The Significance of Phase as an Auditory Cue

Ozcan K, Busbridge SC, Fryer PA, Geaves GP, Moore JP. The Significance of Phase as an Auditory Cue. In: AES Convention 114. Audio Engineering Society; 2003. Paper 5740. Available from: https://aes.org/publications/elibrary-page/?id=12508

@inproceedings{Ozcan2003_12508,
  author = {Ozcan, Koray and Busbridge, Simon C. and Fryer, Peter A. and Geaves, Gary P. and Moore, Jon P.},
  title = {{The Significance of Phase as an Auditory Cue}},
  booktitle = {AES Convention 114},
  note = {Paper 5740},
  year = {2003},
  month = mar,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=12508}
}

TY  - CPAPER
TI  - The Significance of Phase as an Auditory Cue
AU  - Ozcan, Koray
AU  - Busbridge, Simon C.
AU  - Fryer, Peter A.
AU  - Geaves, Gary P.
AU  - Moore, Jon P.
T2  - AES Convention 114
M1  - Paper 5740
PY  - 2003
DA  - 2003/03/06
UR  - https://aes.org/publications/elibrary-page/?id=12508
PB  - Audio Engineering Society
LA  - en
AB  - An advance on the auralisation results previously presented for interaural time and intensity conflict cue experiments is reported by the inclusion of phase for multiple frequency tone bursts and wideband signals. A method is presented to manipulate the phase of all the component frequencies in a wideband signal whilst leaving the amplitude structure unchanged through the use of the Hilbert transform. Therefore phase and time become distinguishable from each other for such signals. The results indicate that localisation remains strong in the presence of large phase shifts. Furthermore the central diffuse field that is characteristic of intensity versus interaural time conflict experiments is absent when the intensity and phase of wideband signals are placed in conflict.
ER  -