Frequency modulation (FM) detection was investigated in acoustic and electric hearing to characterize cochlear-implant subjects' ability to detect dynamic frequency changes and to assess the relative contributions of temporal and spectral cues to frequency processing. Difference limens were measured for frequency upward sweeps, downward sweeps, and sinusoidal FM as a function of standard frequency and modulation rate. In electric hearing, factors including electrode position and stimulation level were also studied. Electric hearing data showed that the difference limen increased monotonically as a function of standard frequency regardless of the modulation type, the modulation rate. the electrode position, and the stimulation level. In contrast, acoustic hearing data showed that the difference limen was nearly a constant as a function of standard frequency. This difference was interpreted to mean that temporal cues are used only at low standard frequencies and at low modulation rates. At higher standard frequencies and modulation rates, the reliance on the place cue is increased, accounting for the better performance in acoustic hearing than for electric hearing with single-electrode stimulation. The present data suggest a speech processing strategy that encodes slow frequency changes using lower stimulation rates than those typically employed by contemporary cochlear-implant speech processors. (C) 2004 Acoustical Society of America.

One reason for the poor pitch performance in current cochlear-implant users may be the highly synchronized neural firing in electric hearing that lacks stochastic properties of neural firing in normal acoustic hearing. This study used three different electric stimulation patterns, jittered, probabilistic, and auditory-model-generated pulses, to mimic some aspects of the normal neural firing pattern in acoustic hearing. Pitch discrimination was measured at standard frequencies of 100, 250, 500, and 1000 Hz on three Nucleus-24 cochlear-implant users. To test the utility of the autocorrelation pitch perception model in electric hearing, one, two, and four electrodes were stimulated independently with the same patterned electric stimulation. Results showed no improvement in performance with any experimental pattern compared to the fixed-rate control. Pitch discrimination was actually worsened with the jittered pattern at low frequencies (125 and 250 Hz) than that of the control, suggesting that externally introduced stochastic properties do not improve pitch perception in electric stimulation. The multiple-electrode stimulation did not improve performance but did not degrade performance either. The present results suggest that both "the right time and the right place" may be needed to restore normal pitch perception in cochlear-implant users. (c) 2005 Acoustical Society of America.

It is important to know what cues the sensory system extracts from natural stimuli and how the brain uses them to form perception. To explore this issue, Smith, Delgutte, and Oxenham [Nature (London) 416, 87-90 (2002)] mixed one sound's temporal envelope with another sound's fine temporal structure to produce auditory chimaeras and found that "the perceptual importance of the envelope increases with the number of frequency bands, while that of the fine structure diminishes." This study addressed two technical issues related to natural cochlear filtering and artificial filter ringing in the chimaerizing algorithm. In addition, this study found that the dichotomy in auditory perception revealed by auditory chimaeras is an epiphenomenon of the classic dichotomy between low- and high-frequency processing. Finally, this study found that the temporal envelope determines sound location as long as the interaural level difference cue is present. The present result reinforces the original hypothesis that the temporal envelope is critical for speech perception whereas temporal fine structure is critical for pitch perception, but does not support the assertion regarding the temporal envelope and fine structure as the acoustic basis for the "what" and "where" mechanisms. (C) 2004 Acoustical Society of America.