FRONT OF HOUSE
IT ’ S ROARING IN MY HEAD : HEARING LOSS MIXING | Kent Morris
Hearing loss is a frustrating experience for anyone afflicted with the malady . Generally speaking , hearing loss is permanent and irreversible and deserves serious consideration , especially for anyone dependent on hearing in their line of work . Musicians as diverse as Phil Collins , Pete Townsend , Will . i . am and Barbara Streisand suffer from hearing loss and tinnitus from years of listening to loud instruments , amps and sound systems . But , it also affects millions of church-goers who are typically unaware of the loss or discount its impact on their life . Mixing for a congregation or musicians with undiagnosed hearing loss can be a challenge , so let ’ s look at how to navigate a compromised ear-scape .
The study of hearing is fascinating due to its inherent complexity and dependence on numerous conditions . Consider this : where there is no medium , there is no sound . Sound functions as a compression and rarefication wave cycle through a medium such as air , water or steel . Without this medium , sound has no way to get from A to B ; thus , any movie explosion in space with sound is scientifically false . We are accustomed to sound through the air , but we can also hear underwater where the denser medium allows faster and longer transmission . The beautiful whale song is an example of sound traveling underwater as is the cat-and-mouse game of submarines and sub hunters as they try to quieten and listen , respectively , to each other . Steel is a fantastic sound conductor as shown in old Western movies where a person puts their ear to the railroad track to hear an oncoming train from miles away .
In air , sound travels at a relatively slow speed of 1130 feet per second . If you ’ ve been to a concert in an arena , you understand how sound takes time to reach the far seats and how it tends to reflect off hard surfaces . When the venue fails to incorporate acoustic design focused on delivering clear , direct sound to the seats , the overall experience suffers greatly . For attendees with hearing loss , this effect is compounded by their inability to process the full spectrum of sound and they hear only a muffled roar . Therefore , complaints from the far reaches of the sanctuary may have validity if the person is unable to differentiate between the direct energy from the loudspeakers and indirect energy from the room . The solution is to treat the room in order to bring the reflections under control .
Next , work to understand what a person with hearing loss experiences . An easy way to achieve this goal is to stoop down under the mixing console during rehearsal . The immediate loss of high end response mimics the response curve of a person with loss . You will notice the bass guitar and kick drum appear louder while the vocals are awash in low-mid muddiness . Hearing loss is most prevalent in higher frequencies which can make low frequencies appear to stand out , creating an untenable situation for the listener . Thus , a simple remedy for the traditional service mix is to shade down the entire energy range below 200Hz to allow the highs to shine through the mix . Naturally ,
too much low-end shading will build a shrill mix , making it necessary to adjust to taste .
Finally , use I-Mag as a lip reader service . If the pastor agrees , tighten up the preaching pastor ’ s image on screen to allow those with hearing loss to read lips . A corollary is to place lyrics and sermon notes in large , clear fonts as a lower third to enhance communication even further .
Hearing loss need not be a debilitating issue if we as techs strive to improve the acoustic signature of the room , tilt the system response away from low-end for the early service and use I-Mag and lower thirds as lip readers .
Kent Morris Kent is a 40-year veteran of the AVL arena driven by passion for excellence tempered by the knowledge digital is a temporary state .