Just-noticeable difference

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In the branch of experimental psychology focused on sense, sensation, and perception, which is called psychophysics, a just-noticeable difference or JND is the amount something must be changed in order for a difference to be noticeable, detectable at least half the time. [1] This limen is also known as the difference limen, difference threshold, or least perceptible difference. [2]

Contents

Quantification

For many sensory modalities, over a wide range of stimulus magnitudes sufficiently far from the upper and lower limits of perception, the 'JND' is a fixed proportion of the reference sensory level, and so the ratio of the JND/reference is roughly constant (that is the JND is a constant proportion/percentage of the reference level). Measured in physical units, we have:

where is the original intensity of the particular stimulation, is the addition to it required for the change to be perceived (the JND), and k is a constant. This rule was first discovered by Ernst Heinrich Weber (1795–1878), an anatomist and physiologist, in experiments on the thresholds of perception of lifted weights. A theoretical rationale (not universally accepted) was subsequently provided by Gustav Fechner, so the rule is therefore known either as the Weber Law or as the Weber–Fechner law; the constant k is called the Weber constant. It is true, at least to a good approximation, of many but not all sensory dimensions, for example the brightness of lights, and the intensity and the pitch of sounds. It is not true, however, for the wavelength of light. Stanley Smith Stevens argued that it would hold only for what he called prothetic sensory continua, where change of input takes the form of increase in intensity or something obviously analogous; it would not hold for metathetic continua, where change of input produces a qualitative rather than a quantitative change of the percept. Stevens developed his own law, called Stevens' Power Law, that raises the stimulus to a constant power while, like Weber, also multiplying it by a constant factor in order to achieve the perceived stimulus.

The JND is a statistical, rather than an exact quantity: from trial to trial, the difference that a given person notices will vary somewhat, and it is therefore necessary to conduct many trials in order to determine the threshold. The JND usually reported is the difference that a person notices on 50% of trials. If a different proportion is used, this should be included in the descriptionfor example one might report the value of the "75% JND".

Modern approaches to psychophysics, for example signal detection theory, imply that the observed JND, even in this statistical sense, is not an absolute quantity, but will depend on situational and motivational as well as perceptual factors. For example, when a researcher flashes a very dim light, a participant may report seeing it on some trials but not on others.

The JND formula has an objective interpretation (implied at the start of this entry) as the disparity between levels of the presented stimulus that is detected on 50% of occasions by a particular observed response, [3] rather than what is subjectively "noticed" or as a difference in magnitudes of consciously experienced 'sensations'. This 50%-discriminated disparity can be used as a universal unit of measurement of the psychological distance of the level of a feature in an object or situation and an internal standard of comparison in memory, such as the 'template' for a category or the 'norm' of recognition. [4] The JND-scaled distances from norm can be combined among observed and inferred psychophysical functions to generate diagnostics among hypothesised information-transforming (mental) processes mediating observed quantitative judgments. [5]

Music production applications

In music production, a single change in a property of sound which is below the JND does not affect perception of the sound. For amplitude, the JND for humans is around 1  dB. [6] [7]

The JND for tone is dependent on the tone's frequency content. Below 500 Hz, the JND is about 3 Hz for sine waves, and 1 Hz for complex tones; above 1000 Hz, the JND for sine waves is about 0.6% (about 10 cents). [8]

The JND is typically tested by playing two tones in quick succession with the listener asked if there was a difference in their pitches. [9] The JND becomes smaller if the two tones are played simultaneously as the listener is then able to discern beat frequencies. The total number of perceptible pitch steps in the range of human hearing is about 1,400; the total number of notes in the equal-tempered scale, from 16 to 16,000 Hz, is 120. [9]

In speech perception

JND analysis is frequently occurring in both music and speech, the two being related and overlapping in the analysis of speech prosody (i.e. speech melody). While several studies have shown that JND for tones (not necessarily sine waves) might normally lie between 5 and 9 semitones (STs), a small percentage of individuals exhibit an accuracy of between a quarter and a half ST. [10] Although JND varies as a function of the frequency band being tested, it has been shown that JND for the best performers at around 1 kHz is well below 1 Hz, (i.e. less than a tenth of a percent). [11] [12] [13] It is, however, important to be aware of the role played by critical bandwidth when performing this kind of analysis. [12]

When analysing speech melody, rather than musical tones, accuracy decreases. This is not surprising given that speech does not stay at fixed intervals in the way that tones in music do. Johan 't Hart (1981) found that JND for speech averaged between 1 and 2 STs but concluded that "only differences of more than 3 semitones play a part in communicative situations". [14]

Note that, given the logarithmic characteristics of Hz, for both music and speech perception results should not be reported in Hz but either as percentages or in STs (5 Hz between 20 and 25 Hz is very different from 5 Hz between 2000 and 2005 Hz, but the same when reported as a percentage or in STs).

Marketing applications

Weber's law has important applications in marketing. Manufacturers and marketers endeavor to determine the relevant JND for their products for two very different reasons:

  1. so that negative changes (e.g. reductions in product size or quality, or increase in product price) are not discernible to the public (i.e. remain below JND) and
  2. so that product improvements (e.g. improved or updated packaging, larger size or lower price) are very apparent to consumers without being wastefully extravagant (i.e. they are at or just above the JND).

When it comes to product improvements, marketers very much want to meet or exceed the consumer's differential threshold; that is, they want consumers to readily perceive any improvements made in the original products. Marketers use the JND to determine the amount of improvement they should make in their products. Less than the JND is wasted effort because the improvement will not be perceived; more than the JND is again wasteful because it reduces the level of repeat sales. On the other hand, when it comes to price increases, less than the JND is desirable because consumers are unlikely to notice it.

Haptics applications

Weber's law is used in haptic devices and robotic applications. Exerting the proper amount of force to human operator is a critical aspects in human robot interactions and tele operation scenarios. It can highly improve the performance of the user in accomplishing a task. [15]

See also

Related Research Articles

Absolute pitch (AP), often called perfect pitch, is the ability to identify or re-create a given musical note without the benefit of a reference tone. AP may be demonstrated using linguistic labelling, associating mental imagery with the note, or sensorimotor responses. For example, an AP possessor can accurately reproduce a heard tone on a musical instrument without "hunting" for the correct pitch.

<span class="mw-page-title-main">Pitch (music)</span> Perceptual property in music ordering sounds from low to high

Pitch is a perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre.

<span class="mw-page-title-main">Weber–Fechner law</span> Related laws in the field of psychophysics

The Weber–Fechner laws are two related hypotheses in the field of psychophysics, known as Weber's law and Fechner's law. Both laws relate to human perception, more specifically the relation between the actual change in a physical stimulus and the perceived change. This includes stimuli to all senses: vision, hearing, taste, touch, and smell.

The octave illusion is an auditory illusion discovered by Diana Deutsch in 1973. It is produced when two tones that are an octave apart are repeatedly played in alternation ("high-low-high-low") through stereo headphones. The same sequence is played to both ears simultaneously; however when the right ear receives the high tone, the left ear receives the low tone, and conversely. Instead of hearing two alternating pitches, most subjects instead hear a single tone that alternates between ears while at the same time its pitch alternates between high and low.

<span class="mw-page-title-main">Absolute threshold of hearing</span> Minimum sound level that an average human can hear

The absolute threshold of hearing (ATH), also known as the absolute hearing threshold or auditory threshold, is the minimum sound level of a pure tone that an average human ear with normal hearing can hear with no other sound present. The absolute threshold relates to the sound that can just be heard by the organism. The absolute threshold is not a discrete point and is therefore classed as the point at which a sound elicits a response a specified percentage of the time.

Psychophysics quantitatively investigates the relationship between physical stimuli and the sensations and perceptions they produce. Psychophysics has been described as "the scientific study of the relation between stimulus and sensation" or, more completely, as "the analysis of perceptual processes by studying the effect on a subject's experience or behaviour of systematically varying the properties of a stimulus along one or more physical dimensions".

Stimulus modality, also called sensory modality, is one aspect of a stimulus or what is perceived after a stimulus. For example, the temperature modality is registered after heat or cold stimulate a receptor. Some sensory modalities include: light, sound, temperature, taste, pressure, and smell. The type and location of the sensory receptor activated by the stimulus plays the primary role in coding the sensation. All sensory modalities work together to heighten stimuli sensation when necessary.

<span class="mw-page-title-main">Ernst Heinrich Weber</span> German psychologist

Ernst Heinrich Weber was a German physician who is considered one of the founders of experimental psychology. He was an influential and important figure in the areas of physiology and psychology during his lifetime and beyond. His studies on sensation and touch, along with his emphasis on good experimental techniques led to new directions and areas of study for future psychologists, physiologists, and anatomists.

Stevens' power law is an empirical relationship in psychophysics between an increased intensity or strength in a physical stimulus and the perceived magnitude increase in the sensation created by the stimulus. It is often considered to supersede the Weber–Fechner law, which is based on a logarithmic relationship between stimulus and sensation, because the power law describes a wider range of sensory comparisons, down to zero intensity.

<span class="mw-page-title-main">Volley theory</span>

Volley theory states that groups of neurons of the auditory system respond to a sound by firing action potentials slightly out of phase with one another so that when combined, a greater frequency of sound can be encoded and sent to the brain to be analyzed. The theory was proposed by Ernest Wever and Charles Bray in 1930 as a supplement to the frequency theory of hearing. It was later discovered that this only occurs in response to sounds that are about 500 Hz to 5000 Hz.

In physiology, psychology, or psychophysics, a limen or a liminal point is a sensory threshold of a physiological or psychological response. Such points delineate boundaries of perception; that is, a limen defines a sensory threshold beyond which a particular stimulus becomes perceivable, and below which it remains unperceivable.

In psychophysics, sensory threshold is the weakest stimulus that an organism can sense. Unless otherwise indicated, it is usually defined as the weakest stimulus that can be detected half the time, for example, as indicated by a point on a probability curve. Methods have been developed to measure thresholds in any of the senses.

Ultrasonic hearing is a recognised auditory effect which allows humans to perceive sounds of a much higher frequency than would ordinarily be audible using the inner ear, usually by stimulation of the base of the cochlea through bone conduction. Normal human hearing is recognised as having an upper bound of 15–28 kHz, depending on the person.

<span class="mw-page-title-main">Tone variator</span>

German psychologist William Stern invented the tone variator in 1897 to study human sensitivity to changes in pitch, going beyond the traditional psychophysical research of studying the sensitivity to differences in discrete tones. The instrument consists of an adjustable brass resonator, which is supplied with a constant flow of air across the opening at the top. Turning a graduated cam on the front of the apparatus raises or lowers a piston in the bottom of the resonator, changing the volume of its interior, thus altering the sounded pitch over a continuous range.

Dichotic pitch is a pitch heard due to binaural processing, when the brain combines two noises presented simultaneously to the ears. In other words, it cannot be heard when the sound stimulus is presented monaurally but, when it is presented binaurally a sensation of a pitch can be heard. The binaural stimulus is presented to both ears through headphones simultaneously, and is the same in several respects except for a narrow frequency band that is manipulated. The most common variation is the Huggins Pitch, which presents white-noise that only differ in the interaural phase relation over a narrow range of frequencies. For humans, this phenomenon is restricted to fundamental frequencies lower than 330 Hz and extremely low sound pressure levels. Experts investigate the effects of the dichotic pitch on the brain. For instance, there are studies that suggested it evokes activation at the lateral end of Heschl's gyrus.

Diplacusis, also known as diplacusis binauralis, binauralis disharmonica or interaural pitch difference (IPD), is a hearing disorder whereby a single auditory stimulus is perceived as different pitches between ears. It is typically experienced as a secondary symptom of sensorineural hearing loss, although not all patients with sensorineural hearing loss experience diplacusis or tinnitus. The onset is usually spontaneous and can occur following an acoustic trauma, for example an explosive noise, or in the presence of an ear infection. Sufferers may experience the effect permanently, or it may resolve on its own. Diplacusis can be particularly disruptive to individuals working within fields requiring acute audition, such as musicians, sound engineers or performing artists.

<span class="mw-page-title-main">William M. Hartmann</span>

William M. Hartmann is a noted physicist, psychoacoustician, author, and former president of the Acoustical Society of America. His major contributions in psychoacoustics are in pitch perception, binaural hearing, and sound localization. Working with junior colleagues, he discovered several major pitch effects: the binaural edge pitch, the binaural coherence edge pitch, the pitch shifts of mistuned harmonics, and the harmonic unmasking effect. His textbook, Signals, Sound and Sensation, is widely used in courses on psychoacoustics. He is currently a professor of physics at Michigan State University.

Temporal envelope (ENV) and temporal fine structure (TFS) are changes in the amplitude and frequency of sound perceived by humans over time. These temporal changes are responsible for several aspects of auditory perception, including loudness, pitch and timbre perception and spatial hearing.

<span class="mw-page-title-main">Brian Moore (scientist)</span>

Brian C.J. Moore FMedSci, FRS is an Emeritus Professor of Auditory Perception in the University of Cambridge and an Emeritus Fellow of Wolfson College, Cambridge. His research focuses on psychoacoustics, audiology, and the development and assessment of hearing aids.

<span class="mw-page-title-main">Christian Lorenzi</span>

Christian Lorenzi is Professor of Experimental Psychology at École Normale Supérieure in Paris, France, where he has been Director of the Department of Cognitive Studies and Director of Scientific Studies until. Lorenzi works on auditory perception.

References

Citations

  1. "Weber's Law of Just Noticeable Difference". University of South Dakota.
  2. Judd 1931, pp. 72–108.
  3. Torgerson 1958.
  4. Booth & Freeman 1993.
  5. Richardson & Booth 1993.
  6. Middlebrooks & Green 1991.
  7. Mills 1960.
  8. Kollmeier, Brand & Meyer 2008, p. 65.
  9. 1 2 Olson 1967, pp. 171, 248–251.
  10. Bachem 1937.
  11. Ritsma 1965.
  12. 1 2 Nordmark 1968.
  13. Rakowski 1971.
  14. 't Hart 1981, p. 811.
  15. Feyzabadi et al. 2013, pp. 309, 319.

Sources