title: Music and hearing aids--an introduction.
abstract: Modern digital hearing aids have provided improved fidelity over those of earlier decades for speech. The same however cannot be said for music. Most modern hearing aids have a limitation of their "front end," which comprises the analog-to-digital (A/D) converter. For a number of reasons, the spectral nature of music as an input to a hearing aid is beyond the optimal operating conditions of the "front end" components. Amplified music tends to be of rather poor fidelity. Once the music signal is distorted, no amount of software manipulation that occurs later in the circuitry can improve things. The solution is not a software issue. Some characteristics of music that make it difficult to be transduced without significant distortion include an increased sound level relative to that of speech, and the crest factor- the difference in dB between the instantaneous peak of a signal and its RMS value. Clinical strategies and technical innovations have helped to improve the fidelity of amplified music and these include a reduction of the level of the input that is presented to the A/D converter.
authors.affiliation: Musicians' Clinics of Canada, Toronto, ON, Canada. Marshall.Chasin@rogers.com
authors.forename: Marshall
authors.initials: M
authors.lastname: Chasin
mesh_terms: D000161:Acoustic Stimulation; D000703:Analog-Digital Conversion; D001307:Auditory Perception; D001309:Auditory Threshold; D012048:Correction of Hearing Impairment / Q000523:psychology*; D004867:Equipment Design; D006310:Hearing Aids; D006801:Humans; D008144:Loudness Perception; D009146:Music; D019986:Persons with Hearing Disabilities / Q000523:psychology / Q000534:rehabilitation*; D012815:Signal Processing, Computer-Assisted; D012984:Software; D013018:Sound Spectrography; D013061:Speech Acoustics; D013067:Speech Perception