For many music fans it probably comes as no surprise that lifetime
rock stars such as The Who's Pete Townshend suffer from music-induced hearing
loss and the associated symptom of tinnitus. In fact, Mr. Townshend has been
very public about his occupation-driven hearing impairment and has even served
as a celebrity face for the non-profit organization H.E.A.R., or Hearing Education and Awareness for Rockers.
In a recent Rolling Stone magazine article, Mr. Townshend was
quoted as saying, “If my hearing is going to be a problem, we’re not delaying shows. We’re finished.
I can’t really see any way around the issue.” In an attempt to manage the wall
of sound on stage, Mr. Townshend is planning to pursue an in-ear monitoring
system. So what exactly is an in-ear system and how will it help him save
his ears?
When musicians perform on stage, it is important for them to have the
ability to monitor themselves. This allows them to sing in tune and play on
time with the other members of the band. Traditionally, musicians were able to
accomplish this with large speakers on stage that faced them. The problem is
that significant levels of volume were common because each musician felt the
need to turn up the level of their monitor in competition with the other
musicians on stage. The result: huge amounts of volume that led to poor sound
quality for the audience and the potential for hearing loss.
In-ear monitors entered the picture and the game changed, sort of. If
you see a musician on stage with what looks like hearing aids in their ears,
those are in-ear monitors. If every member of the band is on in-ears, they
could (theoretically) remove all of those big, loud monitor speakers. Once you
remove the monitor speakers, the need to compete disappears because each
musician has their mix delivered directly to their ears through custom-fit
earpieces.
The volume on stage should automatically go down, right? Well, not
really. The technology provides the musician with the opportunity to listen at lower levels because they have a certain
degree of isolation (through the custom molds) and there is little need to turn
up the volume to compete with other performers. In the real world (and one
research study that was conducted at Vanderbilt University confirms this) most
musicians will monitor at the same levels whether they use floor monitors or
in-ear monitors.
So where is the safety net? In my practice, I have been confronted
with this many times: a rock star who is accustomed to monitoring at certain
levels, transitions to in-ears, still notices the “after show syndrome” (dull
hearing and the buzz). What I have found is that it all lies in the education
of the musician and their comfort level once they
realize they do not necessarily have to monitor at such intense levels.
If I was the lucky audiologist who was provided the opportunity to
care for Mr. Townshend’s hearing healthcare needs, these are the key points I
would address with him: 1) In-ear monitors are not hearing protection, they
were not designed to prevent hearing loss. Yes, when used properly they might
help you lower your monitoring levels on stage, but they can still crank out
enough volume to harm your ears. 2) Try to give your ears a break in between
rehearsals and performances. 3) When you’re not on stage but still exposed to
loud music, wear custom-fit musician’s hearing protection. They will allow you
to hear the music but keep it in a range that will be safe. 4) Music-induced
hearing loss is an occupational hazard for you; have your hearing tested on a
regular basis. 5) Tinnitus is a symptom, usually stemming from the damage that
has occurred to the hearing mechanism. There are a number of management options
available that have science behind them. It’s all a matter of exploring your
tinnitus and identifying the right option to help you minimize the intrusion.
Good luck, Mr. Townshend! I'm hopeful you will find the solution that allows you to minimize your exposure, prevent further hearing loss and continue to do what you do best.
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