View Tag: ‘hearing protection’
Noise guru Alberto Behar answers some questions regarding the use of the term Noise Reduction Rating, especially when dealing with custom-made hearing protectors.
Symphonic music can pose a hearing hazard for musicians. Alberto Behar and his colleagues investigate the use of acoustic shields as a potential safeguard.
Readers of Alberto’s column should by now be used to his predilection for rigorously defining terms that are frequently used in the acoustics side of the field. In keeping with that practice he defines Hearing Protectors, Hearing Loss, and Intelligibility, so that there will be no misunderstandings.
Alberto Behar explores the issue of hearing protection comfort related to usage.
The authors introduce us to the current programs from H.E.A.R. (Hearing Education and Awareness for Rockers), a 501(c)(3) nonprofit organization established 1988 in San Francisco, California which was the first of its kind to launch world-wide music hearing conservation campaigns with the support of founding donor Pete Townshend of the Who, The Bill Graham Supporting Foundation, The Les Paul Foundation, The Hearing Aid Music Foundation and others.
Glynnis Tidball give us The Quick and Dirty on Hyperacusis and tells us how we can help our clients to understand their reaction to sound and, with the right tools, help them to increase sound tolerance and enjoy the world of sound again.
Alberto Behar provides his unique insights once again in Motorcycle Noise Part II.
In this issue’s Noisy Notes, Alberto Behar writes about the (in)famous Noise Reduction Rating.
Sandra Teglas examines the use of acoustic shields, screens and baffles to aid in hearing protection for musicians.