Trends in Amplification最新文献

Previous work showed that the Fidelity120 processing strategy provides better spectral sensitivity, while the HiResolution processing strategy can deliver more detailed temporal information for Advanced Bionics cochlear implant users. The goal of this study was to develop a new sound processing strategy by maximizing the spectral benefit of Fidelity120 and the temporal benefit of HiResolution to improve both aspects of hearing. Using acoustic simulations of Fidelity120 and HiResolution strategies, a dual-processing strategy was created by combining Fidelity120 in the low frequency channels and HiResolution in the high frequency channels. Compared to Fidelity120, the dual processing provided an improvement in performance for Schroeder-phase discrimination at 200 Hz and temporal modulation detection at 200 Hz with the cost of a slightly decreased performance for spectral-ripple discrimination relative to Fidelity120. Spectral-ripple discrimination was better with the dual processing than with HiResolution. However, no benefit for speech perception in noise was found for the dual-processing strategy over Fidelity 120 or HiResolution in our preliminary tests. Some other more optimal combination of Fidelity120 and HiResolution may be required to maximize the spectral and temporal benefits to yield improved speech perception.

NAL-NL1, the first procedure from the National Acoustic Laboratories (NAL) for prescribing nonlinear gain, was a purely theoretically derived formula aimed at maximizing speech intelligibility for any input level of speech while keeping the overall loudness of speech at or below normal loudness. The formula was obtained through an optimization process in which speech intelligibility and loudness were predicted from selected models. Using updated models and applying some revisions to the derivation process, a theoretically derived NAL-NL2 formula was obtained in a similar way. Further adjustments, directed by empirical data collected in studies using NAL-NL1 as the baseline response, have been made to the theoretically derived formula. Specifically, empirical data have demonstrated that (a) female hearing aid users prefer lower overall gain than male users; (b) new hearing aid users with more than a mild hearing loss prefer increasingly less gain with increasing degree of hearing loss than experienced hearing aid users, and require up to 2 years to adapt to gain levels selected by experienced hearing aid users; (c) unilaterally and bilaterally fitted hearing aid users prefer overall gain levels that vary less than estimated by the bilateral correction factor; (d) adults prefer lower overall gain than children; and (e) people with severe/profound hearing loss prefer lower compression ratios than predicted when fitted with fast-acting compression. The literature and data leading to these conclusions are summarized and discussed in this article, and the procedure for implementing the adjustments to the theoretically derived NAL-NL2 formula is described.

The purpose of this study was to (a) apply the musical sound quality assessment method, Cochlear Implant-MUltiple Stimulus with Hidden Reference and Anchor (CI-MUSHRA), to quantify musical sound quality deficits in CI (cochlear implant) users with respect to high-frequency loss, and (b) assess possible correlations between CI-MUSHRA performance and self-reported musical sound quality, as assessed by more traditional rating scales. Five versions of real-world musical stimuli were created: 8-,4-, and 2-kHz low-pass-filtered (LPF) versions with increasing high-frequency removal, a composite stimulus containing a 1-kHz LPF-filtered version and white noise ("anchor"), and an unaltered version ("hidden reference"). Using the CI-MUSHRA methodology, these versions were simultaneously presented to participants in addition to a labeled reference. Participants listened to all versions and provided ratings based on a 100-point scale that reflected perceived sound quality difference among the versions. A total of 25 musical stimuli were tested. As comparison measures, participants completed four Visual Analogue Scales (VAS) to assess musical sound quality. Overall, compared to normal hearing (NH) listeners, CI users demonstrated an impaired ability to discriminate between unaltered and altered musical stimuli with variable amounts of high-frequency information removed. Performance using CI-MUSHRA to evaluate this parameter did not correlate to measurements of musical sound quality, as assessed by VAS. This study identified high-frequency loss as one acoustic parameter contributing to overall CI-mediated musical sound quality limitations. CI-MUSHRA provided a quantitative assessment of musical sound quality. This method offers the potential to quantify CI impairments of many different acoustic parameters related to musical sound quality in the future.

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.

Hearing instrument design focuses on the amplification of speech to reduce the negative effects of hearing loss. Many amateur and professional musicians, along with music enthusiasts, also require their hearing instruments to perform well when listening to the frequent, high amplitude peaks of live music. One limitation, in most current digital hearing instruments with 16-bit analog-to-digital (A/D) converters, is that the compressor before the A/D conversion is limited to 95 dB (SPL) or less at the input. This is more than adequate for the dynamic range of speech; however, this does not accommodate the amplitude peaks present in live music. The hearing instrument input compression system can be adjusted to accommodate for the amplitudes present in music that would otherwise be compressed before the A/D converter in the hearing instrument. The methodology behind this technological approach will be presented along with measurements to demonstrate its effectiveness.

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 high-frequency 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.

Extensive personal experience with professional recording and audio signal processing technology has enabled the author to continue his music career after experiencing sudden sensorineural hearing loss. The iPhone™ is one such device that has been found useful for many music and general listening situations that would otherwise be intractable. Additional techniques and technologies are described that the author has found useful for specific situations, including music composition, rehearsal, and enjoyment.

This article reviews a series of studies on the factors influencing sound quality preferences, mostly for jazz and classical music stimuli. The data were obtained using ratings of individual stimuli or using the method of paired comparisons. For normal-hearing participants, the highest ratings of sound quality were obtained when the reproduction bandwidth was wide (55 to 16000 Hz) and ripples in the frequency response were small (less than ± 5 dB). For hearing-impaired participants listening via a simulated five-channel compression hearing aid with gains set using the CAM2 fitting method, preferences for upper cutoff frequency varied across participants: Some preferred a 7.5- or 10-kHz upper cutoff frequency over a 5-kHz cutoff frequency, and some showed the opposite preference. Preferences for a higher upper cutoff frequency were associated with a shallow high-frequency slope of the audiogram. A subsequent study comparing the CAM2 and NAL-NL2 fitting methods, with gains slightly reduced for participants who were not experienced hearing aid users, showed a consistent preference for CAM2. Since the two methods differ mainly in the gain applied for frequencies above 4 kHz (CAM2 recommending higher gain than NAL-NL2), these results suggest that extending the upper cutoff frequency is beneficial. A system for reducing "overshoot" effects produced by compression gave small but significant benefits for sound quality of a percussion instrument (xylophone). For a high-input level (80 dB SPL), slow compression was preferred over fast compression.

Music can have sound levels that are in excess of the capability of most modern digital hearing aids to transduce sound without significant distortion. One innovation is to use a hearing aid microphone that is less sensitive to some of the lower frequency intense components of music, thereby providing the analog-to-digital (A/D) converter with an input that is within its optimal operating region. The "missing" low-frequency information can still enter through an unoccluded earmold as unamplified sound and be part of the entire music listening experience. Technical issues with this alternative microphone configuration include an increase in the internal noise floor of the hearing aid, but with judicious use of expansion, the noise floor can significantly be reduced. Other issues relate to fittings where significant low-frequency amplification is also required, but this type of fitting can be optimized in the fitting software by adding amplification after the A/D bottle neck.