This letter is based on my 35 years of working with hard of hearing musicians at the Musicians’ Clinics of Canada. Over the past few years an assortment of new technologies for hearing aids have become available that will allow hard of hearing audiophiles and musicians to reprogram their hearing aids once they leave the audiologist’s office. While on the surface this appears to be a good idea- one can fine tune the hearing aids in real life situations with real life musical instruments- there can be some drawbacks.
Recently the tools that audiologists use to program hearing aids have been made available for purchase by anyone. These include the fitting software for any number of hearing aid manufacturers, the interface box between the computer and the hearing aid called HI-PRO, and the necessary wires and cables that can connect the HI-PRO interface to the hearing aids. These can be expensive, but given the cost of many hearing aids, these tools pale in comparison on a cost basis to the hearing aid expenditure. Of course the cost is for much more than the physical hearing aid. It consists of prescribing the correct amount of (possibly level dependent) gain and limits of the frequency response, follow-up, and most importantly the verification that the hearing aid actually does what it is supposed to do.
The short story is that I recommend that you leave the programming and verification in the hands of the audiologist. While this last statement sounds paternalistic, let me give you the longer story to explain why this is actually for your own protection.
There are many hearing aid parameters that need to be adjusted and verified by the audiologist. To be fair, most of these parameters are rather benign and the worst case scenario is for you to reset them to the initial settings. These may include the frequency response, the various features of the compressors (including kneepoint thresholds, attack and release time, and compression ratio). These parameters are probably well known to musicians and audiophiles. Many use software for music composition and recording that has all of these parameters such as Logic Pro. I would suspect that the experienced musician probably knows as much about these parameters, especially for music, than many audiologists.
The one parameter that can cause additional permanent hearing loss (also found in the LogiPro and other music software) is the maximum sound that can be transduced through hearing aids. Audiologists refer to this as the OSPL90, or maximum Output Sound Pressure Level with 90 dB SPL input. If the OSPL90 is set too high, then permanent future hearing loss can occur.
This is where the audiologist comes in, armed with Boyle’s Law.
Boyle’s Law is a 17th century discovery made at Imperial College in London, England. Boyle found that in an enclosed volume the pressure was inversely related to the volume- the smaller the volume, the higher the pressure, and this includes the sound pressure as well. We learn this in high school chemistry classes as part of the ideal gas law. This is also why balloons tend to explode when one sits on them- the volume is decreased to a point where the pressure is so great that the balloon explodes.
The maximum output or OSPL90 that will be seen on the hearing aid fitting software is a number measured in a 2 cc coupler. That number is fairly accurate if your ear canal with a hearing aid in place has a volume of 2 cc but we rarely see that “average person”. People with smaller volume ear canals such as children, have a much greater sound level generated at their eardrums than what the OSPL90 number will indicate. This can easily be as much as a 10-15 dB difference, depending on the frequency.
Of the many tests that an audiologist uses to verify hearing aid function, there is a device called a probe tube microphone measurement. As the name implies this is a controlled miniature microphone situated at the end of a long silicon tube that can measure precisely what the hearing aid generates. Without verifying the sound levels in a person’s ear one cannot be sure that the sound levels are too great.
In the near future, other technologies will be coming onto the market that again, will allow the hard of hearing audiophile or musician to program their own hearing aids. If you are so predisposed, go ahead and experiment with the frequency response, and compression characteristics, but also make an appointment with your local audiologist to have them ensure that the set-up does not generate sound levels that are too great.
Audiologists can verify that this is the case, and can even provide you with a frequency-by-frequency correction/calibration curve that translates the numbers on the computer screen to actual sound levels that can be generated in your ear canals.