Generator

A source 45° off centre, and the path difference it makes

A head from above with a source to one side. The near ear is reached first; the far ear's path runs round the head, and the difference between the two is 13.1 centimetres, which at 343 metres a second is 381 microseconds. That number, and the level difference the head's shadow produces, are the whole of what the ear has to work with.

Drawn above with its standard settings, which is almost never how an essay draws it: an essay states the numbers it is arguing about, so the figure a reader meets there is about that argument rather than about the drawing in general. Every option a placement passes is checked against the ones this function actually reads, because an option it does not read is silently ignored and the figure quietly draws what is above instead.

It makes a noise. 43 of its 43 placements carry sound, built from the same numbers as the drawing, offering these buttons: 15° to the left, 15° to the right, 20 microseconds of offset, which this listener calls straight ahead, 3 kHz, level difference only, 300 Hz, delayed to the left, 300 Hz, level difference only, 30° left, 30° to the left and 31 more.

Called by 9 essays

the blast radius of changing it

Two ears, and the whole of the difference is 655 microseconds

Direction is computed from two numbers — when a sound reaches each ear and how loud it is at each — and which of the two is usable is decided by the wavelength against the width of a head. The changeover frequency is not a design choice. It falls out of 343 metres a second and 17.5 centimetres, and it is why the mechanism of hearing where something is changes halfway up the piano.

perception · Localisation

How late a reflection has to be before it is an echo. What a single reflection does to the sound it follows, against its delay, on a logarithmic axis. Under a millisecond the two combine into one image that is pulled towards the earlier source. From there out to a few tens of milliseconds the reflection is not heard as a separate event at all and does not move the image — it only changes the timbre. Past the echo threshold it becomes a second sound, and the threshold is five times later for speech than for a click.

The first wavefront wins

A room sends a hundred copies of every note to a listener from a hundred directions, and the listener hears one note in one place. The mechanism that does it is brutal and simple: for the first few tens of milliseconds after a sound arrives, everything that follows is denied a vote on where it came from — even when it is louder than the original.

perception · Localisation

500 Hz in one ear, 504 in the other. Two tones 4 hertz apart, one to each ear. They never meet in the air, so neither eardrum sees any modulation at all and there is no acoustic beat to hear. What changes is the phase between the ears, which advances a whole cycle every 250 milliseconds — and the direction that phase implies sweeps with it, drawn here as azimuth against time. The sweep is clipped at the edges, because the implied delay leaves the range a head can produce. A head 17.5 cm across gives at most 656 microseconds, so the phase stops naming a direction above 762 Hz.

The beat that is not in the air

Every sound this site synthesises reaches both ears identically, and that is the assumption none of its figures ever varied. Put 500 hertz in one ear and 504 in the other and nothing sums anywhere: each eardrum sees a steady sinusoid with no modulation on it at all. A listener still hears a four-per-second beat, which means the arithmetic is being done behind the ears rather than in the room. And it stops working above about a kilohertz — not where phase locking gives out at five, but where a head 17.5 centimetres across stops being able to name a direction, which is 762 hertz.

perception · Localisation

Where a room stops sending the two ears the same sound. The correlation between the two ears' signals against frequency, for a seat 15 metres from the source in a 15,000 cubic metre room with a 2 second reverberation time. The pale curve is the diffuse field alone — sin(kd)/(kd) for an ear separation of 17.5 centimetres, which first crosses zero at 980 hertz. The heavy curve adds the direct sound, which is coherent and lifts the whole thing by an amount the direct-to-reverberant ratio sets. At 125 hertz the coherence is 0.98 and at 1000 it is 0.16.

Where the two ears stop agreeing

A room sends both ears versions of the same sound, alike at low frequencies and increasingly unlike at high ones. Where they stop resembling each other is 980 hertz, and it is set by the 17.5 centimetres between the ears rather than by anything about the room — which is within a quarter of a frequency found earlier for a completely different reason. One minus that correlation is spaciousness, and it is computable from a room's own reverberation.

perception · Localisation $Why a concert hall is narrow. The lateral energy fraction at the middle seat as the same hall is widened, everything else held. It peaks at 12 metres across at 0.235 and falls to 0.000 at 44. A wide hall's side walls are further away, so their reflections arrive later, weaker and — this is the part Sabine's model cannot say — from nearer the front, where the sideways weighting discounts them. The shoebox halls the orchestral repertoire was written for are all between about eighteen and twenty-five metres wide, and this is the arithmetic they are the answer to.$

A room with directions in it

Every room until now has been a reservoir of energy that drains at a rate. That model has no directions in it at all, so it cannot say the one thing every published measure of spaciousness is about: how much of what arrives comes from the side. Mirror the source in six walls and every reflection acquires an angle and a time — and the answer to why a concert hall is narrow falls out at eighteen metres.

perception · Localisation

A turn of 0.99 degrees tells front from back. A source 45 degrees off centre and its mirror image 135 degrees off, which produce the same interaural delay and are therefore the same signal to a listener who does not move. As the head turns the two predictions separate: the front source's delay falls and the rear source's rises, because the fold at ninety degrees puts them on opposite branches of the same curve. They differ by the 15-microsecond threshold after 0.99 degrees of turn — which is exactly half the 1.97 degrees a source would have to move for the same listener to notice it moving, and it is half for a reason: a turn displaces the two hypotheses from each other by twice what it displaces either of them from where it started.

The turn is half the angle

A stationary head cannot tell a sound in front from the same sound behind, and an earlier essay said so at length. The turn that breaks the confusion is 0.84 degrees — exactly half the angle a source would have to move for the same listener to notice it moving, and half for a reason. In a hall the same turn does something else: the source swings at 8.9 microseconds a degree and the room swings at 2.7, so a listener who moves is separating the soloist from the reverberation as well as the front from the back.

perception · Localisation

The same geometry at four sizes of head. Woodworth's interaural delay against direction, for 4 head radii from 5.8 to 9.8 centimetres. The whole range runs from 431 microseconds for a newborn to 735 for a large adult, and it scales exactly with the radius because the delay is (r/c)(θ + sin θ) and r is a multiplier. The detection threshold does not scale with the listener, so the number of distinguishable delays across the whole range falls from 98 to 57: a smaller head has the same directions in front of it and a shorter ruler to measure them with.

A smaller head in the same hall

Ten earlier essays draw one head. Every parameter belonging to the room has been varied by some figure and the one belonging to the listener never has, and it is the only one whose change the detection threshold does not follow: a six-year-old in the same seat receives the same fifty-four reflections at the same instants and reads them onto an axis with seventy distinguishable positions instead of eighty-seven. The speed of sound, swept over every temperature a hall is ever at, changes nothing at all — and the reason it cannot is the reason head size can.

perception · Localisation

A head model a few millimetres out reads every azimuth but the front. The azimuth a listener reports against the azimuth a source is at, for internal head radii from 8.22 to 9.28 centimetres against a true radius of 8.75. The delay a source produces is (r/c)(θ + sin θ) and the listener inverts it with the radius they believe they have, so their answer solves θ̂ + sin θ̂ = (r/r̂)(θ + sin θ). Every curve passes exactly through the origin: on the median plane there is no delay and therefore no error, whatever the head model is. The error grows with azimuth and is largest at the side. An internal head 5.3 millimetres too small runs out of azimuth at 82 degrees: beyond that the world is delivering a delay larger than any its owner's model can produce, and every source out there collapses onto the side.

Where a wrong head gives itself away

Every claim so far maps a delay to a direction through one fixed geometry, and the listener acquires that map while the geometry grows under them by seventy per cent. So the map can be wrong — and the essay before this one said the error would be largest on the median plane, where the delay curve is steepest. It is exactly zero there. The steepness is in the error and in the threshold and cancels between them, which leaves a listener whose internal head is 1.3 millimetres out with one place to catch it: hard to the side, where nobody localises well.

perception · Localisation

A displaced map is displaced by the same amount everywhere. How far a listener's heard direction is displaced, in units of the smallest angular change they could detect at that azimuth, for four constant offsets added to every interaural delay. Each curve is flat. an offset of 5 microseconds is worth 0.33 just-noticeable steps at every azimuth; an offset of 10 microseconds is worth 0.67 just-noticeable steps at every azimuth, and past 88° hands the listener a delay their own head cannot produce; an offset of 20 microseconds is worth 1.33 just-noticeable steps at every azimuth, and past 86° hands the listener a delay their own head cannot produce; an offset of 40 microseconds is worth 2.67 just-noticeable steps at every azimuth, and past 82° hands the listener a delay their own head cannot produce. The reason is exact: differentiating Woodworth's curve gives a slope proportional to (1 + cos θ), so the angular displacement a fixed offset produces carries a factor of 1/(1 + cos θ) — and so does the smallest detectable angle, so the ratio has no azimuth in it. That is the opposite of a wrong head radius, whose displacement is zero on the median plane and grows toward the side.

The error that moves straight ahead

The essay before this one found that a listener whose internal head is the wrong size makes no error at all on the median plane, and has to look hard to the side to catch it. Every head drawn here has its ears at equal radii, which makes the delay curve odd and every error a factor — and a factor cannot move a zero. Real heads are not symmetric. A constant offset of twenty microseconds displaces a listener's straight ahead by two and a quarter degrees, and it displaces every other direction by the same number of just-noticeable steps, exactly.

perception · Localisation

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