There's nothing quite like playing music in a band.  Standing onstage and feeling the power of the instruments blasting away can be a gratifying experience unmatched by anything else.  It can also be a painful one to both listener and player alike.

Like many guitarists, I've played in situations over the years where club owners or audience members would ask for the band to turn the volume down.  The musicians are usually having so much fun hearing and feeling the music that they lose perspective on how loud things really are.  Sometimes it is hard to know how things sound away from the stage.  Because of the directional nature of sound, a person sitting just ten feet away from the stage might be hearing something completely different than what the players are.  What's the purpose of a performance if neither the audience or the players are enjoying the sound?

I have been to concerts where the volume levels were so excessive that I did not have a good time listening to the show.  On the other hand, as a gigging guitarist, I realize how important it is for the player to be able to hear and feel his sound for inspiration.  Achieving a good live sound that is satisfying for all parties involved is an art unto itself.  Compromise is a necessary part of the equation when trying to attain maximum results.  There are many variables that go into determining sound such as the room, the number of people in the band, the types of sound equipment being used, etc... A band might have a very inspirational and pleasant sound mix one evening, and then find themselves frustrated with a horrible mix the next.

Lately, I have become more conscious of trying to control sound levels onstage and protect my hearing.  Perhaps it's just a phase of getting older (and wiser?) but I find that I am refining my equipment and general approach to live performing with an ear toward minimizing the wear and tear that myself and others are subjected to when the band is cranked up and playing.

For the past couple of years our band has become a regular fixture at a nightclub that requires a fairly long commute for me and a rather insane load-in arrangement. The physical demands involved with the whole deal are considerable, and I have lamented on more than a few occasions about how difficult it is to carry equipment up more than 40 stairs to reach the stage, play for several hours, go back down the stairs and then drive for over an hour to get home at three or four in the morning.  Playing this venue forced me to start traveling with smaller amps, which has actually been a big blessing in disguise because it has helped to reduce the strain on my back as well as decrease overall decibel levels.  It has also prompted me to take the smaller setup to other clubs, and I find that I am enjoying the stripped-down approach for the sake of simplicity.

I love playing music and performing live, but admit that some aspects of it can be very tiring.  As I have mentioned before, I dislike getting home when the sun is coming up, smelling like nicotine and having my head stopped-up from the loud volume levels of the night before.  The next day I usually feel as if I am having what I call "post-gig syndrome" from the congestion of inhaling cigarette smoke and having crash cymbals clanging in my ears.

Several weeks ago, I decided that I wanted to try out some custom earplugs that I've had for a long time, but haven't used much at my gigs.  They are designed to attenuate all frequencies evenly and were made for me in California on a visit about 15 years ago.  I have used them often when going to major concerts or dropping in to see music in local clubs.  However, I have never really enjoyed playing my own music with them because they seem to take away some of the feeling I love about onstage sound.

Not wanting to have lingering effects from a show at the aforementioned club, I decided to play an evening using the earplugs.  When we played the first song, I became somewhat frustrated because I just couldn't detect the same sparkle and dynamics as I would have without the plugs.  I was resolute, though, in my intent to get through a whole evening using the protection.  Okay, I confess that I did remove them for a couple of songs later in the night, but I did realize the next morning that my ears were not ringing, and aside from some fatigue and residual congestion from the ever-present cigarette smoke, I did not have the dreaded post-gig syndrome!

I then used the plugs on subsequent performances and became accustomed to their effect on sound.  In fact, I have worn them on every show since the initial trial from a few weeks ago.  The funny thing is that I now find myself to be much more sensitive to loud noises and sound in general.  It's as if I have grown used to the plugs and adapted.  Coupled with my use of the smaller amp, the earplugs have changed my current thinking about the way I play.

So, the main gist of this article is to encourage musicians to think about hearing protection.  I feel like I am turning into my parents or something here ;-) but I can definitely say that my recent experiences using the earplugs have opened my eyes and ears (you know that couldn't be avoided, it was bad, I know) to new possibilities.  While my hearing is still good, I am not completely aware of how the years of loud playing have affected things.  What I do know is that it's never too late to start protecting the most vital asset a musician can have (we are still talking ears here folks). I still like to crank up the amps, but feel that I am progressing toward being a better-sounding musician with respect to having a good and considerate sound.

It is also important to observe ways to protect your hearing in the studio or at home when using headphones.  Of course, the way to manage that is to simply turn down the sound since you won't be wearing earplugs under the headphones.  If you are playing live and loud, use ear protection and discuss the issue with your fellow band members.
 

How do I find good earplugs geared toward musicians?

About 15 years ago, I had a company called Westone custom-build some plugs for me.  What separates their plugs from standard drugstore models is that they are engineered to cut all frequencies as equally as possible.  If you pop in a set of regular foam or plastic earplugs like you might find at a pharmacy, you are essentially reducing the high-end treble frequencies that are piercing and cause hearing loss.  However, musicians need to hear those high sounds for clarity and definition in music.  The bass response is often retained because the low frequencies rumble and can usually be felt through most plugs.  The Westone models intend to attenuate (reduce the strength of) all frequency levels in such a manner that their relative relationships with each other are preserved.

When I bought my plugs, Westone sent materials to a local hearing specialist where I then had molds taken of my ear canal.  The molds were sent back to Westone and they produced the form-fitting plugs.  The units were expensive (I think about $100 back then) but they are very comfortable to wear.

If you are interested in finding out more about custom ear protection, visit:  http://www.earmold.com/music2000/music0.htm

It's never too late to start protecting your hearing.  The plugs may take a little time to adjust to, but they can be well worth the investment.  I will report again in the future as I have more experience with them at gigs.

Jason