Hear The Music

This is the first in a series of blogs outlining some of what we know about optimal music recording.  When reading through these blogs one should be struck that we really know everything we need to know already when it comes to recording.  In some cases, what was learned in our first year audiology class provided  “obvious” recording cues (such

Depending on the three ways that acoustic feedback management is implemented, one should think twice about enabling such a feature.  The three ways that have been used are: (1) phase cancellation, (2) overall reduction of gain, and (3) notch filtering. As discussed in Part I of this blog last week, phase cancellation is based on the generation of a sound

When all is considered, one can truly say that the real advantage of digital hearing aids is feedback management allowing the hearing aid wearer to achieve more gain before feedback is encountered.  There is scant evidence about the benefit of any of the other “advanced features” in hearing aids.  And other than feedback management (and perhaps a greater bandwidth) hearing

Our first knee jerk reaction is that the word “music” and the word “distortion” should not be uttered in the same sentence.  Music is good (or at least should be of high fidelity) and distortion is, well,… distortion. But if it weren’t for distortion, music would be thin and boring, and speech would be completely unintelligible.  Without distortion, music would

This week’s blog is written in the form of a one page information article that can be given to our patients, or in public education materials about hearing loss prevention.  I would suggest leaving out the first paragraph that talks about the recent retirement of Dr. Donald Henderson and start with the paragraph “All cells have a …” Last week

Jim Marshall, also known as the “Father of Loud” passed away at the beginning of April.  You don’t need to be a musician to know that the name Marshall is ubiquitous in the field and is a popular music amplifier and loudspeaker combination. Marshall was born in London, England, on July 29, 1923.  As a child he was struck with

The -6 dB / octave microphone is less sensitive for the lower frequencies of speech and music.  And many of the lower frequency components are also the intense ones.  The net result is that a lower sound level reaches the analog-to-digital (A/D) converter.  The net benefit is that the A/D converter is not as easily over driven.  There is less

In part I of this blog we will overview the basis behind the use of the -6 dB/octave microphone.  In part II we will talk about whether it should not only be used for music, but perhaps for both speech and music.  Should the – 6 dB/octave microphone be the standard of care and a broad band microphone be the

When it comes to music, is an extended low end better? The energy spectrum of speech is from roughly the middle of the piano keyboard to a little higher than the highest note on the right side.  The entire left side of the piano keyboard is unknown to speech and questions arise why we even have a left side of

Clearly the most important stimulus that a hearing aid design engineer needs to be concerned about is speech.  Understandably music is a secondary concern.  There are many similarities between music and speech, so designing something for speech will not actually be that different than a circuit or a software program for music. Both speech and music are wide band spectra