Abstract:Audiometric thresholds and otoacoustic emissions (OAEs) were measured in 285 U.S. Marine Corps recruits before and three weeks after exposure to impulse-noise sources from weapons' fire and simulated artillery, and in 32 non-noise-exposed controls. At pre-test, audiometric thresholds for all ears were Show more
“…While a 10e11% rate of STS from noise exposure during recruit training is the norm (Marshall et al, 2009), our study population exhibited a greater than 37% rate of STS despite strict use of HPDs and a highly controlled environment free of other significant noise outside the weapons training period. The most likely reason for this high rate of threshold shift is that, in addition to the standard audiometric frequencies tested in other studies (Marshall et al, 2009), this study also measured hearing thresholds at high frequencies between 2 kHz and 20 kHz, inclusive.…”
“…While a 10e11% rate of STS from noise exposure during recruit training is the norm (Marshall et al, 2009), our study population exhibited a greater than 37% rate of STS despite strict use of HPDs and a highly controlled environment free of other significant noise outside the weapons training period. The most likely reason for this high rate of threshold shift is that, in addition to the standard audiometric frequencies tested in other studies (Marshall et al, 2009), this study also measured hearing thresholds at high frequencies between 2 kHz and 20 kHz, inclusive.…”
“…However, ears in this category are already known to be more at risk for incipient NIHL from both continuous-noise and impulse-noise sources (Lapsley Miller et al, 2006;Job et al, 2009;Marshall et al, 2009). Our working presumption is that these low-level OAEs are due to subclinical damage to the inner ear that has not yet shown a significant change on an audiogram.…”
Otoacoustic emission (OAE) tests of the medial-olivocochlear reflex (MOCR) in humans were assessed for viability as clinical assays. Two reflection-source OAEs [TEOAEs: transient-evoked otoacoustic emissions evoked by a 47 dB sound pressure level (SPL) chirp; and discrete-tone SFOAEs: stimulus-frequency otoacoustic emissions evoked by 40 dB SPL tones, and assessed with a 60 dB SPL suppressor] were compared in 27 normal-hearing adults. The MOCR elicitor was a 60 dB SPL contralateral broadband noise. An estimate of MOCR strength, MOCR%, was defined as the vector difference between OAEs measured with and without the elicitor, normalized by OAE magnitude (without elicitor). An MOCR was reliably detected in most ears. Within subjects, MOCR strength was correlated across frequency bands and across OAE type. The ratio of across-subject variability to within-subject variability ranged from 2 to 15, with wideband TEOAEs and averaged SFOAEs giving the highest ratios. MOCR strength in individual ears was reliably classified into low, normal, and high groups. SFOAEs using 1.5 to 2 kHz tones and TEOAEs in the 0.5 to 2.5 kHz band gave the best statistical results. TEOAEs had more clinical advantages. Both assays could be made faster for clinical applications, such as screening for individual susceptibility to acoustic trauma in a hearing-conservation program. [http://dx
“…It is thus interesting to speculate that a simple test of aural-distortion judgments might provide some indication of the ear's susceptibility to hearing damage from noise exposure. In a recent report, Marshall et al (2009) found evidence that high-frequency otoacoustic emission levels may be correlated to differences in susceptibility to hearing damage. It is tempting to assume that the same intermodulation-distortion mechanism in the mechanics of the cochlea produces audible harshness at high sound levels and measurable otoacoustic emissions at lower sound levels.…”
Section: Absence Of "Fortissimo Blare" From Aural Distortionmentioning
Although a great many brass players, and trumpet players in particular, successfully use high-fidelity earplugs, others report problems with their use. This article discusses factors that may discourage a brass player from using hearing protection: These include (a) a lack of acclimatization time; (b) a loss of "fortissimo blare" from the aural distortion generated by the 110-to 120-dB SPL produced at the open ear with fortissimo playing; (c) a shallow earmold seal, leading to a large occlusion effect; (d) a poor seal combined with incorrect acoustic mass in the sound channel; and (e) hearing loss where many harmonic overtones of even moderately loud playing may become inaudible with earplugs to a lifelong trumpet player with highfrequency hearing loss. The limitations imposed by each of these can usually be overcome with modifications of the hearing protection device (HPD) or with acclimatization time, allowing a lifetime of playing without the all-too-common "musicians' hearing loss" and/or tinnitus. A review of these factors helps to delineate some of the perceptual issues that musicians may have with any change in the spectrum of their instrument-whether it is related to attenuation or amplification.
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