In audiology and psychoacoustics the concept of critical bands, introduced by Harvey Fletcher in 1933[1] and refined in 1940,[2] describes the frequency bandwidth of the "auditory filter" created by the cochlea, the sense organ of hearing within the inner ear. Roughly, the critical band is the band of audio frequencies within which a second tone will interfere with the perception of the first tone by auditory masking.
Psychophysiologically, beating and auditory roughness sensations can be linked to the inability of the auditory frequency-analysis mechanism to resolve inputs whose frequency difference is smaller than the critical bandwidth and to the resulting irregular "tickling"[3] of the mechanical system (basilar membrane) that resonates in response to such inputs. Critical bands are also closely related to auditory masking phenomena – reduced audibility of a sound signal when in the presence of a second signal of higher intensity within the same critical band. Masking phenomena have wide implications, ranging from a complex relationship between loudness (perceptual frame of reference) and intensity (physical frame of reference) to sound compression algorithms.
^https://archive.org/details/bstj12-4-377 | Bell System Technical Journal, October 1933, "Loudness, its Definition, Measurement and Calculation"
^Fletcher, Harvey (1940). "Auditory Patterns". Reviews of Modern Physics. 12 (1): 47–65. Bibcode:1940RvMP...12...47F. doi:10.1103/RevModPhys.12.47.
^
Campbell, M.; Greated, C. (1987). The Musician's Guide to Acoustics. New York: Schirmer Books. ISBN 978-0-02-870161-5.
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