Masking of an auditory behaviour reveals how male mosquitoes use distortion to detect females

The mating behaviour of many mosquito species is mediated essentially by sound: males follow and mate with a female mid-flight by detecting and tracking the whine of her flight-tones. The stereotypical rapid frequency modulation (RFM) male behaviour, initiated in response to the detection of the female's flight-tones, has provided a means of investigating these auditory mechanisms while males are free-flying. Mosquitoes hear with their antennae, which vibrate to near-field acoustic excitation. The antennae generate nonlinear vibrations (distortion products, DPs) at frequencies that are equal to the difference between the two simultaneously presented tones, e.g. the male and female flight-tones, which are detected by mechanoreceptors in the auditory Johnston's organ (JO) at the base of the antenna. Recent studies indicated the male mosquito's JO is tuned not to the female flight-tone, but to the frequency difference between the male and female flight-tones. To test the hypothesis that mosquitoes detect this frequency difference, Culex quinquefasciatus males were presented simultaneously with a female flight-tone and a masking tone, which should suppress the male's RFM response to sound. The free-flight behavioural and in vivo electrophysiological experiments revealed that acoustic masking suppresses the RFM response to the female's flight-tones by attenuating the DPs generated in the nonlinear vibration of the antennae. These findings provide direct evidence in support of the hypothesis that male mosquitoes detect females when both are in flight through difference tones generated in the vibrations of their antennae owing to the interaction between their own flight-tones and those of a female.

Dynamic Analysis of Flexible Rotor Systems Subjected to Time-Varying Base Excitations

Rotor systems carried in transportation system or under seismic excitations are considered to have a moving base. The objective of this paper is to develop a general model for flexible rotor systems subjected to time-varying base excitations and study the direct effects of angular base motions on the dynamic behaviors of a simple rotor. The model is developed based upon finite element method and Lagrange’s equation. Two groups of Euler angles are introduced to describe the rotation of the rotor and the base, respectively. Six types of base motions are considered in the model. In the numerical simulations, three types of angular base motions (pitching, rolling and yawing) are considered and assumed to be sinusoidal varying with time. The effects of base angular amplitudes, base frequency and rotation speed on the system dynamic behaviors are discussed in detail. It is shown that pitching and yawing have a great influence on the response amplitudes and the shape of the rotor orbits. Especially, resonances occur when the base frequency meets the natural frequencies. The FFT and waterfall plots of the disk horizontal and vertical vibrations are marked with multiplications of the base frequency and sum and difference tones of the rotating frequency and the base frequency.

Sound Synthesis with Auditory Distortion Products

This article describes methods of sound synthesis based on auditory distortion products, often called combination tones. In 1856, Helmholtz was the first to identify sum and difference tones as products of auditory distortion. Today this phenomenon is well studied in the context of otoacoustic emissions, and the “distortion” is understood as a product of what is termed the cochlear amplifier. These tones have had a rich history in the music of improvisers and drone artists. Until now, the use of distortion tones in technological music has largely been rudimentary and dependent on very high amplitudes in order for the distortion products to be heard by audiences. Discussed here are synthesis methods to render these tones more easily audible and lend them the dynamic properties of traditional acoustic sound, thus making auditory distortion a practical domain for sound synthesis. An adaptation of single-sideband synthesis is particularly effective for capturing the dynamic properties of audio inputs in real time. Also presented is an analytic solution for matching up to four harmonics of a target spectrum. Most interestingly, the spatial imagery produced by these techniques is very distinctive, and over loudspeakers the normal assumptions of spatial hearing do not apply. Audio examples are provided that illustrate the discussion.