{"id":2735,"date":"2021-05-05T06:42:36","date_gmt":"2021-05-05T06:42:36","guid":{"rendered":"https:\/\/blogs.qsc.com\/live-sound\/?p=2735"},"modified":"2021-05-05T06:42:37","modified_gmt":"2021-05-05T06:42:37","slug":"auditory-masking-and-its-effect-on-our-perception-of-sound","status":"publish","type":"post","link":"https:\/\/blogs.qsc.com\/live-sound\/fr\/le-masquage-auditif-et-son-effet-sur-notre-perception-des-sons\/","title":{"rendered":"Le masquage auditif et son effet sur notre perception des sons"},"content":{"rendered":"<div class=\"trp_language_switcher_shortcode\">\n<div class=\"trp-language-switcher trp-language-switcher-container\" data-no-translation>\n    <div class=\"trp-ls-shortcode-current-language\">\n        <a href=\"#\" class=\"trp-ls-shortcode-disabled-language trp-ls-disabled-language\" title=\"Fran\u00e7ais\" onclick=\"event.preventDefault()\">\n\t\t\t Fran\u00e7ais\t\t<\/a>\n    <\/div>\n    <div class=\"trp-ls-shortcode-language\">\n                <a href=\"#\" class=\"trp-ls-shortcode-disabled-language trp-ls-disabled-language\"  title=\"Fran\u00e7ais\" onclick=\"event.preventDefault()\">\n\t\t\t Fran\u00e7ais\t\t<\/a>\n                    <a href=\"https:\/\/blogs.qsc.com\/live-sound\/fr\/wp-json\/wp\/v2\/posts\/2735\" title=\"English\">\n             English        <\/a>\n\n            <a href=\"https:\/\/blogs.qsc.com\/live-sound\/fr\/wp-json\/wp\/v2\/posts\/2735\" title=\"Deutsch\">\n             Deutsch        <\/a>\n\n            <a href=\"https:\/\/blogs.qsc.com\/live-sound\/fr\/wp-json\/wp\/v2\/posts\/2735\" title=\"Espa\u00f1ol de M\u00e9xico\">\n             Espa\u00f1ol de M\u00e9xico        <\/a>\n\n        <\/div>\n    <script type=\"application\/javascript\">\n        \/\/ need to have the same with set from JS on both divs. Otherwise it can push stuff around in HTML\n        var trp_ls_shortcodes = document.querySelectorAll('.trp_language_switcher_shortcode .trp-language-switcher');\n        if ( trp_ls_shortcodes.length > 0) {\n            \/\/ get the last language switcher added\n            var trp_el = trp_ls_shortcodes[trp_ls_shortcodes.length - 1];\n\n            var trp_shortcode_language_item = trp_el.querySelector( '.trp-ls-shortcode-language' )\n            \/\/ set width\n            var trp_ls_shortcode_width                                               = trp_shortcode_language_item.offsetWidth + 16;\n            trp_shortcode_language_item.style.width                                  = trp_ls_shortcode_width + 'px';\n            trp_el.querySelector( '.trp-ls-shortcode-current-language' ).style.width = trp_ls_shortcode_width + 'px';\n\n            \/\/ We're putting this on display: none after we have its width.\n            trp_shortcode_language_item.style.display = 'none';\n        }\n    <\/script>\n<\/div>\n<\/div>\n\n\n\n<p>Ce que nous entendons r\u00e9sulte de l\u2019interaction complexe entre des sources sonores (poss\u00e9dant des caract\u00e9ristiques audio propres) et l\u2019environnement (dans un local ou \u00e0 l\u2019ext\u00e9rieur), d\u00e9cod\u00e9e par nos oreilles et notre cerveau. Un certain nombre de sujets relatifs aux enceintes et aux salles ont d\u00e9j\u00e0 \u00e9t\u00e9 abord\u00e9s dans des blogs pr\u00e9c\u00e9dents (\u00ab<a href=\"https:\/\/blogs.qsc.com\/live-sound\/fr\/how-to-best-setup-your-loudspeakers-in-your-home-studio\/\" target=\"_blank\" rel=\"noreferrer noopener\">How to Best Setup Your Loudspeakers in Your Home Studio<\/a>', et '<a href=\"https:\/\/blogs.qsc.com\/live-sound\/fr\/how-to-correctly-place-a-subwoofer-in-a-room\/\" target=\"_blank\" rel=\"noreferrer noopener\">Comment placer correctement un caisson de graves dans une pi\u00e8ce<\/a>\u00bb). Cet article pr\u00e9sente un aspect sp\u00e9cifique de l\u2019audition humaine et la mani\u00e8re dont il affecte notre perception.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Qu\u2019est-ce que le masquage auditif ?<\/strong><\/h3>\n\n\n\n<p>Nos oreilles collaborent avec notre cerveau pour cr\u00e9er les sons que nous entendons dans notre t\u00eate. Si certains ph\u00e9nom\u00e8nes sont directement li\u00e9s \u00e0 notre appareil auditif (tympans, os, cochl\u00e9e, etc.), d\u2019autres interviennent dans notre cerveau lorsqu\u2019il d\u00e9code les informations re\u00e7ues via les nerfs auditifs. L\u2019un de ces ph\u00e9nom\u00e8nes, appel\u00e9 masquage auditif, pr\u00e9sente un int\u00e9r\u00eat particulier car il peut d\u00e9former notre perception des sons.<\/p>\n\n\n\n<p>Le masquage auditif se produit lorsque la perception d\u2019un son est affect\u00e9e et g\u00ean\u00e9e par la pr\u00e9sence d\u2019un autre son. Dans le domaine fr\u00e9quentiel, le masquage auditif est connu sous le nom de masquage simultan\u00e9, masquage fr\u00e9quentiel ou masquage spectral. Le masquage auditif dans le domaine temporel est appel\u00e9 masquage temporel ou non simultan\u00e9. Dans cet article, nous nous concentrerons sur le masquage simultan\u00e9 qui se produit lorsqu\u2019un signal, le son que nous voulons entendre, est alt\u00e9r\u00e9 par un son masquant, survenant en m\u00eame temps.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Seuil masqu\u00e9<\/strong><\/h3>\n\n\n\n<p>Allons plus loin et voyons ce que signifie \u00ab seuil masqu\u00e9 \u00bb. Tout d\u2019abord, le seuil non masqu\u00e9 d\u00e9finit le niveau le plus faible d\u2019un signal qui peut \u00eatre per\u00e7u hors pr\u00e9sence d\u2019un signal de masquage. Le seuil masqu\u00e9 est le niveau le plus faible du signal per\u00e7u lorsqu\u2019il est combin\u00e9 \u00e0 un son de masquage sp\u00e9cifique.<\/p>\n\n\n\n<p>La quantit\u00e9 de masquage est la diff\u00e9rence entre le seuil masqu\u00e9 et le seuil non masqu\u00e9. Par exemple, si le seuil non masqu\u00e9 est de 20 dB et que le seuil masqu\u00e9 est de 36 dB, la quantit\u00e9 de masquage sera de 16 dB.<\/p>\n\n\n\n<p>Le test de masquage auditif de base consiste \u00e0 mesurer les seuils non masqu\u00e9s sur un sujet. Ensuite, on m\u00e9lange au signal initial le bruit de masquage, introduit \u00e0 un niveau de pression acoustique fixe. On fait alors varier le niveau du signal initial jusqu\u2019\u00e0 ce que le nouveau seuil soit \u00e9tabli et mesur\u00e9, d\u00e9finissant ainsi ce seuil masqu\u00e9.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Masquage simultan\u00e9 de fr\u00e9quences proches<\/strong><\/h3>\n\n\n\n<p>Le masquage simultan\u00e9 se produit lorsqu\u2019un son est rendu inaudible par un bruit, ou masque, de m\u00eame dur\u00e9e que le son original. L\u2019efficacit\u00e9 du masquage (\u00e9l\u00e9vation du seuil du son original) d\u00e9pend de la fr\u00e9quence de ce son et de la fr\u00e9quence du masque.<\/p>\n\n\n\n<p>Le masquage est maximal lorsque le masque et le son sont de fr\u00e9quence identique, et cet effet diminue \u00e0 mesure que la fr\u00e9quence du son s\u2019\u00e9loigne de celle du masque. Ce ph\u00e9nom\u00e8ne est appel\u00e9 masquage sur la fr\u00e9quence et se produit parce que le masque et le son original se trouvent dans le m\u00eame filtre auditif, ce qui signifie que l\u2019auditeur ne peut pas les distinguer, car ils sont per\u00e7us comme un seul signal.<\/p>\n\n\n\n<p>L\u2019illustration 1 ci-dessous illustre le ph\u00e9nom\u00e8ne de masquage simultan\u00e9 en utilisant un son de masquage centr\u00e9 sur 410 Hz. Vous remarquerez que les profils de masquage changent en fonction de l\u2019intensit\u00e9 du masque. \u00c0 faible niveau sonore, avec des sons masquants autour de 20 \u00e0 40 dB, les profils de masque n\u2019affectent pas beaucoup nos capacit\u00e9s d\u2019\u00e9coute. Lorsque l\u2019intensit\u00e9 du masque augmente (50 \u00e0 80 dB), les courbes de masquage s\u2019\u00e9largissent, en particulier pour les sons dont la fr\u00e9quence est sup\u00e9rieure \u00e0 celle du masque. Ce ph\u00e9nom\u00e8ne s\u2019appelle la propagation du masquage vers le haut, et c\u2019est pour cette raison qu\u2019un son parasite masque beaucoup plus les signaux de haute fr\u00e9quence que ceux de basse fr\u00e9quence.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-style-default\"><img decoding=\"async\" width=\"900\" height=\"622\" src=\"https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2.png\" alt=\"\" class=\"wp-image-2742\" srcset=\"https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2.png 900w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-300x207.png 300w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-768x531.png 768w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-250x173.png 250w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-550x380.png 550w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-800x553.png 800w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-260x180.png 260w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-434x300.png 434w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-1_Auditory-Masking_410-Hz-masker-2-723x500.png 723w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><figcaption><strong>Illustration 1<\/strong> \u2013 Profils de masquage utilisant un masque \u00e0 bande-passante \u00e9troite centr\u00e9 sur 410 Hz \u00e0 diff\u00e9rents niveaux sonores. Les niveaux de d\u00e9cibels en bleu indiquent les diff\u00e9rentes intensit\u00e9s du masque pour chaque courbe de masquage correspondante.  [R\u00e9f\u00e9rence 1].<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Masquage dans les basses fr\u00e9quences<\/strong><\/h3>\n\n\n\n<p>Maintenant, si nous r\u00e9p\u00e9tons l\u2019exp\u00e9rience en utilisant un son de masquage \u00e0 150 Hz, le r\u00e9sultat se propage plus vers le haut, vers les hautes fr\u00e9quences. Le ph\u00e9nom\u00e8ne de masquage auditif devient plus prononc\u00e9 et s\u2019\u00e9tend plus loin dans le spectre sonore.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-style-default\"><img decoding=\"async\" width=\"900\" height=\"761\" src=\"https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker.png\" alt=\"\" class=\"wp-image-2749\" srcset=\"https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker.png 900w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-300x254.png 300w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-768x649.png 768w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-250x211.png 250w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-550x465.png 550w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-800x676.png 800w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-213x180.png 213w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-355x300.png 355w, https:\/\/blogs.qsc.com\/app\/uploads\/sites\/3\/2021\/04\/Fig-2_Auditory-Masking_150-Hz-masker-591x500.png 591w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><figcaption><strong>Illustration 2<\/strong> \u2013 Profils de masquage utilisant un masque \u00e0 bande-passante \u00e9troite centr\u00e9 sur 150 Hz \u00e0 diff\u00e9rents niveaux sonores. Les niveaux de d\u00e9cibels en bleu indiquent les diff\u00e9rentes intensit\u00e9s du masque pour chaque courbe de masquage correspondante.  [R\u00e9f\u00e9rence 2].<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Alt\u00e9ration de la perception subjective du son<\/strong><\/h3>\n\n\n\n<p>Voyons maintenant comment le masquage auditif modifie notre perception du son dans le contexte des configurations d\u2019enceintes et de caissons de graves. D\u2019apr\u00e8s les exemples et les graphiques ci-dessus, nous pouvons pr\u00e9voir que si les niveaux de restitution sont r\u00e9gl\u00e9s trop haut dans les fr\u00e9quences basses et bas-m\u00e9dium, il se produira un masquage auditif qui alt\u00e9rera essentiellement nos capacit\u00e9s auditives dans le spectre situ\u00e9 au-dessus des sons de masquage.<\/p>\n\n\n\n<p>Dans n\u2019importe quel syst\u00e8me de sonorisation, en salle ou \u00e0 l\u2019ext\u00e9rieur, si un caisson de graves restitue un niveau excessif de basses fr\u00e9quences, le bas-m\u00e9dium appara\u00eetra subjectivement brouillon, mal d\u00e9fini, manquant de clart\u00e9 et de dynamique. L\u2019ensemble du contenu musical sur, disons, une octave de bas-m\u00e9dium, para\u00eet brouill\u00e9 et flou. Le niveau de certains instruments semble trop bas, le mixage audio n\u2019est plus \u00e9quilibr\u00e9. Le masquage auditif se produira, ind\u00e9pendamment de la conception et de la qualit\u00e9 de l\u2019enceinte ou du caisson de graves. Vos oreilles et votre cerveau perdent une partie des informations dans le spectre bas-m\u00e9dium.<\/p>\n\n\n\n<p>Les m\u00eames ph\u00e9nom\u00e8nes peuvent se produire avec une enceinte seule si elle est plac\u00e9e, par exemple, dans un coin de la pi\u00e8ce, pr\u00e8s de deux murs solides, sans aucune att\u00e9nuation de ses basses fr\u00e9quences. Ces parois modifient l\u2019espace de rayonnement acoustique de l\u2019enceinte et une augmentation des basses jusqu\u2019\u00e0 12 dB se produit au-dessous de 200 Hz dans la courbe de r\u00e9ponse de l\u2019enceinte. Ce niveau suppl\u00e9mentaire est assez important, et compromet, encore une fois, la perception du son dans le bas-m\u00e9dium.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Minimiser le masquage auditif<\/strong><\/h3>\n\n\n\n<p>Il existe une multitude de sc\u00e9narios o\u00f9 des niveaux de basses excessifs sont restitu\u00e9s, entra\u00eenant une alt\u00e9ration de la perception subjective du son et du contenu musical. Maintenant, vous vous demandez peut-\u00eatre que faire pour \u00e9viter cela ? La r\u00e9ponse est assez simple.<\/p>\n\n\n\n<p>R\u00e9duire l\u2019exc\u00e8s de basses fr\u00e9quences, soit dans le mixage, soit directement dans le syst\u00e8me de sonorisation, peut sembler frustrant, au d\u00e9but, car les graves ne sont effectivement plus aussi pr\u00e9sents. Cependant, les avantages sont imm\u00e9diats pour la d\u00e9finition et la clart\u00e9 du son que vous retrouvez dans le m\u00e9dium et le bas-m\u00e9dium. L\u2019objectif est de trouver le bon \u00e9quilibre, comme pour tout.<\/p>\n\n\n\n<p>En pratique, comment r\u00e9duire les niveaux de basses excessifs ? Il est possible d\u2019ajuster la balance du mixage audio (\u00e0 partir de la sortie principale de la table de mixage). S\u2019il s\u2019agit d\u2019un contenu pr\u00e9enregistr\u00e9 et lu, c\u2019est impossible, vous devrez donc r\u00e9gler votre syst\u00e8me de sonorisation. <a href=\"https:\/\/www.qsc.com\/fr\/son-live\/produits\/enceintes\/enceintes-amplifiees\/serie-qsc-k2tm\/\" target=\"_blank\" rel=\"noreferrer noopener\">Les enceintes QSC S\u00e9rie K.2\u2122<\/a> et <a href=\"https:\/\/www.qsc.com\/fr\/son-live\/produits\/enceintes\/enceintes-amplifiees\/ks-series-new\/\" target=\"_blank\" rel=\"noreferrer noopener\">les caissons de graves S\u00e9rie KS<\/a> ont tous un EQ int\u00e9gr\u00e9 qui permet de r\u00e9gler un filtre Shelve sous 200 Hz par exemple. Ces EQ flexibles et faciles \u00e0 utiliser peuvent \u00eatre configur\u00e9s et sauvegard\u00e9s dans la m\u00e9moire interne de l\u2019enceinte en tant que \u00ab Sc\u00e8ne \u00bb utilisateur, rappelable \u00e0 tout moment pour vos cas typiques d\u2019utilisation.<\/p>\n\n\n\n<p>De plus, les tables de mixage <a href=\"https:\/\/www.qsc.com\/fr\/son-live\/produits\/tables-de-mixage-touchmix\/\" target=\"_blank\" rel=\"noreferrer noopener\">QSC TouchMix<\/a> offrent toutes les fonctionnalit\u00e9s n\u00e9cessaires pour ajuster pr\u00e9cis\u00e9ment leurs sorties principales ou auxiliaires \u00e0 l\u2019aide des param\u00e8tres d\u2019\u00e9galisation usuels.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Conclusion<\/strong><\/h3>\n\n\n\n<p>Lorsqu\u2019un contenu avec trop de basses fr\u00e9quences est restitu\u00e9 par votre syst\u00e8me de sonorisation, un ph\u00e9nom\u00e8ne dit de masquage auditif se produit, compromettant votre perception du son. Afin de retrouver de la d\u00e9finition, de la clart\u00e9 et l\u2019\u00e9quilibre du contenu audio, il faut r\u00e9duire quelque peu les niveaux des basses fr\u00e9quences. Ce faisant, tous les \u00e9l\u00e9ments du mixage seront \u00e0 nouveau \u00e9quilibr\u00e9s, recr\u00e9ant ainsi un espace sonore tridimensionnel appropri\u00e9. N\u2019oubliez pas que ce que nous \u00e9coutons est la combinaison et l\u2019interaction complexe entre la source sonore, l\u2019environnement dans lequel nous nous trouvons et la fa\u00e7on dont nos oreilles et notre cerveau d\u00e9codent les sons. Il est donc utile de comprendre les forces et les faiblesses de chaque \u00e9l\u00e9ment de la cha\u00eene. Bonne \u00e9coute !<\/p>\n\n\n\n<hr class=\"wp-block-separator\" \/>\n\n\n\n<p><strong><u>R\u00e9f\u00e9rences<\/u><\/strong><\/p>\n\n\n\n<p>[1] Egan, J.P. and H.W. Hake, <em>On the masking pattern of a simple auditory stimulus. <\/em>The Journal of the Acoustical Society of America, 1950. 22(5): p. 622-630.<\/p>\n\n\n\n<p>[2] Tobias, J.V., <em>Low<\/em>\u2010<em>frequency masking patterns. <\/em>The Journal of the Acoustical Society of America, 1977. 61(2): p. 571-575.<\/p>","protected":false},"excerpt":{"rendered":"<p>Ce que nous entendons r\u00e9sulte de l\u2019interaction complexe entre des sources sonores (poss\u00e9dant des caract\u00e9ristiques audio propres) et l\u2019environnement (dans un local ou \u00e0 l\u2019ext\u00e9rieur), d\u00e9cod\u00e9e par nos oreilles et notre cerveau. Un certain nombre de sujets relatifs aux enceintes et aux salles ont d\u00e9j\u00e0 \u00e9t\u00e9 abord\u00e9s dans des blogs pr\u00e9c\u00e9dents... <a href=\"https:\/\/blogs.qsc.com\/live-sound\/fr\/le-masquage-auditif-et-son-effet-sur-notre-perception-des-sons\/\">Read More<\/a><\/p>","protected":false},"author":29,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,18,79,14,63,25,65,19,8,58],"tags":[160,107,136,146,173,174,112,61],"class_list":["post-2735","post","type-post","status-publish","format-standard","hentry","category-av-rental-presentation","category-djs-dance","category-educational","category-events","category-house-of-worship","category-k-family","category-k-2-series","category-musicians-bands","category-production","category-subwoofers","tag-french","tag-german","tag-hearing","tag-loudspeakers","tag-masking","tag-sound-perception","tag-spanish","tag-subwoofers"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.9 - 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