Virtual CAOHC Certification Courses: A Success!

Earmark has been offering CAOHC approved occupational hearing conservation courses for years, but the shift to virtual courses was not an easy one. This change required approval from the CAOHC advisory board, an entirely new course structure, and rigorous development and testing of virtual solutions to replace the keystone section of the in-person certification course: the hands-on practicum. I believe all these changes have made the course stronger and more valuable for students.

Now that we have conducted several successful courses in 2021, and have many more on the schedule, I wanted to take a moment to look at what students are saying about their virtual course experience:

Excellent course and the instructor was great!

I loved the class.

Great course. Thank you for offering virtually!

We have also heard the request for students to have access to written material during the courses. That is why we have made it a priority to ship each student a full CAOHC Hearing Conservation Manual (5th Edition) and official CAOHC Study Guide ($92 value total) ahead of the courses. In addition, we are shipping a generous selection hearing protection devices to each student in order to improve the virtual hands-on learning aspects of the course.

It was a great course w/flexible learning options for its students.

I was not real excited about the virtual course, since I am a hands on person, but it was not as bad as I expected!

Online continuing education is new for all of us, and I want to take a moment to thank each of my past students for their attention and diligence during the courses. For all my future students, I would like to promise you that I will continue to improve and expand the course offerings.

To view the current course schedule and access the registration pages, visit the CAOHC Course information page here.

I look forward to seeing you in the next course!

Sincerely, Frank

(CAOHC Course Director ID #496199)

Matt Scottoline -Sound Profile Interview

Matt Scottoline

Songwriter, singer, multi-instrumentalist from the indie band Hurry, based in Philadelphia, PA. @Hurryband

EARMARK: What first got you into music? 

Matt: I think my first memories of emotionally connecting to music were very young, probably around 4-6 years old. My parents had given me a Fisher Price cassette player with headphones, and I had two tapes: Michael Jackson’s “Bad,” and a collection of The Beach Boys hits. Both of those albums were really captivating for me at a young age, and even though I didn’t understand a lot of what was going on musically, or what they were talking about, those are the first times that I remember feeling something from music. I could connect with the melodies and tones and have an emotional reaction to them. 

From a slightly more “intellectual” perspective, the first time I really attached myself to a band or artist and felt that compulsion to try and be a part of music was when I first heard Green Day’s “Dookie” album. I was really young when it came out, I think in 2nd grade, but a friend who had an older brother got a copy of the tape, and played it for all of us. I was hooked. So that album is probably what helped push me down the path to eventually become a musician. 

That Album was an early tape of mine as well, and one which I have been surprised to find had a pervasive influence on my music-making since. Have you found that as well, with “Dookie” or another early record?

For sure. While “Dookie” was what sort of drove me down that more punk-influenced road from a young age, I think things like those Beach Boys songs - and even Michael Jackson - influenced and helped develop my pop muscle. It was that combination of classic pop (Beatles, Beach Boys, Michael Jackson) distilled into the more attainable and relatable form of a punk band that really stuck. 

When did you know you wanted to do music professionally?

Once I got into highschool, and started to realize what my ideals were on a basic level, and where I saw myself fitting into society as a whole, I think I started to play around with the idea that music, and my affinity for it on whatever level, was a differentiating factor for me versus my peers. So since then, I’ve been pursuing music in whatever capacity; writing songs, playing in bands, recording other people’s records… really whatever I could do. But I wouldn’t say it was necessarily in pursuit of becoming a “professional,” only because I think that’s so unattainable for a vast majority of people (including myself, really). But I think when you’re any kind of artist, your compulsion is to create, and if you’re anything like me, you start to feel anxiety when you aren’t creating. So that’s really what I’ve settled into. A lot of anxiety and a need to create to keep myself feeling centered.

Who is someone who inspires you, musically?

I tend to feel inspired by any artist who is able to effectively create pop music and melodies, but present them in a new or exciting way. Brian Wilson is obviously one example of this, and someone who probably means more to me than anyone else. But then there are bands like Yo La Tengo, or Guided By Voices, where they are taking the constructs of pop music, and surrounding them with noise or chaos. But I love mainstream pop music too. To me, the ability to create memorable melodies and package them in a compelling way is inspiring. 

What is your current monitoring setup used when performing and rehearsing? 

We’re still fairly punk in a lot of ways… so our rehearsal and performance monitoring setups are sort of… nonexistent. We don’t even have a PA system most of the time during rehearsals. And our band is in a place where we are performing in a huge variety of settings, from professional venues and clubs to totally DIY venues and house shows. It kind of runs the gamut. So we don’t have strict standards for performance… we kind of just roll with the punches, and most of the time it’s just us and our amps. 

Do you feel this variability has lead to resourcefulness and flexibility?

I would say it’s made me much more adaptable. I absolutely appreciate when we play somewhere with a stellar setup, and a great team running it. That does make a difference, and I think improves the performance from a technical standpoint. But at the same time, I also love when you can’t really hear anything on stage, so you just crank everything and it has a much more exciting and loose vibe. So yeah, I guess overall we’re flexible. Whatever works.

How do you think "Hearing Conservation" plays into your life?

Hearing Conservation has become hugely important to me. When I was playing a lot in college, it finally dawned on me how much potential damage I was doing to my ears. I’ve always played in loud bands, and there were plenty of nights we’d finish up a show or rehearsal, and my ears would be ringing, or have that muted effect over them. So, I started wearing earplugs pretty religiously since then. I think it’s probably natural that the older and more mature one gets, the easier it is to picture how terrifying hearing loss could be, especially when it’s preventable in most cases. So, yeah, it’s hugely important to me. I literally carry my earplugs with me 24/7.

What is your favorite sound?

I have a soft spot for the ambient hum that comes from a guitar amp that’s turned on but not currently amplifying anything. I also love the sound of water at night…which, I know you can’t technically hear time of day…but I also feel like you can. Or at least I like to think I can.

One final question: why “loud”?

I think my attraction to loudness is subversive. I’m not a loud person, and my songs aren’t loud. Most of the time my music is pretty innocent and straightforward. So using sound to take that framework and put a new lens on it is interesting to me. I also think the 10 year old in me still just loves the sound of a crazy, overdriven guitar, too. Maybe it’s just that. 

Sound Profile are a series interviews focusing on the key element at the heart of Music Audiology: the musician. Frank Wartinger, Au.D., and Earmark Hearing Conservation are dedicated to improving the hearing health of all musicians throughout the Philadelphia region.

Hearing Wellness Workshop Announcement!

On Saturday, October 21st, 2017, Earmark Hearing Conservation will be hosting a workshop titled "Caring For Your Money-Makers", an event uniquely designed to serve Philadelphia's professional and student music community.

For those who are curious about professional monitoring options, are worried about their hearing health or tinnitus, or want to connect with like-minded musicians, this is the prime opportunity.

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What Will I Get?

The two hour event will feature discussion aimed at demystifying your invaluable sense of hearing, practical tips to improve your listening while protecting your hearing, and a chance to demo professional in-ear monitors and hearing protection devices.

Knowing that you should care for your ears is one thing, but respecting how they work and how you can make them work best for you is another.

How Do I Get Involved?

Limited spaces are available, and registration will close on Friday, October 13th.

The ticket price of $60 includes a coupon for free ear mold impression service (up to $85 value) or $60 towards the purchase of any custom device (in-ear monitors, custom earplugs, etc). Basically, the workshop pays for itself and you'll be well on your way to improved monitoring and healthy hearing for years to come.

Sign Up For Hearing Wellness

Contact Earmark to get more information about the workshop and to reserve your ticket.

Special thanks to Aberdeen Audiology for housing the event.

Scott Hallam - Sound Profile Interview

SCOTT HALLAM

Songwriter, vocalist, producer, and co-founder of Audiodowsing, a full service audio company specializing in soundtrack and sound design production.

EARMARK: What first got you into music?

SCOTT H: In middle school chorus class, we were shown a VHS of music from around the world. There was a chapter on the North Indian classical tradition that moved me, and I became fascinated by the sitar. Unfortunately, I couldn't find a teacher or an instrument to practice on in my town, but since I also loved the sound of the guitar, I began to learn that instead.

When did you know you wanted to do music professional?

Making music gave me the best feeling I had ever experienced, so I thought that if I could turn that into a career, my life would be amazing. I started having this dream during the heyday of recorded music sales, the late ‘90s, so from my vantage point it didn't seem impossible to make a living performing/recording music. I was also a big fan of video games and the music used in them. That industry was growing steadily and I thought if a career as a recording artist petered out, I could parlay my skills as a composer there for a more "straight" job.

What was it about video game music that interested you?

I liked the wide variety of styles and arrangements that were possible. While there were hard limitations for what was technologically possible to reproduce on a console's chip, there didn't yet seem to be established norms for the compositions. Every game's music had a completely different identity, more so than what I had heard as a layman in film soundtracks.

Who is someone who inspires you, musically?

The Zen Buddhist nun and chef Jeong Kwan is a breath of fresh air to me. I highly recommend seeking out her remarks about creativity, ego, sharing, time's nature and power. These days, I'm finding myself more and more inspired musically by creators in other disciplines than I am by music or other musicians.

What is your current monitoring setup for performances and rehearsals?

We just use whatever the house monitors happen to be. I would someday like to use in-ear monitors to be able to control the volume granularly and preferably on the fly. I currently use custom-molded musician’s earplugs for both rehearsals and shows to protect my hearing. They most recently saved my ears while attending a Weedeater show; the sound quality was still full and clear, so I appreciated knowing my hearing was protected while still enjoying the sound. Sometimes more harmonically complex music it can be a little difficult to distinguish detail, e.g. complex chords. Also, it does take some getting used to having something plugging up your ear canals.

Hearing Conservation is a term that means maintaining one’s current hearing health by reducing the risk of acquiring hearing damage from noise/music exposure. How do you think Hearing Conservation plays into your career and life?

I live in a famously loud city, New York, and there is no lack of environments where my ears must be protected from harsh and loud ambient noise. I'm interested in protecting my hearing, and I'm also interested in protecting my mental health and stress levels that are effected by a cacophonous environment. It can be easy to overlook how a mental state can be influenced by sensory overload.

Most people have a quick-draw answer to "what is your favorite color?" How would you answer "what is your favorite sound?"

Rain softly pelting your windows loud enough to wake you up in the middle of the night but not so loud that you can't fall back asleep to its song, probably.

This is the first Sound Profile Interview, a new series focusing on the key element at the heart of Music Audiology: the musician. Frank Wartinger, Au.D., and Earmark Hearing Conservation are dedicated to improving the hearing health of all musicians through Philadelphia’s Musicians’ Clinic as well as mobile services throughout the Philadelphia region.

A Music-Lover's Guide to Tinnitus

Frank Wartinger contributed insight and clinically-based commentary to a powerful article written by Angus Finlayson (@angusWFinlayson) for the electronic music publication Resident Advisor. The feature of the article is the accounts of two musician's with tinnitus and how the auditory condition has shaped their lives and careers.

A Music-Lover's Guide To Tinnitus, Resident Advisor. 

Words / Angus Finlayson

Published / Thu, 22 Jun 2017

Talking About Tinnitus

By demystifying tinnitus and openly discussing how professional musicians can continue to have a fulfilling relationship with music, this article repeatedly hits on an important message: don't ever stop! Keep going and do so in a manner that respects your ears and hearing.

Act Before You Should Have Acted

The article feedback has been positive and engaging. However, a telling trend has emerged from the comments - those who endorse caution have already been burned. 

From those who have not experienced first hand the warning signs of hearing damage, we still hear the chant of "if it's too loud, you're too old". That saying is ironic since both our youth and hearing health are delicate - even transient - and certainly worth appreciating and protecting. Consider that both these things are true: one day it will be too loud AND you will be too old. 

I Have Tinnitus... Is It Too Late?

Far from it! If you're noticing constant ringing in your ears or dulled hearing after every rehearsal or gig, these are warning signs that should encourage action. If our feet hurt from running we would given them a rest and look into more supportive footwear. Our ears don't feel pain like that, but with tinnitus and temporary hearing loss, they are able to tell us when something needs out attention.

Reach out to a hearing professional and discuss how you can keep your career on track. Indeed, there are ways of helping even the most dire situations. What's more, musicians often notice improved performances and increased satisfaction when they begin to rehearse and perform with their hearing health in mind.

Sensory Overload: Sound [video]

Frank Wartinger presented on the subject of Sound and Hearing at the 2017 Philadelphia Science Festival event titled "Sensory Overload". The evening featured scientists, researchers, and medical professionals presenting on all five senses. Each topic was masterfully paired with a craft beer sample from the event's gracious host, Yards Brewing Co.

Watch The Video

Presentations and Speakers included:

Sight by Nathan Fried, University of Pennsylvania

Taste by Marcia Pelchat, Monell Chemical Senses Center

Smell by Carlo Siracusa, University of Pennsylvania School of Veterinary Medicine

Touch by Abigail Wolf, Thomas Jefferson University

Science, etc...

It was a joy to represent Earmark, CHOP, and ears in general at this event with such distinguished fellow speakers. For more information about the Philadelphia Science Festival, visit http://www.philasciencefestival.org/

With inquiries regarding speaking engagements, please contact Frank@EarmarkHC.com.

Hearing Conservation Through Partnership With Musicians

Figure. Hearing Conservation, Musicians, Hearing Loss. iStock/cyano66. Source Hearing Conservation Through Partnership With Musicians The Hearing Journal. 70(3):16,18,20, March 2017.

Article on the Musician/Audiologist Interactions

The Hearing Journal recently published an article by Frank Wartinger, Au.D., titled "Hearing Conservation Through Partnership With Musicians"

Clinician's Perspective

The implicit distinction of hearing conservation services for musicians was discussed from the clinician's perspective with the hope of fostering more positive, supportive, and productive partnerships between clinicians and the musicians they serve. By better understanding the musician's goals and needs, audiologists can more effectively discuss performance-oriented aspects of hearing conservation interventions.

Musician's Perspective

In the next issue of The Hearing Journal we will explore the same clinician/client relationship from the musician's perspective. Contact Earmark Hearing Conservation to discuss your past experiences with audiology and how you would like to promote a productive interactions for mutual success.

MusiCares Hearing Clinic in Philadelphia on March 3rd, 2017

Earmold Impression Services

Earmark Hearing Conservation and Frank Wartinger, Au.D. will be providing earmold impression services to musicians at the MusiCares free clinic on March 3rd, 2017. Services will be provided on an appointment only basis at Philly Sound Studios in South Philadelphia.

About MusiCares

MusiCares is the non-profit charitable wing of The Recording Academy and the Grammy Foundation. In addition to providing free dental and hearing services to qualifying musicians, they also provide other forms of assistance to those in need. Contact 212-245-7840 for more information and to request an application for services.

National Hearing Conservation Association position

Director of Communications of the National Hearing Conservation Association (NHCA)

Frank Wartinger, Au.D., was elected to serve as the Director of Communications for the National Hearing Conservation Association (NHCA), and began his 2 year term at the 2017 annual conference in beautiful San Antonio.

The mission of the NHCA is to prevent hearing loss due to noise and other environmental factors in all sectors of society.

Formed by Audiologists and Otolaryngologists concerned with the serious problem of noise-induced hearing impairment, the NHCA now represents engineers, industrial hygenists, safety professionals, nurses and others with interest in preventing hearing damage from occupational exposure to noise.

What Does This Mean For Earmark and Philadelphia's Musician's Clinic?

Good things, for sure. Frank Wartinger is excited to join the NHCA Executive Council in order to gain further expertise to better serve Philadelphia's vibrant music community. He is joining many illustrious hearing conservationists on the Executive Council. As Director of Communications, Frank will be tasked with the dissemination of the most current and relevant information pertaining to the NHCA and the field of Hearing Conservation.

Susan Rogers: From Prince to Ph.D.

Susan Rogers, Ph.D. Photo from TapeOp ISSUE #117 JAN/FEB 2017

Susan Rogers: Sound Hero

TapeOp recently published a fantastic and expansive interview with the great Susan Rogers, Ph.D. She is perhaps best known as Prince's engineer for many years in the mid 80s, as well as her extensive career as a record producer and mixing engineer with diverse groups including David Byrne, Toad the Wet Sprocket, Rusted Root, Barenaked Ladies, Tricky, Geggy Tah, and Michael Penn. But, what sets her apart as a bonafide Sound Hero (my new designation for people like her) is her work in Music Cognition. Currently, she is focusing her studying on the causes of tinnitus and hyperacusis.

"The mechanisms are just now being understood, but at Berklee I can investigate our musician populations to see if some musicians are at a greater risk than others of developing tinnitus. Will it be the horn players, or the drummers, or the electric guitar players? Will it be the vocalists? Think about it, if you're singing in a choir, you're singing next to a sound source that can get really loud. Really, really loud. Who's at the greatest risk?"

Music Cognition

To hear more of Susan Rogers speaking about the discipline of Music Cognition, check out her video explanation of her work with the Berklee Music Perception and Cognition Laboratory. To hear her speak about music and auditory science, it is clear the connections are deep and endlessly explorable:

The arts and sciences, I discovered, have way more similarities than I ever realized. It's just that the directionality of it is different. In the arts we imagine a condensed ball of dark matter that contains all of humanity, all of human knowledge, and you explode it into billions and billions of individual expressions of the human condition. Paintings, movies, television shows, books, records, and songs. You've got billions of individual ways of describing what it means to be human. Science is the same exact process, in reverse. We look at all the individuals, then we work our way back and try to describe what is universal. How do people hear? How do they think? How do they pay attention? How do they decide? How do they learn? How do they memorize? How do they grow? That's what science does. So it's the same journey, just in a different direction. You can explore record making with the goals of individual expression, or you can explore auditory science with the goal of what we all have in common.

Here is hoping for a continued stream of excellence from Dr. Rogers in helping us understand everything from a solid groove to the cause of the most puzzling auditory disorders, such as tinnitus and hyperacusis. Clearly, a great background in music creation can lead to a great career in music cognition and hearing science.

Noise-Induced Hearing Loss - Podcast Episode for Pediatricians

Primary Care Perspectives: Podcast for Pediatricians

Primary Care Perspectives: Podcast for Pediatricians            

Episode 6: Noise-Induced Hearing Loss

Published January 2017.

Children’s Hospital of Philadelphia Audiologist Frank Wartinger, AuD, discusses the prevalence, risk factors and prevention strategies for noise-induced hearing loss.

About Primary Care Perspectives: Listen in as Katie Lockwood, MD, a primary care pediatrician at Children’s Hospital of Philadelphia, discusses hot topics in primary care with experts from across the Hospital. In this podcast series for pediatricians, CHOP subject-matter-experts weigh in on issues affecting the daily practice of pediatricians. You can also download these podcasts and subscribe to the series in the iTunes Store.

https://soundcloud.com/childrensphila/primary-care-perspectives-episode-6-noise-induced-hearing-loss

A preventable problem: Noise-induced hearing loss in kids

Philadelphia is hosting the ASHA (American Speech-Language-Hearing Association) Convention this week, and an article on the Healthy Kids section of Philly.com was dedicated to Noise Induced Hearing Loss (NIHL) in children.

Noise Induced Hearing Loss: A Global Problem

"With a large number of kids using ear buds and headphones, noise-induced hearing loss is a serious issue, according to the American Speech-Language-Hearing Association. Just last year, the World Health Organization estimated 1.1 billion teenagers and young adults are at risk of hearing loss due to the unsafe use of personal audio devices, including smartphones, and exposure to damaging levels of sound at noisy entertainment venues such as nightclubs, bars, and sporting events."

Oran Etkins demonstrating how inner ear hair cells move with sound at an ASHA Listen To Your Buds concert. Image from interview on NBC10, aired 11/15/16

Reaching Children through Music

ASHA has developed and promoted a concert series with the highly successful 'Listen To Your Buds' campaign. With renowned artists such as Oran Etkins and Jazzy Ash & the Leaping Lizards, the message of healthy hearing is being present to children and families in a fun and relatable manner.

How Do We Help Prevent Noise Induced Hearing Loss in children?

"... there are many products available to help parents protect their children’s hearing. These include things like earplugs and earmuffs designed to protect hearing in loud sound environments as well as earphones and headphones that limit the volume levels to reduce the risk for hearing loss. While these products are valuable tools, their appropriate use still requires that the child understands the dangers of loud sound and that they are at risk of noise-induced hearing loss."

Thank you to ASHA and all the amazing guest musicians for bringing this conversation into the limelight in such a creative manner. NBC10 took notice of this topic and featured the discussion on air with an interview featuring musician Oran Etkins and Joy Peterson, Manager of Audiology at the Children's Hospital of Philadelphia.

Motorcycle Riding Earplugs Review

Hearing Protection for Motorcyclists

Although Earmark primarily works with musicians, we keep our ear to the ground for all things sound and hearing related. There exists considerable interest in hearing conservation in other other circles outside of music... after all, we aren't the only ones that make a lot of noise and care about our hearing. Motorcyclists are exposed to constant high noise levels, and many have taken to earplugs to help keep their hearing safe from the road, engine, and wind noise.

Motorcyclist Online published several articles pertaining to hearing protection use over the years. Most recently, a review of the Etymotic ER•20XS earplugs was particularly helpful.

Earplug Options for the Open Road

If you're interested in discussing your hearing, hearing protection options, or obtaining custom hearing protection devices, contact Dr. Frank Wartinger for a free phone consultation.

Earplug Decision 2016

Earplugs are like elections (in years other than 2016)

There are many options: foam, silicone, generic, earmuffs, custom fit, filtered, conservative, low-profile, libertarian, Russian-connected, etc...

OK, enough of that.

Which earplugs are right for your needs?

Plug'em, an outreach program by the British Tinnitus Association, has a user-friendly guide to hearing protection selection.

Why British?

Perhaps I'm drawn to them because they are British and sound more intelligent than us yankees, but this site is a well-made resource for hearing protection information. The authors even included a succinct explanation of loudness and hearing risk titled How Loud Is Loud.

Get To Know Your Ear Plug Options

Contact Dr. Wartinger and Earmark Hearing Conservation for a free phone consultation to discuss your unique situation, needs, and options.

Tinnitus and DJing

Tinnitus: A Real Problem For Every DJ

Ean Golden, the man behind the site DJTechTools.com, laid out a personal and practical account of tinnitus and, in a larger sense, what it means to have your career path altered by auditory damage. In the article that could have been titled 'how to avoid destroying your ears while DJing', he wrote about his own tinnitus which came on at the peak of his professional DJing career.

"That fear, and the realization that DJing was making things worse, triggered me to change my lifestyle and significantly reduce noise. In the end that meant adjusting how I DJed, cutting most gigs and limiting set lengths. Having something taken away from you without choice was profoundly depressing and took a while to get over."

Although Ean wrote this article several years ago, it is impressive to see many subsequent articles he published pertaining to practical hearing protection tips.

Tinnitus is not the end

"Fortunately, it was a blessing in disguise. Instead of gigging full time, my focus turned to this site and today, I feel significantly more fulfilled helping others DJ but for many, tinnitus may mean the end of a career completely"

On a personal level, I reflect Ean's sentiment that even the worst outcome can have an upshot. The realization that my persistent tinnitus would significantly damper my budding music career, or at least hinder the enjoyment of that career, lead me to study Audiology. Now I devote the majority of my time to helping others maintain their own music careers - a cathartic and productive twist.

Message of caution

Often I find that after countless hours of wording and rewording hearing conservation messages, someone else has found a way to say the same thing more clearly and realistically than I could. Ean Golden proves this phenomenon again in his closing lines: 

"Your ears can heal themselves of short term damage, but once things are really broken, they are broken for good."

http://djtechtools.com/2012/05/20/tinnitus-a-real-problem-for-every-dj/

Hearing Conservation featured prominently on Medscape.com

Medscape Feature

An Expert Commentary video featuring Dr. Wartinger was published on Monday, September 12, 2016 on Medscape.com. Medscape is the leading online global destination for physicians and healthcare professionals worldwide.

Hearing Conservation for Adolescents

With an intended audience of clinicians and medical professionals, the goal of this presentation was to concisely convey the importance of Hearing Conservation efforts in children and adolescent patients. Noise Induced Hearing Disorders are 100% preventable and the first step is education.

The Children's Hospital of Philadelphia and Medscape should be acknowledged for recognizing the importance of this issues, as well as for their efforts in bringing this discussion to a large and critically important audience.

Combating Adolescent Hearing Loss in an Ever-Louder World - Frank Wartinger, Au.D.

Medscape.com Expert Commentary

Monday, September 12, 2016

Posting date: Monday, September 12, 2016

Title:  Combating Adolescent Hearing Loss in an Ever-Louder World

Faculty: Frank Wartinger, AuD

URL: http://www.medscape.com/viewarticle/868227?src=par_chop_stm_mscpedt&faf=1

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Content Edit: the U.S. Department of Health and Human Services (HHS)'s Healthy People 2020 goals were inaccurately attributed to the World Health Organization (WHO) in this discussion. The WHO does many amazing things, but this was not one of them. For more information about the Health People 2020 goals mentioned, please visit: https://www.healthypeople.gov/2020/topics-objectives/topic/hearing-and-other-sensory-or-communication-disorders

Musicians Earplugs - Part 1: The Science Behind The Sound

“How do Musicians Earplugs actually work?”

Musicians Earplugs (tm) photo credit: www.sensaphonics.com

This is one of the most common questions I answer during Hearing Conservation Consultations, so it is as good a place as any to start a blog series on Musicians Earplugs. Further installments in this series will cover the available filter levels, importance of build material, purpose an acoustic seal in the ear canal, and tips for acclimating to the use of earplugs during rehearsal, performance, and audio production work.

What are Musicians Earplugs?

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Attenuation mimics the natural resonance of the open ear canal

Custom musicians earplugs are the standard professional option for reducing sound levels while maintaining the fidelity of the signal. They are custom built molds made from impressions of the individual's ears. The design allows them to mimic the natural resonance of the open ear canal, which differs from the acoustics of foam earplugs or other generic 'music earplug' options. 

How do they work?

The answer is wonderfully simple, but it also speaks to the high level of quality control that is required on the part of the lab to ensure a relatively flat broad-band attenuation (sound level reduction). This is accomplished by combining a sound attenuating filter with a resonance channel that emulates the acoustic parameters of an open ear canal. The following technical information is presented by Etymotic Research, the company that developed the design and manufactures the ER-series filters:

Musicians Earplugs™ buttons have a diaphragm which functions as an acoustic compliance, while the volume of air in the sound bore of the custom earmold acts as an acoustic mass. The combination of the two produces a resonance at approximately 2700 Hz (as in the normal ear), which results in smooth, flat attenuation.

ER-9 Provides flat 9-dB sound reduction through the mid range and 15 dB in the highs
ER-15 Provides uniform 15-dB sound reduction across frequencies
ER-25 Provides 25-dB relatively flat sound reduction across frequencies

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Diagram of Musicians Earplug (tm) www.etymotic.com

Attenuation/frequency response of ER Series Musicians Earplugs (tm) compaired with generic foam earplugs. www.etymotic.com

What do they sound like?

In the simplest terms, listening through Musicians Earplugs sounds like the original signal, but quieter; it could be said that they are the closest thing to a volume control for real-world sounds available. Dr. Brian Fligor created a clear demonstration of the sound of Musicians Earplugs by using data from in-ear sound level measurements. You can listen to these sound examples on the Boston Audiology Consultants webpage.

Though Musicians Earplugs are often marketed as "flat" or "uniform", it is important to point out that nothing is every truly flat. If you've ever worked with any sound device, electronic or acoustic, this is an accepted and understood fact. It would be more fair to describe Musicians Earplugs as "balanced" and "accurate", as they maintain the relative balance of tonal components and harmonics across a very broad spectrum. Everyone has a different perception and response, so check out the tutorials section for individual reactions.

Further reading about Musicians Earplugs

Contact Earmark Hearing Conservation to discuss whether custom earplugs are right for you and your individual situation. For more information about our services, please visit our services page.

Science of Hearing Wellness

Dr. Michael Santucci, the founder and president of Sensaphonics, Inc., recently penned a concise and thoughtful review for ProSoundWeb.com which discussed the science of sound, hearing, and hearing wellness for the musical community. The entire article is clear and expertly laid out, but I want to bring special attention to the last line of the article:

"There’s no reason a career in music or pro audio should cost you your hearing. We have the technology and techniques to help you keep your hearing while still enjoying the music you love!"

Hearing Damage is Not Inevitable

I hear all too often the sentiment that a loss of hearing or tinnitus is a 'badge of honor', or in some way a foregone conclusion if one leads the life of a musical professional. This couldn't be further from the truth, but we often confuse anecdotal patterns - countless reports of rockstars' careers being cut short citing auditory problems - with actual causal relationships. Dr. Santucci put it succinctly with the above except and in this article: the technology, and almost more importantly the techniques and mindset/behavior changes, are available to keep your music going for your whole life time.

Many thanks to Dr. Santucci for his words and to ProSoundWeb.com for their commitment to sharing important information on Hearing Wellness to their readers.

Link: The Science Of Hearing Wellness: The Doctor Is In

Hearing Protection Myths and Recommendations: The Lowdown from Two Rock-Star Audiologists

Reverb, the gear-driven marketplace/community, may be young (started in 2013) but it is proving to be wise beyond its years. With a series of articles regarding hearing wellness, Reverb.com has shown a commitment to not only helping musicians get the gear they want/need, but also helping musicians keep the hearing they have. This emphasis reminds the reader that it isn't all about the gear, it is really all about the ear.

https://reverb.com/ca/news/hearing-protection-myths-and-recommendations-the-lowdown-from-two-rock-star-audiologists

Army's Smart Earplug Damps Explosive Noise, But Can Enhance Whispers

NPR recently aired an accurate and well produced piece about the Army's newest efforts to address communication and hearing conservation for soldiers.

Similar technology is available for hunters, construction workers, and others in need of situational awareness as well as sound isolation from high intensity impulse sounds... but it tends to look so much cooler when paired with fatigues and worn by a guy who's name is "Sgt. Bacon".

http://www.npr.org/sections/health-shots/2016/06/03/480173016/armys-smart-earplug-damps-explosive-noise-but-can-enhance-whispers