Novel illusions from hearing different sounds in the two ears – and how they happen in the brain

Lina Reiss – reiss@ohsu.edu

Instagram: @reiss.lina
Oregon Health and Science University, 3181 SW Sam Jackson Park Road, Portland, Oregon, 97239, United States

Stephen David
Bluesky: @stephenvdavid.bsky.social
Oregon Health and Science University

Michela Mondesir
Oregon Health and Science University

Miles Carter
Instagram: @meelos22
Oregon Health and Science University and University of Pittsburgh.

Popular version of 1aAB2 – Neural correlates of binaural fusion
Presented at the 190th ASA Meeting
Read the abstract at https://eppro01.ativ.me/web/planner.php?id=ASASPRING2026

–The research described in this Acoustics Lay Language Paper may not have yet been peer reviewed–

If you listen to two different sounds that are similar in pitch across the ears, something strange happens. The two sounds blend perceptually to create an illusion of a new sound, similar to what happens with different colors across the eyes.

For example, if you listen here with stereo headphones to the vowels “ah” as in hot and “ee” as in heed, spoken by two different talkers with different voice pitch – a male talker and a female talker – you will hear two vowels.

Diagram showing an inllustrated face with 'ah' in blue for low male pitch and 'ee' in red for high female pitch as two distinct sounds.Figure 1. Perception when two different vowels are played to the two ears at different pitch. Play different pitch example. Note: Stereo headphones are necessary to experience the illusion

But if these same vowels are spoken by the same talker, you will experience something called binaural fusion (Reiss and Molis, 2021). Instead of hearing two different vowels, you will hear a single new vowel. This new vowel will be a blend of the two original vowels, something in between like “eh” as in head.

Diagram showing binaural fusion with a face and vowel sounds 'ah' and 'ee' at low male pitch merging into 'eh'.Figure 2. Perception when two different vowels are played to the two ears at the same pitch. Play same pitch example. Note: Stereo headphones are necessary to experience the illusion

This illusion is not confined to steady sounds, but also happens for sounds that are fluctuating, such as a tone that is fluctuating in one ear and steady in the other ear. This makes localization of the fluctuating tone difficult.

While we know that people experience binaural fusion, we don’t know what happens in the brain so that some sounds fuse while others are heard as distinct. It’s hard to measure detailed brain activity in humans, so we are now studying what happens in the brain of animals, in this case ferrets, when they experience the same illusion. The first thing we had to do was demonstrate that ferrets perceive these illusions the same way as humans. For vowels, ferrets were first trained to indicate when they heard the vowel “eh”, and to ignore the vowels “ah” and “ee”. When “ah” and “ee” were played to the two ears at the same pitch, the ferrets responded that they heard “eh”. Similarly, for fluctuating tones, ferrets were trained to indicate the side where they heard the fluctuating tone, and they experienced the same difficulties as human listeners.

As a next step, recordings from cells in the brain will reveal how brain activity leads to these illusory phenomena. Binaural fusion and the converse, binaural fission, are important to understand because together they underlie how the brain groups components of sound that belong to one source, such as a single talker, and separates those that belong to different sources, such as other talkers (Bregman, 1990; Bronkhorst, 2000).

It is shown that people with hearing loss, including those with cochlear implants, often experience excessive binaural fusion, and fuse voices of different pitch together (Reiss et al., 2014; 2017; 2018). Excessive binaural fusion explains a large portion of difficulties with understanding speech in noisy environments (Oh et al., 2022; 2023). Understanding how brain circuits encode binaural fusion and fission will show us how to train or rewire the brain to help people with hearing loss and other auditory processing disorders.

In the meantime, think about how you can come up with other new illusory sounds by combining two different sounds of the same pitch!


Works cited
Bregman, A. S. (1990). Auditory Scene Analysis (MIT Press, Cambridge, MA).
Bronkhorst, A. W. (2000). The cocktail party phenomenon: A review of research on speech intelligibility in multiple-talker conditions. Acta Acustica united with Acustica, 86(1), 117-128.
Oh, Y., Hartling, C. L., Srinivasan, N. K., Diedesch, A. C., Gallun, F. J., & Reiss, L. A. J. (2022). Factors underlying masking release by voice-gender differences and spatial separation cues in multi-talker listening environments in listeners with and without hearing loss. Frontiers in neuroscience, 16, 1059639.
Oh, Y., Srinivasan, N.K., Hartling, C.L., Gallun, F.J., and Reiss, L.A.J. (2023). Differential effects of binaural pitch fusion range on the benefits of voice gender differences in a ‘cocktail party’ environment for bimodal and bilateral cochlear implant users. Ear Hear. 44(2), 318–329.
Reiss, L. A., Fowler, J. R., Hartling, C. L., and Oh, Y. (2018) Binaural pitch fusion in bilateral cochlear implant users. Ear Hear. 39(2), 390-397.
Reiss, L.A., Ito, R.A., Eggleston, J.L., and Wozny, D.R. (2014). Abnormal binaural spectral integration in cochlear implant users. J. Assoc. Res. Otolaryngol., 15(2), 235–248.
Reiss, L.A.J., and Molis, M.R.. (2021) An Alternative Explanation for Difficulties with Speech in Background Talkers: Abnormal Fusion of Vowels across Fundamental Frequency and Ears. J. Assoc. Res. Otolaryngol., 22(4): 443-461.
Reiss, L.A., Shayman, C.S., Walker, E.P., Bennett, K.O., Fowler, J.R., Hartling, C.L., Glickman, B., Lasarev, M.R., and Oh, Y. (2017). Binaural pitch fusion: Comparison of normal-hearing and hearing-impaired listeners. J.Acoust. Soc. Am., 141(3), 1909–1920.

Music Features Prominently in Global Prehistoric Archaeology and Ancient Legends

Steven Waller – wallersj@yahoo.com

Rock Art Acoustics, Lemon Grove, CA, 91945, United States

Popular version of 2aMU6 – Musical Instruments Feature Prominently in Prehistoric Archaeology and Legends of Multiple Cultures
Presented at the 190th ASA Meeting
Read the abstract at https://eppro01.ativ.me/web/planner.php?id=ASASPRING2026

–The research described in this Acoustics Lay Language Paper may not have yet been peer reviewed–

Put yourself in the place of one of your early Stone Age human ancestors. As you are devouring a bird, you see a hollow bone that the wind could blow through, so you breathe into it. Imagine your surprise when the bone comes alive with the piercing sound of a shrill whistle, and then your further astonishment when an invisible spirit responds from a cave on the other side of the canyon with the exact same whistling.

Early peoples did not understand the wave nature of sound. The complex acoustic principles that cause sound production from musical instruments were totally inexplicable; that goes double for sound repetition in the form of echoes. Examples will be given of ancient myths from cultures around the world describing magic flutes and echo spirits. These attempts to explain mysterious sounds by attributing them to supernatural entities underscore the misperception of such sounds in the past as otherworldly.

Sound producing objects – including flutes, drums, and musical bows – are often depicted in prehistoric paintings and engravings, which are typically situated in acoustically reflective environments such as caves, canyons, and cliff faces. Evidence is accumulating to support the theory that such rock art was motivated by the echoes and reverberation heard in those special acoustic environments. Results of archaeoacoustic studies will be presented relating musical instruments to the content and context of prehistoric art.

Another example of misperception of musical sounds in the distant past pertains to Stonehenge and other megalithic stone circles known by the collective term “Pipers’ Stones”, from an ancient legend of two magical pipers. Experimental data show that sound wave interference patterns from two flutes or bagpipes can cause the auditory illusion of acoustic shadows that seem to be cast from a ring of massive rocks blocking the sound, when in actuality it is merely sound wave cancellation from the two sound sources.

These examples of musical instruments featuring prominently in prehistoric archaeology and in legends of multiple cultures emphasize the importance of considering how the human mind has perceived and interpreted sounds over time, especially when studying archaeological sites.

“The Cave Spoke Back” ebook, a collection of archaeoacoustic publications by Steven J. Waller, can be accessed at https://www.dropbox.com/scl/fo/zx0sc652ybovt6ijf5nl0/AC2bHC3yQbTvF8lhWj5yhSc?rlkey=6je6s4zmgc9ygqme599q4c40x&st=62vrgw3f&dl=0