Say What?

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

           

When fitting you for custom-molded IEMs, the audiologist first determines if you have excessive wax in your ear canals; if so, it must be removed. (Some audiologists do this themselves, or you might need to see a doctor.) Once your canals are clear, the audiologist squirts a thick silicone goo into each ear, which hardens after a few minutes into impressions of your ear canals. The audiologist then sends these impressions to the manufacturer, which makes the IEMs.

Custom-molded IEMs are relatively expensive, so several companies offer universal models. Future Sonics recently developed a universal IEM in collaboration with Sennheiser; called the EM3 ($200), it includes a covering of expandable foam, which provides a semicustom fit at a more affordable price. Other universal IEMs include the Etymotic Research ER-4 MicroPro ($330) and the Shure E1 single-driver ($193.80) and E5 dual-driver ($601.80).

Keep in mind that gear alone won't save your hearing. As Sensaphonics' Santucci puts it, “The biggest problem is that people think they're safe because they use IEMs. But you still have to be responsible and not turn them up too loud.” Garcia recommends that musicians use stereo monitoring because they can achieve greater clarity and separation at a lower overall SPL than with a mono system.

Dave Denny, a musician and engineer who has worked with Steve Miller and the Grateful Dead, makes an additional suggestion: add one or two mics pointed away from the stage and feed a bit of the audience sound into your monitor mix. This can overcome a performer's sense of being isolated and sealed off from the house ambience.

Audiologist and recording engineer Rachel Cruz emphasizes that musicians must maintain careful habits. “IEMs can be great for hearing conservation, or they can be a significant source of hearing loss,” she says. “It all depends on how you use them.” (For more on in-ear monitors, see “Stick It in Your Ear” in the April 2000 issue.)

LEAKS, SQUEAKS, AND PLUGS

If you can't afford IEMs, there are less expensive ways to protect yourself onstage. To reduce the SPL reaching your ears from floor monitors, get a pair of musician's earplugs, specially designed to provide relatively flat attenuation across the audible spectrum (see Fig. 5a). Keep your plugs handy for other loud environments, such as concerts, dance clubs, and movie theaters.

FIG. 5: Custom-molded earplugs include Etymotic Research filters that attenuate by 9, 15, or 25 dB with a relatively flat frequency response across the spectrum (a). By contrast, typical foam earplugs do not exhibit a flat attenuation with either a shallow or deep insertion into the ear (b); they reduce the high end much more than the low end, resulting in a muffled sound. The Etymotic ER-20 universal earplug’s relatively flat structure avoids the muffling effect of foam plugs.

As with IEMs, you can choose between universal plugs, such as Etymotic Research's ER-20 ($10), and the custom-molded variety, which can cost around $150. Sensaphonics, Westone Labs, and Future Sonics offer custom musician's earplugs with interchangeable filters from Etymotic Research that attenuate 9, 15, or 25 dB. As with custom IEMs, contact one of these companies for a referral to an associated audiologist in your area.

Ordinary foam plugs from the drugstore are better than nothing, but they do not provide flat attenuation; in particular, they tend to cut the highs much more than the lows (see Fig. 5b). Compared to the rest of what you probably spend on gear, quality earplugs are a reasonable investment.

Many musicians complain that IEMs and earplugs can feel odd; for one thing, your own voice sounds different when your ear canals are blocked, a phenomenon called the occlusion effect. At quiet moments, the sounds of your own breathing, swallowing, and even blood circulation can become distracting head noise.

One common attempt to solve these annoyances is to add a vent to the earpiece. But venting destroys the plug's protective effect — it's like poking a hole in a condom. Instead, audiologists recommend that you experiment with different filters for different situations, using the lowest attenuation necessary to protect yourself adequately. After a while you'll get used to the new sensations, just as you once had to get used to the feel of your drumsticks, keys, or strings. You'll reap the reward of clear sound at safe levels, and you'll get home from a gig or a night on the town without suffering from muffled conversation or ringing in your ears.

Try not to worry about being seen as a wimp for taking these precautions. You're actually on the leading edge of a trend. Everyone I spoke with at NAMM said sales of safe-hearing products have grown phenomenally in the past few years. Baby boomers hitting midlife with as much hearing loss as retirees now take the problem seriously, but so do many in today's health-conscious younger generation.

At NAMM, Daniel East, marketing director for Future Sonics, described fitting the preteen members of a bubblegum-pop group with earplugs and IEMs. The kids had just signed a record deal, and their parents wanted to make sure they had hearing protection built in to their careers from the start. To make hearing protection more fashionable, Etymotic Research markets the ER-20 universal plugs in an assortment of bright colors.

Perhaps the niftiest gizmo I saw at NAMM eliminates the potentially harmful zap — to gear as well as ears — that occurs when you unplug a cord from a live amp. Made by Sensonics, the Silenzer snaps onto the end of any plug and grounds it during unplugging; when the cord is in use, this safety wire slips out of the way. It's an elegant solution that its inventor, Stephen Ambrose, hopes will become an industry standard for safety and convenience.

AFTER THE RAIN

What if you're already dealing with significant hearing loss? First of all, it's important to protect the hearing you have left. In addition, talk to your audiologist about hearing aids. According to Dr. Jillian Barrett of California State University at Hayward, the new fully digital hearing aids have a wide frequency response and extensive programmability so that they can closely match your particular area of loss. Some new analog aids, also designed with the musician in mind, may be more affordable.

Unfortunately, tinnitus sufferers have fewer options; coping strategies are the main focus of tinnitus-oriented Web sites and support groups. The most common suggestion is to mask the internal roar with white noise, especially if you have trouble falling asleep. The easiest way to do this is to tune a radio between stations.

If you have significant hearing loss, do your part to educate your less-afflicted colleagues. My most memorable encounter at NAMM was with a drummer in his mid-30s who already suffers from permanent, serious tinnitus. “Get the kids to pay attention,” he urged me. “They think that they're invincible and that hearing loss only hits grandparents. Ten years ago I thought that too, but my ears were already damaged, and I just didn't know it. Now, it's hard for me to sleep, it's hard to be anyplace quiet. I'm still young, and I can't enjoy music like I used to.”

So listen up — use your common sense and the available resources to take care of your ears. It's the only way to make sure you'll enjoy a lifetime of listening and playing, studio gigs and concerts, and all the hotel rooms in between.

Joanna Cazden is a voice coach in Burbank, California, who often writes about musicians' health issues. You can contact her online at www.voiceofyourlife.com.