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The decibel is a relative unit of measurement equal to one tenth of a bel (B). It expresses the ratio of two values of a power or root-power quantity on a logarithmic scale. Two signals whose levels differ by one decibel have a power ratio of 101/10 or root-power ratio of 101⁄20.
A weighting filter is used to emphasize or suppress some aspects of a phenomenon compared to others, for measurement or other purposes.
Dynamic range is the ratio between the largest and smallest values that a certain quantity can assume. It is often used in the context of signals, like sound and light. It is measured either as a ratio or as a base-10 (decibel) or base-2 logarithmic value of the difference between the smallest and largest signal values.
The phon is a logarithmic unit of loudness level for tones and complex sounds. Loudness is measured in sones, a linear unit. Human sensitivity to sound is variable across different frequencies; therefore, although two different tones may present an identical sound pressure to a human ear, they may be psychoacoustically perceived as differing in loudness. The purpose of the phon is to provide a logarithmic measurement for perceived sound magnitude, while the primary loudness standard methods result in a linear representation. A sound with a loudness of 1 sone is judged equally loud as a 1 kHz tone with a sound pressure level of 40 decibels above 20 micropascal. The phon is psychophysically matched to a reference frequency of 1 kHz. In other words, the phon matches the sound pressure level (SPL) in decibels of a similarly perceived 1 kHz pure tone. For instance, if a sound is perceived to be equal in intensity to a 1 kHz tone with an SPL of 50 dB, then it has a loudness of 50 phons, regardless of its physical properties. The phon was proposed in DIN 45631 and ISO 532 B by Stanley Smith Stevens.
The absolute threshold of hearing (ATH) 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. This is also known as the auditory threshold.
In acoustics, loudness is the subjective perception of sound pressure. More formally, it is defined as the "attribute of auditory sensation in terms of which sounds can be ordered on a scale extending from quiet to loud". The relation of physical attributes of sound to perceived loudness consists of physical, physiological and psychological components. The study of apparent loudness is included in the topic of psychoacoustics and employs methods of psychophysics.
Sound pressure or acoustic pressure is the local pressure deviation from the ambient atmospheric pressure, caused by a sound wave. In air, sound pressure can be measured using a microphone, and in water with a hydrophone. The SI unit of sound pressure is the pascal (Pa).
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.
Sensory neurons, also known as afferent neurons, are neurons in the nervous system, that convert a specific type of stimulus, via their receptors, into action potentials or graded receptor potentials. This process is called sensory transduction. The cell bodies of the sensory neurons are located in the dorsal ganglia of the spinal cord.
An equal-loudness contour is a measure of sound pressure level, over the frequency spectrum, for which a listener perceives a constant loudness when presented with pure steady tones. The unit of measurement for loudness levels is the phon and is arrived at by reference to equal-loudness contours. By definition, two sine waves of differing frequencies are said to have equal-loudness level measured in phons if they are perceived as equally loud by the average young person without significant hearing impairment.
The acoustic reflex is an involuntary muscle contraction that occurs in the middle ear in response to loud sound stimuli or when the person starts to vocalize.
An audiogram is a graph that shows the audible threshold for standardized frequencies as measured by an audiometer. The Y axis represents intensity measured in decibels (dB) and the X axis represents frequency measured in hertz (Hz). The threshold of hearing is plotted relative to a standardised curve that represents 'normal' hearing, in dB(HL). They are not the same as equal-loudness contours, which are a set of curves representing equal loudness at different levels, as well as at the threshold of hearing, in absolute terms measured in dB SPL.
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.
The auditory brainstem response (ABR), also called brainstem evoked response audiometry (BERA), is an auditory evoked potential extracted from ongoing electrical activity in the brain and recorded via electrodes placed on the scalp. The measured recording is a series of six to seven vertex positive waves of which I through V are evaluated. These waves, labeled with Roman numerals in Jewett and Williston convention, occur in the first 10 milliseconds after onset of an auditory stimulus. The ABR is considered an exogenous response because it is dependent upon external factors.
Hyperpathia is a clinical symptom of certain neurological disorders wherein nociceptive stimuli evoke exaggerated levels of pain. This should not be confused with allodynia, where normally non-painful stimuli evoke pain.
In audio signal processing, auditory masking occurs when the perception of one sound is affected by the presence of another sound.
In physics, sound is a vibration that propagates as an acoustic wave, through a transmission medium such as a gas, liquid or solid. In human physiology and psychology, sound is the reception of such waves and their perception by the brain. Only acoustic waves that have frequencies lying between about 20 Hz and 20 kHz, the audio frequency range, elicit an auditory percept in humans. In air at atmospheric pressure, these represent sound waves with wavelengths of 17 meters (56 ft) to 1.7 centimeters (0.67 in). Sound waves above 20 kHz are known as ultrasound and are not audible to humans. Sound waves below 20 Hz are known as infrasound. Different animal species have varying hearing ranges.
A sense is a biological system used by an organism for sensation, the process of gathering information about the world through the detection of stimuli. Although in some cultures five human senses were traditionally identified as such, it is now recognized that there are many more. Senses used by non-human organisms are even greater in variety and number. During sensation, sense organs collect various stimuli for transduction, meaning transformation into a form that can be understood by the brain. Sensation and perception are fundamental to nearly every aspect of an organism's cognition, behavior and thought.
Psychoacoustics is the branch of psychophysics involving the scientific study of sound perception and audiology—how human auditory system perceives various sounds. More specifically, it is the branch of science studying the psychological responses associated with sound. Psychoacoustics is an interdisciplinary field of many areas, including psychology, acoustics, electronic engineering, physics, biology, physiology, and computer science.
As long as humans have experienced pain, they have given explanations for its existence and sought soothing agents to dull or cease the painful sensation. Archaeologists have uncovered clay tablets dating back as far as 5,000 BC which reference the cultivation and use of the opium poppy to bring joy and cease pain. In 800 BC, the Greek writer Homer wrote in his epic, The Odyssey, of Telemachus, a man who used opium to soothe his pain and forget his worries. While some cultures researched analgesics and allowed or encouraged their use, others perceived pain to be a necessary, integral sensation. Physicians of the 19th century used pain as a diagnostic tool, theorizing that a greater amount of personally perceived pain was correlated to a greater internal vitality, and as a treatment in and of itself, inflicting pain on their patients to rid the patient of evil and unbalanced humors. This article focuses both on the history of how pain has been perceived across time and culture, but also how malleable an individual's perception of pain can be due to factors like situation, their visual perception of the pain, and previous history with pain.
References
- 1 2 3 IASP. "IASP Pain Terminology". IASP Press. Archived from the original on 2013-12-16. Retrieved 2013-12-15.
- ↑ Jankowski, K.S. (2013). "Morning types are less sensitive to pain than evening types all day long". European Journal of Pain. 17 (7): 1068–1073. doi:10.1002/j.1532-2149.2012.00274.x. PMID 23322641. S2CID 7308674.
- ↑ Truax, Barry (1999). "Handbook for Acoustic Ecology" (2 ed.). ARC Publications, World Soundscape Project, Simon Fraser University.
- 1 2 Franks, John R.; Stephenson, Mark R.; Merry, Carol J., eds. (June 1996). Preventing Occupational Hearing Loss – A Practical Guide (PDF). National Institute for Occupational Safety and Health. p. 88. Retrieved 2009-07-15.
the threshold for pain is between 120 and 140 dB SPL.
- ↑ Newman, Edwin B. (1972-01-01). "Speech and Hearing". American Institute of Physics handbook. New York: McGraw-Hill. pp. 3–155. ISBN 007001485X. OCLC 484327.
The upper limit for a tolerable intensity of sound rises substantially with increasing habituation. Moreover, a variety of subjective effects are reported, such as discomfort, tickle, pressure, and pain, each at a slightly different level. As a simple engineering estimate it can be said that naive listeners reach a limit at about 125 dB SPL and experienced listeners at 135 to 140 dB.
- ↑ Nave, Carl R. (2006). "Threshold of Pain". HyperPhysics. SciLinks. Retrieved 2009-06-16.
A nominal figure for the threshold of pain is 130 decibels ... Some sources quote 120 dB as the pain threshold