Jun 1, 2002 12:00 PM

MARCH MADNESS

I'm a little bugged. Much of the March issue, including the editor's note, was given over to convincing readers that the 48k era is entering its twilight years. In the same issue, Paul Lehrman notes that at his peak, he could hear “up around 22 to 23 kHz,” frequencies that can be comfortably recorded with 48k.

So, what is the sonic benefit of huge sample rates? There are plenty of important improvements that can be made to digital recording formats, but this one just seems like pure bulk (twice the data, twice the processing power, twice the storage) for a benefit that is inaudible to humans.

Rather than just publish photos of the new 96k-plus gear, it would've been more useful for you guys to A/B said equipment at 48k and 96k.
Matthew Butterick
Via e-mail

EARS ARE RINGING

I just finished reading Paul Lehrman's latest installment of “Insider Audio” (March 2002 issue), and I felt like I was reading a history of my own hearing symptoms. I've been involved professionally in recording and music since 1974, and have also noticed the high-end drop-off over the years. A couple of years ago, I also noticed a ringing in my ears, which I have learned to live with, and which doesn't seem to affect my ability to do my job as an engineer.

However, I never went to an audiologist about the ringing and have always had a nagging uncertainty about how it was really affecting me. Your article has put me much more at ease with the situation and given me a much better insight into tinnitus. I'm also very curious to read the answers to the questions you pose at the end of the article, as they are the same questions I've asked myself occassionally.

Lee Bargeron
Kismet Audio
Via e-mail

LISTEN CLOSELY

I just read Paul Lehrman's column about tinnitus in March Mix. I, too, have developed this damn condition! Like you, I first noticed it after being in a very loud environment. I was surprised to find that there was still ringing the next day, and then became concerned when it did not subside. In my case, the tone is only in the right ear, and is very low in level.

I went to an ENT doctor who is known to handle hearing issues. He was initially suspicious of the loud noise I had been exposed to, but ultimately removed a huge amount of wax from my ear, and the problem seemed to go away. After a few days, however, I realized it was still there. (I suspect the wax had made it seem worse by blocking off outside sounds.) So, I took an audiology test, then went back to the ENT. When he saw that the hearing test was normal, he was pretty confident that ear trauma from noise exposure was not the culprit. The next likely possibility for me is my TMJ. Apparently, the continued tension of the jaw muscles from bite misalignment or other TMJ issues causes stress in the hearing system, as well. This can cause tinnitus; in fact, the ENT says it is the second most likely detectable cause. He did put me on a course of Prednisone, which reduces internal inflammation and sometimes cures the problem, but it did not help.

At this point, I can either consult further hearing specialists, see a dental specialist about the TMJ or do nothing. My investigation into this issue so far has shown that there are many known causes and virtually no solutions — as you pointed out — if the source of the problem cannot be pin-pointed and eliminated. However, the University of Maryland tinnitus clinic was started by a doctor who invented a tinnitus “retraining” program, which is about learning to adapt to the noise until it becomes unnoticeable. It is mainly suggested for people with very severe tinnitus, but I guess anyone can do it.

As a musician and audio professional, I had often thought that this ailment would be the worst thing that could happen, short of losing my hearing altogether. I'm sure you have had similar thoughts about whether it would get worse, whether your hearing would fail, etc. Fortunately, I only notice the tone when I am in a very quiet environment or my ear is covered. It does seem to vary in level, but not in pitch. This has one good side: I can now have a kind of “virtual” perfect pitch by having a reference note in my ear!

I also had similar thoughts to yours about the people who practice audiology and hearing medicine. I felt as though I knew more about sound than the person doing the tests and probably more than the ENT, as well. In fact, I had to ask to have some tones tested that lie between the octaves they normally use (also topping out at 8k, I believe). I began to think about what it means to be a medical practitioner who deals with the sense organs; they really need to know a fair bit about the physics connected to the sense, as well as the biology.
Eric Wenocur
Lab Tech Systems
Via e-mail

Note: You can read much more reader feedback about tinnitus and hearing problems in Talkback, the Mix Online Reader's Forum —— Ed.

CILETTI DIGS DEEP

Just a note to let you know how much I have enjoyed Eddie Ciletti's articles and reviews. His in-depth knowledge of electronics and curious nature add considerable credibility and interest for me. I have always thought that reviews of products that basically “parrot” the specifications from a manufacturer's brochure and then say, “It sounds great!” were pretty useless. Ciletti is not afraid to dig in (or shall I say, stick an oscilloscope probe into) these products and actually show us what is going on. It is a real learning experience that helps me to understand why a product works, which is very important to me.

Charlie Fox
Via e-mail

THE TRUTH ABOUT TUBES

I am somewhat confused by the article “Sweet and Warm,” which I assume was supposed to be a review of “top-of-the-line” microphone preamplifiers (April 2002).

How did Mix come to compare $300 to $700 units like the Behringer and Bellari with the $2,000-plus Avalons, Millennias, etc?

This whole “tube” business has been a wonderful marketing tool for so many manufacturers, and I don't doubt that some of these so-called “tube” units make a marked improvement in some users' recording chains. But those of us educated readers know — or should know — the difference between a true tube preamplifier and one that simply puts a 12AX7 with 50 volts or less on its plates between a couple of IC's or transistors.

Chuck Kirkpatrick
Via e-mail

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