Hearing loss classical musicians scotland,ear wax removal chicago il,ears ringing light headed jittery,argos earring holder ebay - Review

As a critic, you're supposed to identify and highlight the most significant achievement of an event, and sometimes that responsibility involves acknowledging that music artistically outweighs dancing -- as in a collaboration between cellist Yo-Yo Ma and choreographer Mark Morris at the Irvine Barclay Theatre in 1999.
Amplification in the theater has changed from its original mission: to allow audiences to hear what would otherwise be inaudible and to make it possible for the artists onstage to monitor themselves and one another. In our culture, many people live with music every waking moment, but it's rarely live or acoustic.
The tragedy is that there is a way to have a uniform sound pressure level throughout a venue. Regarding the sound check -- the first problem is that a venue sounds completely different when empty (when the sound check occurs) than it sounds when full. For all the importance of acoustical design, there are certainly other matters that can make a difference in a listening experience.
The late Peter Mitchell at Stereophile magazine related how, as a college student, he enhanced his enjoyment of concerts at Boston's Symphony Hall.
He arrived at Symphony Hall with "fresh" ears and took out the cotton immediately before the music began. What would it do for music appreciation if that trick were used by everyone, especially those who can't resist plenty of conversation during performances!
My friend Ken Jacob at Bose has helped developed a new concert sound system for live performances in smaller venues. I'm going to try this out in a couple of weeks in my one-day course in Arlington to see if we can improve on the house-sound there. We started a research project here at Bose 10 years ago to understand why there are so many complaints about amplified live music. The point about how seeing affects hearing is very interesting -- seeing the source of the sound helps us sort out one sound in a cluster of sounds.
Among many other things, the escalation of volume during the course of a concert is described in a chapter from Karl Kuenning's Roadie: A True Story. The problem of hearing loss, stemming both from the player's own instrument and from those of others, is a real one among classical musicians worldwide.
The problem has grown over the centuries, as composers seeking to expand their expressive possibilities have pushed for ever greater contrast in dynamics; whereas a simple "piano" or "forte" would suffice for Bach, when he bothered to use dynamic markings at all, Tchaikovsky progressed to the likes of pppppp (pianissississississimo, but who's counting?) and ffff in his "Pathetique" Symphony.
An often-cited study by Canadian audiologist Marshall Chasin measured hearing loss among rock musicians and found that about 30 percent were afflicted in some way. A new book by Clive Young on "live sound secrets of the top tour engineers" is called Crank It Up. And then, an interesting article on Yo-Yo Ma appears in today's New York Times: Seth Schiesel, "A Virtuoso and His Technology". I will be conducting additional empirical research on the Steve Earle matter at Toad's Place in a few weeks.
I found I had to see many images of the inner ear before I could explain to myself why the structure works the way it does. One of the most frustrating results of the over-amplification of rock concerts is the spillover to Broadway.
Indicating something about the concert sound discussed above, this photograph of Tom Waits at the Hammersmith Apollo in London appeared in the December 13, 2004 issue of Pollstar (a magazine about the music business). That's pretty funny.I have seen many performers use megaphones, most notably the World Inferno Friendship Society last Summer in NYC. There are many political and career forces that encourage engineers to turn it up-the guitarist's girlfriend and the band's manager spring to mind.
Some research indicates that the ear is more sensitive to these relative EQ changes than to the volume change itself. It's no surprise that our ears are especially sensitive in the octave around 4 kHz to begin with. The two-word solution: Classical music!In classical music and opera concerts, electronic amplification is not [generally] used. Attending classical music concerts may be all right for the ears, but playing classical music is another matter.
There are a number of strategies that can be used to reduce the chance of noise injury from other instrumentalists. Plexiglass baffles can be used to reduce the noise from other instruments.These are particularly relevant for drummer's high-hat cymbals.
Britain's Glastonbury music festival will feature a "silent disco" this year in an effort to sidestep a noise curfew, festival organiser Michael Eavis said on Tuesday. Instead of DJs blasting their sounds through speakers, thousands of revellers partying past midnight at the open-air music event will be given wire-free headphones with volume controls that directly tune in to a sound system. The idea is one of several introduced in recent years to improve relations with local villagers.
A giant "super-fence" was erected around the site in 2002 to cut down on crime and foil gatecrashers. Glastonbury, an annual three-day festival famous for its mud and mayhem, has attracted some of the biggest names in music over the years, including REM, Radiohead and James Brown.
Mr Eavis would not spill the beans on who would headline this year's event, scheduled for June 24-26.
Energizer Holdings is teaming up with rocker Mick Fleetwood to promote hearing-loss prevention and treatment in baby boomers, the company said Monday. The iPod -- like all digital music players -- is compact, stores huge amounts of music and can play for many hours. But audiologists believe tens of thousands of young people are causing serious damage to themselves, and are likely to suffer tinnitus and loss of hearing in later life. Ninety-nine years ago, John Philip Sousa predicted that recordings would lead to the demise of music. Before you dismiss Sousa as a nutty old codger, you might ponder how much has changed in the past hundred years.
I discovered much of my favorite music through LPs and CDs, and I am not about to join the party of Luddite lament.
Most large venues these days happen to be primarily sports-oriented -- say, a football stadium or a basketball arena. I believe most of the sound laws were put in place at the behest of the people who live in the vicinity of these stadiums, which may seem a little old-grumpish until one contemplates how many people may live within three miles of an inner-city stadium.
As Hain points out in his article on symphony musicians and hearing problems, the causes of hearing problems aren't restricted to amplified music.
When I began attending popular music concerts 30-something years ago, they were held in the traditional venues of the time.
Every concert hall and opera house has found a way to remind audience members to please turn off all cellphones, pagers and beepers before a performance.
That is until recently at Carnegie Hall when Simon Rattle bravely mentioned the unmentionable. Intent on remedying the problem, Sir Simon turned to the audience and explained that the sound seemed to be coming from a hearing aid. The fact that I wear hearing aids became immediately obvious to 200 spectators at a student piano recital in May. Although I like to arrive early for recitals, on that day my family and I scrambled for the last available seats in the back row of the recital hall just as our instructor, Stephen, strode to the front of the room to announce the program. While I thought of my hearing loss as part of my normal makeup, others saw me as handicapped or deficient. My Widex Inteo hearing aids had a setting especially designed for people who play an instrument. Something’s wrong, I realized after only a few bars, the piano sounds dull, flat, stripped of sound. I struck the opening notes to the Chopin Raindrop Prelude, a high F in the right hand, a low D-flat in the left. Conversely, critics and audiences sit through a lot of awful music in their hunt for great ballet performances.
For example, midway through Viver Brasil's first act, a call-and-response passage briefly featured the unamplified singing of six dancers onstage.
So when we do encounter live music, we expect it to match what we accept as the norm: the presence, detail and intensity of recordings.
By placing cotton in his ears before leaving home, he didn't have to be subjected to the frequent screech of trolley wheels while en route to the concert hall.
The public address system, by combining all sounds into one flow, dilutes information about the spatial location of the sound.

When I'm in a restaurant with company, I don't want to try to compete with the music to have a conversation. Hearing loss may manifest itself as a decreased ability to perceive high frequencies or slight changes in pitch.
In my rock club experiences, the sound engineer is typically the deafest person in the room.
Further, widespread enactment of sound control regulations often requires concert sound engineers to limit SPLs to mandated levels. Plus, the physiological and emotional impact of loud sound simply gets everyone's heart beating faster.
Hearing sensitivity peaks in the high-mids and falls off at the extremes, and the hearing curve also changes with volume, becoming slightly flatter at higher SPLs. As a result, music or other familiar audio sources that sound correctly equalized at one level may sound a little "off" at a different volume. Thus, volume levels are reasonable, and one can hear the sound of real voices and real instruments.Amplification has become a plague. Musicians ear plugs are generally "flat" so that bass and treble notes are not relatively favored, thus distorting perception. High frequencies tend to emanate in almost a straight line, while low frequencies are present in nearly all directions. The system was developed by a Dutch firm and successfully used at parties in the Netherlands and we hope it works here too," he told Reuters. The experts say MP3 players should be designed to prevent people playing music above 90 decibels, about two-thirds of the maximum volume of a typical device. The phonograph, he warned, would erode the finer instincts of the ear, end amateur playing and singing, and put professional musicians out of work.
Modern urban environments are often so chaotic, soulless, or ugly that I'm grateful for the humanizing touch of electronics.
I wouldn't expect that Emmylou Harris, Mazzy Star or the Pierces would engender high levels of amplification. These venues are actually designed to be loud, reverberant places so that cheering sports fans sound as loud as possible.
I pick three miles only because that's the only number I've ever heard mentioned: the Kansas City Star reported that as the furthest call to the police during a concert I attended in 1993 at Arrowhead Stadium. In my previous life working with a university marching band, it was common knowledge that you had to wear earplugs if you stood in front of the band for any amount of time - especially for an entire Saturday afternoon at the football game. For example, in Oklahoma City, they were held at the Civic Center Music Hall, home to the local symphony orchestra. Some performance halls make euphemistic mention of ''other electronic devices'' in their requests.
He was conducting the third of three triumphant performances by the Berlin Philharmonic, and had just completed an Apollonian account of the stirring first movement of Schubert's Symphony No.
Then, with characteristic British courtesy, he asked, if I remember correctly, ''Could someone please help that person with this problem?'' Or some similarly tactful words. That telltale sound ruined an impassioned performance by the soprano Karita Mattila of Leonore's great Act I aria from Beethoven's ''Fidelio'' at the Met a few seasons ago. The recital was being held at Crane’s Mill Retirement Community in New Jersey as part of their spring program. By arriving late, I had deprived myself and my daughter, Mena, who was also performing, of the chance to try out the piano. The music setting gave equal weight to the treble and bass, crucial for balancing sound, and also eliminated the suppression feature, useful if a loud truck rumbles by on the street but asphyxiating when applied to forte chords. I was supposed to announce my name and my piece’s title, but the microphone stood at three feet, an optimal height for my far younger and shorter co-performers, and I did not know how to adjust it. I stood up from the piano, and, as I walked towards the microphone, I pressed the external button on both aids. Perhaps I was making a declaration: even though I suffer from a high-frequency hearing loss, I enjoy classical piano music, I take adult piano lessons, I am serious about my practice, I can perform this Chopin Raindrop Prelude in a moving way. But four years ago, he suffered hearing damage, putting an end to his career as a classical musician.Goldscheider alleges he suffered acoustic shock during rehearsals at the Royal Opera House for Richard Wagner’s Walkure. But what happens when sheer volume obliterates not only the dancing but also nearly all the qualities of the music itself? But for any concertgoer, even one with a less noisy trip, the cotton (or earplugs) still ought to give the ears a decent rest before they are put to very good use. Short-term exposure causes short-term damage to hearing; long-term exposure, forever damage. They say they can't hear themselves or each other, and have no idea what their audiences are experiencing.
Whether composers or instrument-makers led the way at any particular moment, the direction in classical music has been the same as that in rock and musical theater: louder.
Yet while noise-induced hearing impairment is a well-known issue in the rock world, long highlighted in educational campaigns featuring The Who's Pete Townshend and rapper Missy Elliott, the discomfort from loudness suffered by classical musicians is generally kept hush-hush. However, despite regulations and a growing awareness on the part of concert engineers that high SPLs are dangerous, few seem able to turn it down. Bad venue acoustics or a terrible mix position often tempt a mixer to turn it up (not always a successful tactic). In order to maintain a perceived balance between high and lows (and mids and low-mids, and so on) a "flat" playback system may need to be EQ'd differently for different levels of reproduction. This corresponds to the resonant frequency of the ear canal, and is the frequency range where hearing overload and damage occurs first.
Nevertheless, a "vented" ear plug can be used to tune the ear cavity to low frequencies, which are less damaging. Ear monitors are small in-the-ear devices that look like hearing aids, that can be used to electronically protect hearing, while allowing the musicians to hear themselves.
Yet, for most of us, music is no longer something we do ourselves, or even watch other people doing in front of us. The retired marching band director had lost almost all hearing in his left ear over his 30+ years of work.I perform semi-regularly with jazz groups of different sizes, and I've noticed that it's quite difficult to get some jazz drummers to play softly. At least I think so, for a very very high-pitched sound appears when the audience is in the room and never appears during rehearsal.
At the Metropolitan Opera it is posted on each seat's Met Titles screen, the first thing to greet people as they settle into their seats. A similar sustained high pitch pervaded Alicia de Larrocha's genial account of Mozart's Piano Concerto in A (K.
The room was packed with students, their parents, and grandparents, along with residents from the retirement home. One of the discomforts of being a student of adult piano lessons: seeing my name in the program amidst a sea of kids aged 6 to 16. One of the dreadful “what if” scenarios that haunted me as I prowled backstage, then plopped down in a chair and tried to breathe deeply, was that I would forget to activate my hearing aid’s music setting. Occasionally when I adjusted my aids in public, acquaintances seemed alarmed, as though I had a malady that made them cringe but of which they were far too polite to register notice.
I could try to fake my way through without hearing the piano’s full richness of sound, but my throat constricted at the prospect.
I played through the Raindrop Prelude’s dreamy opening, the angst of the thunderous rain storm, and finished with the rain’s aftermath, drenched yet hopeful. According to court documents for his lawsuit against the ROH, noise levels reached 137 decibels in the pit.
But hearing isn't believing anymore, and the need to make the company's music seem not merely natural but oh, wow, awesome left everyone else in Act 1 singing and playing into microphones -- even a drum ensemble powerful enough to waken the ancient Orixa gods. This is going to depend on where the PA speakers are located relative to the audience I suppose. I've asked other restaurant goers if they have trouble hearing what their companions are saying against typical NYC restaurant music volume levels.
Though concerts are louder than ever-and many in the music business suffer some hearing loss-there seem to be hidden forces at work that encourage engineers to turn up the volume.
But there are also subtle mechanisms of human audio perception that tend to make the console's faders "upwards sticky" and encourage higher concert levels. The "loudness" control on your stereo attempts to correct this problem by applying a progressive EQ that compensates for the well-known "equal loudness contours" of human sound perception. Acoustic monitors are stethoscope like devices that block sound from other in the group, but allow the instrumentalist to hear their own instrument.

Humming just prior to, and through a loud noise such as a cymbal crash or rim shot may provide some protection. For music to remain vital, recordings have to exist in balance with live performance, and, these days, live performance is by far the smaller part of the equation. It plays havoc with concerts, however.As for meters, almost all outdoor venues have local laws now that restrict their volume levels, where a show has to be within certain dB limits. Hearing Pink Floyd (upon the release of Meddle) was like a 2-hour vividly intense dream.These memorable experiences were short-lived. Once I made the polite request of the audience described in the article below and the tone went away. Broadway theaters use amusing recorded announcements that list an assortment of mood disturbers, including crackling candy wrappers and crinkling plastic shopping bags. Throughout at least the second half of that movement, many listeners must have heard the high-pitched whistle of feedback from a hearing aid. Before I strode out onto the stage, I had pressed the external button on my aids no less than five times. I realized that while I thought of my hearing loss as part of my normal makeup, others saw me as handicapped or deficient.
Goldscheider was standing directly in front of the brass instruments.Although hearing protectors were provided, Goldscheider’ suit says they were inadequate and he was not trained properly to use them. For example, at a Beth Orton gig in Cambridge I had to endure a group of people catching up on their previous two months absence from each other at loud volumes. Performers are reluctant to mention it, or any other work-related ailment, for fear of losing their standing in the field or their employability. Because our ears become less sensitive to bass and treble at lower levels, a loudness control adds bass and treble when the hi-fi system is idling.
Unlike other instruments, the ability to hear the high-frequency harmonics is crucial to these musicians. Small protective muscles in the ear contract naturally when we sing or hum, and thus humming may protect from other noises.
Perhaps we tell ourselves that we listen to CDs in order to get to know the music better, or to supplement what we get from concerts and shows. These get tested throughout a show by someone not associated with the tour, due to legalities. Lately it seems like it's been easier to get our 16-piece big band to play more quietly, and with more subtlety, than some drummers I've worked with! The concert scene rapidly degenerated, as large numbers of people in altered states came for the social scene. Some big guys pushed past me in the other direction and I suddenly found myself in the center of a group of very discreet body guards, face-to-face with Mick, his head sort of down, pretending to be just another long-haired kid at a Stones concert. The tone (around the frequency of a television set tone, 18,000?) has also been attributed to a ringing halogen bulb or to a harmonic from an alarm system (where the tone is always on, and to set the alarm, a receiver is activated to detect motion, as in a museum alarm system).
As Sir Simon took a short pause to ready the orchestra for the slow second movement, the high ringing sound became pervasive. Only once before, though, have I seen an artist stop a performance to request that the disturbance be attended to. Aren't there sound checks where the main performers walk around the room to get a sense of what the audience might be hearing? Too much ear protection can result in overplaying and not enough protection can result in hearing loss. Zombified listeners will shuffle through the archives of the past, and new music will consist of rearrangements of the old.
I avoid larger venues, precisely because of the inept, usually front-heavy placement of speakers.
Engineers, too, have assistant engineers who walk the venue, and report back on where the sound needs work. The night someone set the carpet in flames was the last rock concert I saw in that civilized venue.
Driving home from the concert, we experienced such a relief at the richness and subtlety of the sound of the CD playing. Many complain bitterly about excessive sound levels.For five years, we worked to understand the root cause of these compaints.
I think this got started when rock bands began playing arenas, but it then became fashionable to do this in even the most intimate of clubs. I wouldn't be surprised if sound levels are occasionally part of the list of things to check for. Rock concerts moved into fieldhouses and sports arenas, and volume was added to substitute for the execrable acoustics. So the sound people do have to fight the general crowd noise that is not present during the sound check.One band (amongst a few others) who I have found to be consistently good at setting sound levels is Shellac. For anything but the most expansive club, the typical rock drummer is already playing at ear-splitting levels without any amplification whatsoever.
To add insult to virtual injury, concert tickets went from $5-$10 to the ridiculous prices we've been gouged with for the last 20 years. He cannot perform daily tasks without wearing ear protection, and he has missed out on hearing his 18-year-old son Ben, who is a promising french horn player and recently won an award.
However at least two of their members work in recording studios as producers and sound engineers, so they probably go to extra efforts to get the levels correct.
When you hear multiple sound sources coming from a single direction (the nearest PA speaker if you're in the audience and a monitor if you're a musician) it's like a conference call with lots of people talking at the same time: it's very difficult to hear anything with clarity. Amping it just makes it worse, and a byproduct is that all the other instruments have to turn up to compete. We know from many psychoacoustic studies that you can hear much better in a multi-source environment when the sound of those sources come from different directions. It is not a coincidence that this is exactly the case for an all-acoustic music performance (e.g.
This can't be helped when the drums are miked because if the volume on the voice gets cranked up to a level high enough to compete with the drums, it starts to feed back through the monitors. It's just so much easier to curl up in the comfy chair with a Beethoven quartet or Billie Holiday. But would Beethoven or Billie ever have existed if people had always listened to music the way we listen now? Ironically, most of what we want to hear reproduced in these coarse venues are sounds produced with care in carefully designed spaces. To give a sense of the importance of this, consider one major study that showed that when trying to hear one source in a multi-source environment, using eyes and ears together is the equivalent to turning down the volume level of the competing sources by 15 dB -- more than half the loudness.
As we reported last November, 40.5 percent of musicians in a survey acknowledged having suffered some degree of hearing loss, while an additional 19 percent admitted they did not know.
The problem is that in an amplified performance, the sound does not come from the direction of the player. Instead of being able to automatically turn your head to face the sound and employ eyes and ears together, you hear the sound coming from the PA speaker (or for the musician, from his or her monitor) and get distracted visually hunting for the player who has caught your interest. SIMILAR ARTICLESViolinist Itzhak Perlman cancels North Carolina performance over discriminatory law May 20, 2016Is varnish the key to a violin’s sound? In the case of the monitor mixes, major adjustments are being made by someone (the sound operator) who isn't a member of the musical ensemble and who can't hear what they're doing because the sound operator is in the audience. In the case of the PA mix for the audience, major adjustments are being made that the people who ARE in the musical group can't hear at all. With spatially-distributed speakers saturating the venue, modest levels of amplification would create superior sound. The drawback is that the spatial design would be venue specific, and sound check would be more demanding. Because each musician is reacting this way, the sound levels get higher and higher, to the point that players need earplugs -- an obvious sign that something is terribly wrong.The other five years of the research project involved investigating what might be done to address these fundamental problems.

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