Figure 1.
Schematic drawing of the five masker types used in the experiment.
Schematic drawing of the five masker types (grey) in the two frequency regions used in the experiment as indicated on the ordinate. “Harm” = harmonic complex, “Mistuned” = mistuned compared to target, “Inh/Sess” = inharmonic, frequencies varied per session, “Inh/Pres” = inharmonic, frequencies varied per stimulus presentation, “Noise” = bandpass noise. See text for further explanations of the maskers. Target signals were 1 or 8 kHz pure tones, respectively (black).
Figure 2.
Mean observed masked thresholds for each masker type.
Mean masked thresholds from five individuals for the detection of a pure tone target in each of the five masker types are displayed in absolute values (in dB SPL). Thresholds are shown for the co-located configuration (filled symbols) and for the spatially separated configuration (open symbols) separated by the target frequency (left panel = 1 kHz, right panel = 8 kHz). Error bars represent the standard deviation (SD). The five masker types used in this experiment are: “Harm” = a harmonic masker, “Mistuned” = a harmonic masker with an inharmonic relation to the target frequency, “Inh/Sess” = inharmonic per session, i.e. a random frequency composition redrawn for each session, “Inh/Pres” = inharmonic per presentation, i.e. a different random frequency composition for each stimulus presentation, “Noise” = bandpass noise.
Table 1.
Comparison between observed and estimated masked thresholds.
Table 2.
Statistical results of the four planned contrasts for each of the four subgroups.
Figure 3.
Amount of spatial release from masking for each masker type.
Amount of spatial release from masking (difference between co-located and spatially separated configuration) for the 1 kHz target frequency (grey, squares) and for the 8 kHz target frequency (black, triangles) for each masker type. Error bars represent the standard deviation.