The EM Poll

Say What?

Jan 11, 2008 4:14 PM, By Joanna Cazden

           

MUFFLER SHOP

NIHL does not reduce hearing response evenly across the frequency spectrum. Typically, problems are first noticed in the 3 to 4 kHz range, although losses at higher frequencies may already exist. Boosting overall levels to compensate — or just pushing the high end as you lose sensitivity there — is like having whiskey for breakfast to blot out a hangover. It makes matters worse in the long run, and if you're rocking the house that loudly all the time, it also hurts everyone around you.

NIHL comes on slowly, so how do you know you're in trouble? You may notice temporary effects after a gig, such as ringing in your ears or the sense that everything sounds muffled, or you may notice that you hear better with one ear than the other on the phone. Often soft, high-frequency sounds (such as the fizzing when you open a can of soda) disappear entirely.

These symptoms may come and go at first as the hair cells in your cochlea struggle to recover from each onslaught. But with repeated exposure, things get worse. Eventually the perception of all frequencies is permanently reduced, and additional ongoing symptoms, such as tinnitus or hyperacussis (hypersensitivity to sounds), may bring further discomfort and distress.

In addition, keep in mind that the frequency range from 3 to 5 kHz contains most spoken consonants — so with the onset of NIHL, normal speech may seem mumbled. (See the sidebar “DIY Hearing Test” for a simple early-warning test that uses speech sounds on the radio.) When guitarist Pete Townshend went public with his hearing problems in 1987, he said the saddest part was not being able to hear his children speak to him.

Prevention, protection, and early detection of hearing problems are essential for a long-term music career. Simple measures, such as avoiding nonmusical noise, can make a big difference. Any situation in which you must shout to be heard is likely to cause damage. Alcohol consumption, cigarette smoke, and marijuana have been shown to reduce the ear's resiliency, so cleaning up your act in those areas may benefit your hearing as well.

TAKE THE TEST

Where should you begin? Michael Santucci, president of Sensaphonics, a manufacturer of custom in-ear monitors (IEMs) and earplugs, explains that the cornerstone of hearing conservation is a thorough assessment by an audiologist, including an interview about your health history, musical habits, and other sources of noise exposure, such as outdoor hobbies or past military service. The audiologist will also ask about symptoms such as ear pain, temporary decreases in hearing sensitivity, or tinnitus.

He or she will then test you to establish a pure-tone hearing profile or audiogram that reveals the softest level or threshold at which you respond to various frequencies (see Fig. 4). (OSHA regulations specify that such a test is valid only if preceded by at least 14 hours of quiet time, so don't schedule your audiology appointment for the morning after a late, blasting gig!) If the interview or audiogram indicates that you have a problem that requires medical follow-up, the audiologist will refer you to an ear, nose, and throat physician.

FIG. 4: A hearing test produces an audiogram. Unlike most, this audiogram includes two measurements: typical readings for normal and noise-damaged hearing.

It's a good idea to schedule an annual checkup even if you don't notice any symptoms. These tests can catch subtle problems early, and if your hearing turns out to be normal, you'll have a baseline for future comparisons — and you'll feel a sense of relief. Keep in mind that the typical hearing test goes up only to 8 kHz; you should shop around for an audiologist whose equipment can measure response to frequencies as high as 12, 16, or even 20 kHz.

Hearing Education and Awareness for Rockers (HEAR), a San Francisco-based nonprofit organization, offers evening clinic appointments staffed by volunteer audiologists. Its Web site also provides a nationwide list of affiliated audiologists and doctors specializing in hearing conservation and tinnitus treatment who will understand your particular needs as a musician. (All audiologists on the HEAR Web site use equipment that tests above 8 kHz; those with a university affiliation may have access to research equipment that tests up to 20 kHz. See “Onstage Hotlinks” for this and other Web resources.)

DITCH THE HALL MONITOR

In rehearsal and performance, musicians need to hear themselves. But not everyone wants to hear everything, and cranking your own axe over the others just leads to competitive, potentially painful mush. So for musicians who want to maintain safe sound levels, an IEM system should be top priority.

According to Marty Garcia, president of IEM manufacturer Future Sonics, the first IEMs were developed in the mid-'80s in response to a different concern: vocal fatigue. Professional rockers needed to hear their singing over the rest of the mix to avoid blowing out their voices. Touring artists also wanted consistent monitor sound, independent of the acoustics in each hall.

These personal monitors were originally simple ear-bud headphones, a concept later refined into custom-molded earpieces, similar to those made for hearing aids. Garcia reports that in the early '90s Steve Miller recognized that as a bandleader (employer), he could be held legally liable for hearing damage to his entire crew, and he invested in research indicating that IEMs have the potential to offer better hearing protection than room monitors. (They can also cause more damage if misused.) Miller also required his band members to get annual hearing tests, and he specified in his contracts that house levels be kept under 90 dB.

Other pro musicians soon picked up the idea, with drummers among the earliest converts. According to Stephen Ambrose, another pioneer in the development of IEMs, country musicians were also especially receptive early on, because a lower-intensity, clearer monitor mix suited delicate instruments, such as the mandolin and fiddle, as well as their lyric-oriented material and typically smaller venues.

For the first time, musicians also had individual control of what they heard, using belt packs connected to the mixer with cables or wireless transceiver systems. (Companies such as Shure, Sennheiser, Nady, and AKG offer wireless systems.) Still, it quickly became clear that given the chance, players tended to listen at potentially damaging levels. In fact, an IEM in the ear canal has the potential to be even louder and more damaging than a stage monitor. To prevent that, Garcia explains, sound engineers must learn to set a safe peak limit, and each musician can then set his or her own level between 80 and 100 percent of that limit.

Custom-molded IEMs include the Westone Labs Ultimate Ears ($500 to $750), Sensaphonics ProPhonic ($650 to $850), and Future Sonics Ear Monitor brand ($798). Westone and Sensaphonics offer several models within their respective lines, including single- and dual-driver designs. To obtain a set, contact one of these companies for a referral to an audiologist in your area who can fit you for the product. (The prices quoted here are for the earpieces only — expect to spend considerably more on the other hardware components of your IEM system.)