Hear The Music

Over the last month or so I have been receiving emails (and the occasional phone call, and even one fax… remember those?) about a recent post on my blog about what music can tell us about speech.  Given some of the questions I feel that it’s worth-while clarifying my statements.  Also, I have written an article about this issue that

I have asked the Queen of Deep Earmold Impressions to be the guest bloggist for today’s entry.  Patricia Johnson, AuD, is a research audiologist at Etymotic Research, Inc.  She is a past Member Delegate on the Executive Council of the National Hearing Conservation Association, wears hearing protection in loud environments, and always makes long ear impressions.  The topic of today’s blog

It was a cold winter morning, not unlike the days I remember when I was a youngster back home.  The troops were unusually quiet; perhaps related to the “party” we had last night.  The government had announced that they had discovered yet another digit for pi.  For obvious reasons, the celebration went into the small hours of the morning.  It

The vast majority of noise or music exposure is the result of “steady state” noise.  It is the almost constant level of noise or music over a prolonged period of time that results in eventual hearing loss.  Research from a number of sources and “models” suggests that prolonged exposure to 85 decibels (A-weighted) for about 40 hours a week, for

Because of the inherent problems with 16 bit hearing aid architecture, the “front end” of the hearing aid is frequently overdriven by intense inputs- specifically it is the analog to digital (A/D) converter and associated pre-amplifiers that is the culprit.  Intense inputs frequently come from music, but a hearing aid wearer’s own voice can also overdrive the input.  Normal conversational

Almost daily I am asked to make “deep-seated” earmolds for hearing protection and monitoring devices in the performing arts.  Clients come in and state that this must be done, even before I get to ask them their names. I must admit to being partly to blame since I helped to write the minimum requirements for many manufacturers of earmold technology. 

Traditionally, occupational noise exposure has been the “diagnosis of choice” for the hearing loss division of the various Worker’s Compensation Boards.  In Canada, Worker’s Compensation Boards have provincial jurisdictions and not federal.  In the European Union and many other countries, a federal or international standard is adhered to.  Regardless of which jurisdiction holds hegemony over hearing loss prevention and compensation,

From time to time (actually, almost daily), I receive inquiries from those in the performing arts who have either heard me give a talk or come across a paper on the Internet.  I usually begin my response with “Talk to your audiologist” or if they appear to be frustrated “I would be happy to chat with your audiologist if they

It is certainly not my policy, nor the policy of this blog, to talk about specific products in the hearing health care field. But from time to time technologies become available that are only encompassed in one product.  These are technologies that cause us to say, “Why didn’t I think of that?” or, in the words of Homer Simpson, “D’oh!” 

The musician is an acoustic athlete.  The only nonathletic  thing about musicians is that they are not represented at the Olympics.  Musicians suffer pulled muscles, strained backs, fatigue, depression, repetitive strain injuries, and in short, every type of injury athletes can suffer from. And on top of all that, musicians suffer from hearing loss, tinnitus, and hyperacusis, as well. A