These experiments show a tendency to segregate streams at repetition rates between 100-150 milliseconds, which relates to 16th notes at 100-150 BPM. Of course this range varies a bit from experiment to experiment, but the region around 125 BPM turns out to be critical for all experiments. Bregman points out that the influence of tone rate on the task of integrating tones to one stream is much bigger than on the task of hearing the tones as separate streams: While hearing a sequence as integrated becomes very hard with increased tempo, it is relatively easy to hear a sequence as separated streams even at slower tempi, as long as the pitches are not too close to each other. Bregman emphasizes this fact so much because 'the temporal coherence boundary indicates the point at which the auditory system is forced by automatic and primitive processes of organization to segregate the signal into two streams. The fission boundary, on the other hand, measures the limits of an attention-based processing creating a stream by a process of selection.' These are exactly the boundaries I pointed out as constitutive for Techno. The tempo range of House and Techno confirms this correlation. It is typically between 110 and 145 BPM, classic old-school Detroit tempo at 125-135 BPM.