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This 2002 study showed remarkable results in treating three tinnitus sufferers using Neurofeedback, with EEG brainwave analysis before and after showing that the brainwaves had changed, and these changes were still present 12 months after training.
Please call us today on 0207 978 0186 to discuss how Neurofeedback could help your tinnitus. Tinnitus is a perception of a ringing sound within the ear(s), when there is no actual external sound. The main symptom of Tinnitus is the ringing sound within one or both ears, although in some cases sounds are perceived differently: high-pitched whining, buzzing, hissing, humming, tinging or whistling sound, or as ticking, clicking, songs, beeping, sizzling, sounds or even as a pure steady tone. Treatment options for Tinnitus depend on the cause, work in different ways with different levels of effectiveness. However, there is hope as studies have shown that Neurofeedback can improve difficult-to-treat Tinnitus. Please call us today on 0207 978 0186 to discuss how Neurofeedback could help your Tinnitus.
With Neurofeedback, Tinnitus is considered as too much ‘excitability’ in specific brain areas, which leads to uncontrolled activity and brain instability.
When referring to tinnitus, people often report ‘ringing ears’, although different sounds are reported as well. In more severe cases of Tinnitus, treatment could consist of electrical stimulation, sound therapy, sound treatment (e.g.
We can perceive sounds as loud even at low volumes, hear the illusion of space and depth with tricks of delay, and even our eyes can fool us into hearing things we aren’t actually hearing. Now imagine the same person mouthing ‘fa’ while the audio continues to repeat the ‘ba’ sound. The sound can appear as a quiet background sound or as a sound even louder that external sounds. During Neurofeedback training we aim to calm the brain again and to stabilise auditory processing and sensitivity.
This brief practical guide will help you understand the ways in which our ears play tricks on our brains.Perception of Loudness and PowerLoud music is great. If you’re looking at the video, you will start hearing ‘fa,’ even though the audio is still, in fact, ‘ba’.

This 2015 study surprised researchers by showing that the parts of the brain involved in generating tinnitus were much broader than expected. Tinnitus can occur sporadically, as well as constantly, and causes different levels of distress.
By calming the brain and training the brain to stay calm, Neurofeedback can significantly improve Tinnitus symptoms.
Hearing damage is just the price you have pay for the vitality and great energy of live, loud music, right?
If you search Youtube for the McGurk Effect, you’ll see a list of videos that will demonstrate this phenomenon quite effectively. The cause of Tinnitus can be various factors, from wax build up, a cold, a blow to the head, or prolonged exposure to a loud noise, ear infections, objects in the ear, nasal allergies, neurological damage and stress. Loudness is perception-based and is not the same thing as volume.Human ears are biased toward mid-range frequencies almost as if they’re tuned to the frequencies of human speech. I’m not aware of any studies proving either way, but I find it an interesting conversation starter.
To get an idea of just how mids-biased your ears are, try this: In a quiet room, try listening to a recorded solo piano at a very low volume, then gradually turn it up (the broad frequency range of solo piano makes for a good example with a simple arrangement, but you can do this with any recording). You’ll notice that the lower and higher frequencies in the recording become more prominent as the volume increases, and that the ear’s natural mid-range boost is less apparent. If you use a compressor to raise the volume of the decay of a drum hit, the drum will sound louder without actually increasing the volume of the initial occurrence of the sound. It will also sound more powerful because it doesn’t decay as fast.Conversely, since the ear also has a natural reflex to shut down slightly in order to protect itself from very high-volume sounds, if you artificially shut down a sound after the initial transient, also known as the initial occurrence of that sound, you can mimic the ear’s protective shutdown, fooling your listener into believing that the sound is much louder than it actually is. The latter is a psychoacoustic trick that movie sound designers use on explosions all the time. My bet is that it could also be used to accentuate something like a bass drop in dance music.Spatial PerceptionIn 1949, Helmut Haas was studying how humans perceive the relationship between a sound’s source and its early reflections in a room. He determined that if a sound’s early reflections occurred less than 35 milliseconds after the source of the sound and were no greater than 10 db louder than the source, then the sound and its early reflections would be perceived as one sound. This came to be known as the Haas Effect.Setting a delay within the described parameters will essentially create a copy of the affected audio with a slight phase difference from the original.

It will give a little more spatial presence without diminishing the ear’s ability to locate the source of the sound in a directional sense.A useful way to understand the Haas Effect is to imagine being in a small club.
You hear the band in front of you, but in fact you’re also hearing the sound of the band bouncing off of the wall next to you.
Since the bounced sound isn’t travelling in a straight line to your ear, it arrives at your ear slightly later than the sound coming directly from the band. This thickens the sound, but doesn’t confuse your ear into thinking the band is anywhere other than right in front of you.
The Haas effect can be a handy tool when placing instruments in a mix (live or recorded), but make sure you listen to a recorded mix in mono from time to time if you’re working with this type of delay, because some nasty comb filtering can happen if you’re not careful.Our auditory spatial perception is strongly affected by how we learned to understand sound in our environment as our ears developed. Whereas boosted high and low frequencies will make something appear louder, closer and more powerful, attenuated highs, and to a lesser extent lows, will do the opposite.
Our brain especially likes to turn the perception of attenuated highs into a spatial thing.
Since high frequencies are fast and weak, and are easily slowed by the Earth’s atmosphere, they’re harder to hear the farther we get from a sound source.
Therefore, because of our ear’s “common sense,” attenuated highs will not only make something sound quieter, but also farther away.
What We See Affects What We HearA couple of years ago when it was revealed that some band toured with a wall of empty, speakerless Marshall 4x12 cabinets as stage props, a bunch of people cried foul and it went viral on social media. I didn’t hear anybody complain about Tom Waits displaying an array of disconnected loudspeaker horns behind his band on his Glitter And Doom tour, however. Whichever way you tend to opine about stage props in music, it’s interesting to think about in terms of the McGurk Effect.

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24.09.2014 admin

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