The features that make inner ear hair cells so sensitive to vibrations may also be responsible for the introduction of surprisingly large distortions.In their unending search for the ultimate stereo electronic components, high-fidelity aficionados eagerly peruse manufacturers' specifications, always hoping for lower, distortion figures. Whether the electronic components are loudspeakers, amplifiers, compact-disk players or digital-tape machines, the goal is the same: components should be 'transparent', delivering only the beauty of the original musical composition and adding no additional sounds of their own. Paradoxically, the human ear, the biological receptor that the electronic stereo components are designed to gratify, generates distortion to an extent that would be unacceptable in electronic equipment. Most astonishingly, it is becoming increasingly clear that this generation of distortion is part and parcel of the very biological apparatus that endows hearing with its marvelous sensitivity and acuity.That the human auditory system generates distortion of its own has been known since the 18th century. Armed with little scientific apparatus, probably nothing more sophisticated than a violin, the Italian musician Giuseppe Tartini discovered circa 1754 that when listening to a pair of tones, humans hear additional tones that are not present in the physical stimulus [1]. These additional tones, whose perceived magnitude can exceed 10% of that of the acoustic stimulus (at least 100 times what is common in high-fidelity equipment), have frequencies that consist of simple combinations of the frequencies of the primary tones. For example, for primary-tone frequencies of f 1 and f 2 , where f 2 > f 1 , the resulting 'combination', or Tartini, tones, also known as intermodulation-distortion products, will have frequencies of 2f 1 -f 2 , f 2 -f l , 2f 2 -f 1 , 3f 1 -2f 2 and so on.The study of combination tones, first by means of psychophysical measurements in humans and more recently via physiological experiments in the auditory nerve and inner ear of animal subjects, has played a central role in the development of auditory theory. To appreciate why such a 'second order' effect has been deemed worthy of intensive investigation by hearing scientists, it is helpful to keep in mind an overview of the organization of the auditory system. In brief, the auditory system consists of three components: the ear (external, middle and inner), the auditory nerve and the auditory regions of the brain (Fig. 1). Sound impinges upon the external ear and the eardrum, setting in motion ossicles in the middle ear; these, in turn, create pressure fluctuations in the largely fluid-filled inner ear or cochlea, causing a slow displacement wave to propagate along the organ of Corti (the organ of hearing proper) and its substratum, the basilar membrane.The organ of Corti, the basilar membrane and the cochlear fluids jointly perform a spatial frequency analysis: waves resulting from low-frequency stimulation travel the length of the co...