudness recalibration obtained at each frequency (11 dB at 500 Hz, 6 dB at 2500 Hz) suggests that loudness recalibration is dependent upon the frequency of the standard tone.

The relationship between localization and the Franssen effect was studied for noise and tones in a sound-deadened and in a live room. The noise was wideband and the tones were 250, 500, 1000, 1500, 2500, and 4000 Hz. Listeners were asked to determine the location of the stimuli in a localization task and to discriminate the difference between a pair of stimuli used to generate the Franssen illusion and a steady-state tone in a Franssen-effect discrimination task. Poor performance in the Franssen-effect discrimination task is consistent with the stimulus conditions leading to a strong Franssen illusion. Poor performance in both the Franssen effect and localization tasks was obtained for midfrequency tones (near 1500 Hz) and in the live room. Thus, the Franssen illusion is strongest for a live room and for midfrequency tones consistent with the difficulty listeners have in localizing sounds under these conditions. These results are consistent with those of Hartmann and Rakerd [J. Acoust. Soc. Am. 86, 1366-1373 (1989)] and support their suggestion of a correlation between the Franssen effect and localization in rooms.

Click trains were generated with first- and second-order statistics following Kaernbach and Demany [J. Acoust. Soc. Am. 104, 2298-2306 (1998)]. First-order intervals are between successive clicks, while second-order intervals are those between every other click. Click trains were generated with a repeating alternation of fixed and random intervals which produce a pitch at the reciprocal of the duration of the fixed interval. The intervals were then randomly shuffled and compared to the unshuffled, alternating click trains in pitch-strength comparison experiments. In almost all comparisons for the first-order interval stimuli, the shuffled-interval click trains had a stronger pitch strength than the unshuffled-interval click trains. The shuffled-interval click trains only produced stronger pitches for second-order interval stimuli when the click trains were unfiltered. Several experimental conditions and an analysis of runs of regular and random intervals in these click trains suggest that the auditory system is sensitive to runs of regular intervals in a stimulus that contains a mix of regular and random intervals. These results indicate that fine-structure regularity plays a more important role in pitch perception than randomness, and that the long-term autocorrelation function or spectra of these click trains are not good predictors of pitch strength.

Presenting loud tones at one frequency and quiet tones at a different frequency makes the quiet tones appear relatively louder. This phenomenon, dubbed loudness recalibration [Marks, J. Exp. Psychol. 20, 382–396 (1994)], was studied using an adaptive, two-track loudness comparison procedure. In this study, a baseline loudness comparison was initially established between two tones. Immediately following this baseline sequence, a sequence of trials were given in which the two comparison tones were preceded by a recalibration tone. The amount of steady-state loudness recalibration was measured as a function of the recalibration tone level and the baseline comparison tone level. The results showed that loudness recalibration is present when the recalibration tone level is much larger than the comparison tone level and that no loudness recalibration is generated when the recalibration tone level is less than or equal to the comparison tone level. In addition, it was found that a recalibration tone did not affect the threshold level of detection. These results support those of Marks [J. Acoust. Soc. Am. 100, 473–480 (1996)] indicating that loudness recalibration is a centrally based, fatiguelike phenomenon. [Work supported by a Program Project Grant from NIDCD.]