The Curious Case of Impersonators and Singers: Telling Voices Apart and Telling Voices Together under Naturally Challenging Listening Conditions

Vocal identity processing depends on the ability to tell apart two instances of different speakers whilst also being able to tell together two instances of the same speaker. Whilst previous research has examined these voice processing capabilities under relatively common listening conditions, it has not yet tested the limits of these capabilities. Here, two studies are presented that employ challenging listening tasks to determine just how good we are at these voice processing tasks. In Experiment 1, 54 university students were asked to distinguish between very similar sounding, yet different speakers (celebrity targets and their impersonators). Participants completed a 'Same/Different' task and a 'Which is the Celebrity?' task to pairs of speakers, and a 'Real or Not?' task to individual speakers. In Experiment 2, a separate group of 40 university students was asked to pair very different sounding instances of the same speakers (speaking and singing). Participants were presented with an array of voice clips and completed a 'Pairs Task' as a variant of the more traditional voice sorting task. The results of Experiment 1 suggested that significantly more mistakes were made when distinguishing celebrity targets from their impersonators than when distinguishing the same targets from control voices. Nevertheless, listeners were significantly better than chance in all three tasks despite the challenge. Similarly, the results of Experiment 2 suggested that it was significantly more difficult to pair singing and speaking clips than to pair two speaking clips, particularly when the speakers were unfamiliar. Again, however, the performance was significantly above zero, and was again better than chance in a cautious comparison. Taken together, the results suggest that vocal identity processing is a highly adaptable task, assisted by familiarity with the speaker. However, the fact that performance remained above chance in all tasks suggests that we had not reached the limit of our listeners' capability, despite the considerable listening challenges introduced. We conclude that voice processing is far better than previous research might have presumed.

Multidimensional Timbre Spaces of Cochlear Implant Vocoded and Non-vocoded Synthetic Female Singing Voices

Many post-lingually deafened cochlear implant (CI) users report that they no longer enjoy listening to music, which could possibly contribute to a perceived reduction in quality of life. One aspect of music perception, vocal timbre perception, may be difficult for CI users because they may not be able to use the same timbral cues available to normal hearing listeners. Vocal tract resonance frequencies have been shown to provide perceptual cues to voice categories such as baritone, tenor, mezzo-soprano, and soprano, while changes in glottal source spectral slope are believed to be related to perception of vocal quality dimensions such as fluty vs. brassy. As a first step toward understanding vocal timbre perception in CI users, we employed an 8-channel noise-band vocoder to test how vocoding can alter the timbral perception of female synthetic sung vowels across pitches. Non-vocoded and vocoded stimuli were synthesized with vibrato using 3 excitation source spectral slopes and 3 vocal tract transfer functions (mezzo-soprano, intermediate, soprano) at the pitches C4, B4, and F5. Six multi-dimensional scaling experiments were conducted: C4 not vocoded, C4 vocoded, B4 not vocoded, B4 vocoded, F5 not vocoded, and F5 vocoded. At the pitch C4, for both non-vocoded and vocoded conditions, dimension 1 grouped stimuli according to voice category and was most strongly predicted by spectral centroid from 0 to 2 kHz. While dimension 2 grouped stimuli according to excitation source spectral slope, it was organized slightly differently and predicted by different acoustic parameters in the non-vocoded and vocoded conditions. For pitches B4 and F5 spectral centroid from 0 to 2 kHz most strongly predicted dimension 1. However, while dimension 1 separated all 3 voice categories in the vocoded condition, dimension 1 only separated the soprano stimuli from the intermediate and mezzo-soprano stimuli in the non-vocoded condition. While it is unclear how these results predict timbre perception in CI listeners, in general, these results suggest that perhaps some aspects of vocal timbre may remain.