This article, authored by Rainer Banse and Klaus R. Scherer, explores the acoustic profiles of vocal emotion expression. The study involved professional actors portraying 14 emotions varying in intensity and valence, which were then analyzed for their acoustic parameters. The results replicated earlier findings on the ability of judges to infer emotions from vocal cues with high accuracy, highlighting differences in recognition accuracy across emotions. The acoustic analysis revealed that vocal parameters not only indicate the intensity of emotions but also differentiate between valence or quality aspects. The study tested theoretical predictions based on the component process model of emotion, finding that most hypotheses were supported, though some needed revision. Discriminant analysis and jackknifing showed high hit rates and confusion patterns similar to those found in listener-judge studies. The research also addressed the need for an increased number and variety of emotions studied, the role of activation-arousal versus valence-quality cues, and the patterns of errors in emotion recognition. The findings suggest that vocal emotion expression is differentially patterned, with specific acoustic characteristics indexing different emotional states. The study emphasizes the importance of a more theory-driven approach to understanding vocal emotion expression.This article, authored by Rainer Banse and Klaus R. Scherer, explores the acoustic profiles of vocal emotion expression. The study involved professional actors portraying 14 emotions varying in intensity and valence, which were then analyzed for their acoustic parameters. The results replicated earlier findings on the ability of judges to infer emotions from vocal cues with high accuracy, highlighting differences in recognition accuracy across emotions. The acoustic analysis revealed that vocal parameters not only indicate the intensity of emotions but also differentiate between valence or quality aspects. The study tested theoretical predictions based on the component process model of emotion, finding that most hypotheses were supported, though some needed revision. Discriminant analysis and jackknifing showed high hit rates and confusion patterns similar to those found in listener-judge studies. The research also addressed the need for an increased number and variety of emotions studied, the role of activation-arousal versus valence-quality cues, and the patterns of errors in emotion recognition. The findings suggest that vocal emotion expression is differentially patterned, with specific acoustic characteristics indexing different emotional states. The study emphasizes the importance of a more theory-driven approach to understanding vocal emotion expression.