Feature Article
 

Hearing Aid Issues for the Hearing Impaired Audiophile

Part V

June, 2006

Wayne Sarchett

 

Stokowski: Rhapsodies: Liszt: Hungarian Rhapsody No. 2; Enesco: Roumanian Rhapsody No. 1, Classic/RCA LSC-2471, 180 gr. vinyl

Etymotic Digi-K CIC all-digital

Very muted sonic signature!!!  Dynamics severely compressed – makes this music sound plodding, dull and boring.  However, this is the best digital sound I have heard – blows away all the other digital aids except for the ReSound Metrix.

There was smearing and a lack of air and separation between instruments/groups.  Background accompaniment was smeared and there was some congestion and congealing of the sound on complex passages.  Loud orchestra peaks were severely compressed.  I wonder if the smearing and congestion I heard is distortion?  Also, the Digi-K had difficulty handling soft delicate passages that are complex – much missing information and congestion here.

Timbre of violins was off, but, I noticed, not always off as much as other times – there was a lack of richness, sound was very lean, thin, cold, and hard, but not always consistently so.  Sometimes the sound was better than other times, must depend upon the combination of instruments, volume, etc. and the algorithms called to process?

Highs and lows were significantly rolled off, but they were present, unlike the other digital aids auditioned (except for he ReSound Metrix).  I just heard highs that didn't seem rolled off (the piccolos!), I wonder why?  They were surprisingly clean also.

Micro and macro dynamics were poor, still better than the other all-digitals by a wide margin (except Metrix).  These hearing aids were surprisingly good (Digi-Ks), just a few major faults – sometimes these sounded pretty good, other times, mediocre – very inconsistent.  The ReSound CC4s consistently and repeatedly delivered transients much quicker, faster, and cleaner.  The decay of notes was also excellent on the CC4.

Bartok: Concerto for Orchestra, Reiner, Chicago Symphony, Classic/RCA LSC-1934, 180 gr. Vinyl

Etymotic K-Amp CIC (from General Instrument Co.)

The same comments above apply on the Bartok as on the Liszt and Prokofieff.  In addition, separation, and air between notes and groups was excellent (but CC4s just slightly better in this area also).  Bass and high extension and definition were excellent.  The K-Amp had a higher sound pressure level capability than the CC4s.

Claude Bolling: Concerto for Classic Guitar and Jazz Piano, Angel DS-37327, vinyl

Etymotic Digi-K CIC all-digital

This sounded surprisingly good.  The music was very simple.  I could hear the guitar string being plucked.  However, the cymbals didn't sound right and the piano didn't sound like a piano – there was a problem with timbre.  Guitar notes were slightly smeared.  Note definition was only fair.

Rhythm and pace are good – these hearing aids sounded quite musical on this recording, however!  Highs and lows were seriously rolled off.  Dynamics (macro) were severely compressed.  Micro dynamics were lacking, there was an absence of nuance, emotion, and expression.  There was good balance between instruments.

Dave Brubeck Quartet: Time Out,  Columbia (Classic) CS8192  180-gram vinyl

ReSound Metrix ITC all-digital

In general, this sounded pretty good, rhythm and pace were good, the music swings (although better with CC4).  Timbre was very good, bass plucked strings usually sounded plucked, cymbals good, Desmond's sax very good and lyrical, etc.

When the music got complex, there was some smearing and congestion.  Brubeck's (piano) high notes/treble sounded better, more realistic than the midrange.  Transient attack was less defined, more muted, and a little fuzzy.

The CC4 had better separation and more air, better micro and macro dynamics, resulting in more expression and emotion.  Drums had more snap – with Metrix, percussion was a little dull and muted "more thud-like".  CC4 balance of instruments was more realistic.

Transient attack was softer, less defined – this was particularly noticeable on percussion.  There was some loss of brilliance, dynamics were compressed.  The CC4 sounded more open and transparent and natural – music had more nuance and expression.  With the CC4, the snare drum you could tell it was a snare drum – with Metrix the timbre of the snare character was greatly diminished.

Background and accompaniment with the Metrix were suppressed and distant with some smearing.  On delicate passages/phrases, the delicacy of the music was diminished – there was a loss of detail and micro dynamics.  Transients were slower; the presentation had less energy.

Desmond's sax sometimes had a slightly hollow sound (this was subtle).  There was considerable dynamic compression on Brubeck's piano on fortissimos.  Balance between Brubeck's piano and Desmond's sax was very good, however there was a problem with balance between the lead/solo(s) and accompaniment when the volume increased with either the sax or piano; this was particularly noticeable with the percussion.

Overall, this recording sounded fairly good with the Metrix.  At times, the piano became very percussive on loud passages – I am guessing that the circuit overloads, resulting in distortion.

Phonak Savia CIC all-digital

There was a problem with balance between the instruments of this quartet.  Brubeck's piano on loud passages dominated Desmond's sax and accompanying bass and percussion.  There was also a balance problem when Brubeck's solos had the dominant theme being played with the left hand (midrange and lower). It obscured the right hand (upper midrange and treble) passages, rendering them almost inaudible.  The piano highs were poorly rendered – they were percussion-like (but not always).

The dynamic range was somewhat compressed and slightly muted (but not a lot).  There was a loss of micro-dynamics, resulting in loss of nuance and expression, making the presentation sound dull.

The solo instruments, when very dominant, tended to obscure the accompaniment.  This was noticeable mostly with Brubeck's piano, and also between the left and right hands.  When the solo was less dominant, this was less of a problem and the balance between instruments was much better.

Transient attack was somewhat harsh on loud notes, and decay had a loss of reverberation.  At moderate, even volume, the presentation was good – loud and soft passages became undefined, with a loss of detail.  Timbre was just barely acceptable.  Desmond's sax was much less lyrical and expressive compared to the CC4s, there was much loss of musical information.  In addition, the bass and percussion were drowned out most of the time.

This recording just didn't swing with the Savia.

Click Here to Go to Part VI.

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