Previous studies have shown that blind individuals outperform sighted controls in a variety of auditory tasks; however, only few studies have investigated blind listeners’ speaker identification abilities. In addition, existing studies in the area show conflicting results. The presented empirical investigation with 153 blind (74 of them congenitally blind) and 153 sighted listeners is the first of its kind and scale in which long-term memory effects of blind listeners’ speaker identification abilities are examined. For the empirical investigation, all listeners were evenly assigned to one of nine subgroups (3 x 3 design) in order to investigate the influence of two parameters with three levels, respectively, on blind and sighted listeners’ speaker identification performance. The parameters were a) time interval; i.e. a time interval of 1, 3 or 6 weeks between the first exposure to the voice to be recognised (familiarisation) and the speaker identification task (voice lineup); and b) signal quality; i.e. voice recordings were presented in either studio-quality, mobile phone-quality or as recordings of whispered speech. Half of the presented voice lineups were target-present lineups in which the previously heard target voice was included. The other half consisted of target-absent lineups which contained solely distractor voices. Blind individuals outperformed sighted listeners only under studio quality conditions. Furthermore, for blind and sighted listeners no significant performance differences were found with regard to the three investigated time intervals of 1, 3 and 6 weeks. Blind as well as sighted listeners were significantly better at picking the target voice from target-present lineups than at indicating that the target voice was absent in target-absent lineups. Within the blind group, no significant correlations were found between identification performance and onset or duration of blindness. Implications for the field of forensic phonetics are discussed.

Natural soundscapes such as from a forest, a busy restaurant, or a busy intersection are generally composed of a cacophony of sounds that the brain needs to interpret either independently or collectively. In certain instances sounds - such as from moving cars, sirens, and people talking - are perceived in unison and are recognized collectively as single sound (e.g., city noise). In other instances, such as for the cocktail party problem, multiple sounds compete for attention so that the surrounding background noise (e.g., speech babble) interferes with the perception of a single sound source (e.g., a single talker). I will describe results from my lab on the perception and neural representation of auditory textures. Textures, such as a from a babbling brook, restaurant noise, or speech babble are stationary sounds consisting of multiple independent sound sources that can be quantitatively defined by summary statistics of an auditory model (McDermott & Simoncelli 2011). How and where in the auditory system are summary statistics represented and the neural codes that potentially contribute towards their perception, however, are largely unknown. Using high-density multi-channel recordings from the auditory midbrain of unanesthetized rabbits and complementary perceptual studies on human listeners, I will first describe neural and perceptual strategies for encoding and perceiving auditory textures. I will demonstrate how distinct statistics of sounds, including the sound spectrum and high-order statistics related to the temporal and spectral correlation structure of sounds, contribute to texture perception and are reflected in neural activity. Using decoding methods I will then demonstrate how various low and high-order neural response statistics can differentially contribute towards a variety of auditory tasks including texture recognition, discrimination, and categorization. Finally, I will show examples from our recent studies on how high-order sound statistics and accompanying neural activity underlie difficulties for recognizing speech in background noise.