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This paper will describe the efforts of an Australian-based multidisciplinary working group to develop guidelines for protecting the hearing of patrons at music venues. As a starting point, the group considered the various European standards and regulations that require venue operators to limit the sound levels emitted at venues, provide hearing protection, information for patrons, and sound level monitoring. Following an iterative drafting process which incorporated feedback from group members, a consensus document was produced which included agreed requirements relating to hearing protection, information for patrons, and sound level monitoring. The most challenging aspect was reaching agreement on sound level limits, where a number of different views needed to be accommodated.
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Analysis of test data received from a recent Dutch survey of musicians’ universal fit earplugs and numerous EN352-2 tests of custom earpieces fitted with linear filters reveals far more than acoustic performance of the products. Data from REAT testing can be used to determine ease of use, fit, and volumetric information of ear canals, providing better individual fit and performance advice for musicians. With this in mind it is proposed that a new test, based on REAT, be introduced.
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Musicians Earplugs (MEPs) are custom-fitted passive hearing protection devices that are intended to maintain the relative loudness of sound across frequencies, while providing a modest amount of attenuation. To achieve the intended performance, the earplug must be sufficiently long (past the ear canal's 2nd bend) and the earplug's hollow sound bore must have acoustic mass that falls within manufacturer specifications. Herein, we report the performance of MEPs made from Lantos ear scans and digitally manufactured to correct, as well as incorrect, acoustic specifications for a cohort of ears. Data show that the uniformity of attenuation and occlusion effect magnitude were heavily influenced by the length of the earplug in the ear canal. The acoustic mass of the sound bore of the earplug did not significantly influence the occlusion effect magnitude, and had modest effect on the uniformity of attenuation across 125 – 8000 Hz.
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A variety of unusual and challenging auditory events may affect musicians and recording engineers, particularly when associated with perceptions of excessive loudness, pitch anomalies, aversions to specific sounds, and the sensation of pain in the ears. This presentation will review mechanisms associated with disordered sound tolerance (DST), including exposure characteristics, and the many physiologic changes that result in unusual auditory symptoms such as tinnitus, hyperacusis, diplacusis, and auditory nociception, or the sensation of pain in the ears triggered by sound. Consensus regarding terminology of symptoms of DST is lacking among hearing health care professionals; labeling schemes related to elements of DST will be reviewed, as will the relation between audiometric status and DST.
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Music exposure can pose a problem, especially with the advent of “portable” music. Despite the complexity of the human auditory system, it does not know the difference between industrial noise and music. Indeed, many of the factors can equally affect music exposure as well as industrial exposure. This talk is an overview of those factors affecting hearing for musicians as well as environmental strategies and hearing protection to minimize the potential damaging effects of music.
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Otoacoustic emissions (OAEs) were recorded in participants from three groups: 1) non-band students, 2) marching band students, 3) band directors. OAE results were compared across 190 ears of non-band students, 320 of band musicians, and 128 ears of band directors. There were highly significant differences between participants in terms of OAE amplitude. The greatest OAE amplitudes were found for non-band student musicians, followed by student band musicians, and the least amplitudes were found in band directors.
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At equal sound exposure levels, listeners with a pre-existing hearing loss are less vulnerable to music-induced hearing damage than listeners with no hearing loss. But such listeners require and often prefer to listen to music with additional amplification. But how much gain and to what output levels (in dB) are safe is somewhat unknown at this time. In this study, we use computational models to predict hearing threshold shifts from amplified music exposure. We estimate safe output limits and corresponding free-field exposure limits for listening to music with hearing amplification by minimizing permanent and temporary threshold shifts.
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As part of a larger study of sound (pressure) levels in small and midsized live music venues, the effects of using sound level management software (10EsZy) on sound exposure levels of patrons and staff was investigated. Overall, no reduction in sound level exposure was observed, however, results suggest that use of 10EaZy led to significantly less time spent at higher volumes as measured for loud performances.
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Our recent studies assessing young-adult college student cohorts from diverse geographic regions have failed to detect statistically significant relationships between various audiometric measures and self-reported recreational noise exposure history. All studies collected retrospective cross-sectional data; in addition, a subset of subjects were followed prospectively to assess potential auditory effects of new loud recreational activities. Testing has included tympanometry, pure-tone detection thresholds, word-in-noise identification tests, distortion product otoacoustic emission (DPOAE) amplitude, and auditory brainstem response (ABR) amplitude measurements. There have been no reliable relationships between self-reported recreational noise history and auditory function in young adult populations from Nashville (Tennessee), Gainesville (Florida), and Dallas (Texas). In a single study assessing changes in function following loud recreational event exposures, temporary word-in-noise deficits were detected as a function of increasing noise exposure dose, but ABR amplitude was unchanged. Taken together, temporary changes in function have largely been restricted to changes on the word-in-noise test and no permanent deficits have been observed in association with recreational sound exposure. These data contrast with other reports including musicians and firearm users as subjects. A major ongoing challenge to the field is the lack of consensus on specific functional tests.
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Music and speech have some differences that include spectral shape, intensity, and “crest factors.” Most modern digital hearing aids cannot handle the more intense inputs that are characteristic of music. Four new technologies and four clinical strategies will be provided to optimize hearing aids for music as well as for speech. These technologies are designed to circumvent some problems associated with the analog-to-digital conversion process—a major weak point with many modern hearing aids.
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