In music reproduction incorporating haptic display there is a need to know the human observer’s tolerance for asynchrony between presentations of audio (airborne vibration) and haptic content (in this case whole-body vibration). Two methods for measuring the human tolerance for such audio-haptic asynchrony were employed in experiments using recorded musical instrument sound as stimuli: judgments of the time-order of arrival of airborne versus structure-borne vibration, and judgments of subjective simultaneity that required no report of which component arrived first. Optimal intermodal delay values derived from the time-order judgments were related to the direct judgments of simultaneity for the same set of stimuli.
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