- all of reservations in my previous review have now been addressed. I recommend publication. -A couple of small points: 1. In footnote 14, it might be worth noting that [[the idea]] that we can hear the immediate past is touched on in Nudds (2010), which is referred to elsewhere in this paper. Nudds view is quite different to that put forward here, but he does talk about sounds as being heard as *having been* caused by a particular sort of event. 2. On page 10 around the point it says: "This musician is interested in the characteristic sound of the room, rather than the sound of the tuning fork, so it makes sense for her to consider the echo and reverb separately from the the striking of the tuning fork.". Might it be worth talking about the sound wave being shaped by (dimensions of) the room? This would seem to me to be a nice way of showing another way in which the broad event view can be used. Instead of the vocal folds, or the insides of a music instrument that can shape sound waves, but the (literally) the broader environment