Can Loud Headphones Trigger Ear Infections

Technology is improving each and every day, but these advancements have left many of us tightly trapped in the luxuries and comforts, imposing many side effects on our overall health. One such modern advancement in technology that’s affecting our health is the use of headphones. Today, many people use headphones without knowing the kind of negative health issues the devices can cause.

Well, although headphones are an ergonomic, convenient and quite useful hands free accessories, there are various health risks that are associated with their use. Experts believe that prolonged use of headphones can cause great damage to the ears. In addition, headphones cause ear infections, which contributes to hearing loss. Well, some of the risks that are associated with headphones have more to do with their use and maintenance, than with the headphones mechanics.

Ear infections are much more likely to occur amongst the headphone users who wear the devices for extended periods of time, and also amongst those who don’t take good care of their headphones. For example, headphone ear cushions need to be replaced every 2-3 months, and should be treated regularly with the right cleaning agent so as to avoid accumulation of germs and bacteria. Prolonged headphone use also causes aural hygiene issues, hearing loss along with ear canal infections. Recent scientific studies have revealed that wearing headphones for extended periods of time usually increase the humidity and the temperatures inside the ear canals, thereby increasing one’s susceptibility to ear infections. This shows that headphones cause ear infections.

Sharing of headphones is another way headphones cause ear infections. It is quite common for people to share their headphones with others. Sharing headphones with others is not a good idea since the bacteria from other people’s ears will travel to your very own ears and this will cause ear infections. Therefore, the next time you think of sharing your headphones, think again. Do not share your headphones with anyone, not even your friends or family.

Listening to music together is another way headphones cause ear infections. As romantic as it may seem, there are dire repercussions to sharing headphones. In the process of enjoying music together, you will end up transferring somebody else’s bacteria to your ears; this can lead to ear infections. Make sure you sanitize your headphones by thoroughly cleaning them with a clean tissue paper before plugging them in.

Apart from the germs and bacteria you get from borrowing or/and sharing headphones, you can also get germs and bacteria from not changing your very own headphone sponges. It’s recommended you change the rubber or sponge cover of your headphones every 2-3 months mainly because they tend to get covered with germs and bacteria over time.

Some other ways you can avoid ear infections caused by headphones is by always keeping your headphones clean, regularly replacing the old headphones and ear pads, avoiding sharing headphones or using the public headphones, and not sharing earbuds. Also, if your headphones have a sponge or a rubber cover, make sure you change them every 2 months. Finally, remember to give your ears some rest once every 15 minutes, and do not play the music way too loud, for this might contribute to hearing loss.

In Ear Monitor Buyer’s Guide: Custom vs. Generic Fit

It is understood that ear moulded plugs are far more comfortable and effective than the mushroom plugs, but which ones are the best? The Custom fit or generic fit. This article runs over the positives and negatives of that question and comes to a conclusion, if your debating to get some moulded ear plugs or some from the shelf, you will want to read this first.

Over the past 20 years, In Ear Monitors (or IEMs) have become a near-necessity for live performance.

In years prior, engineers would inevitably have to crank up a venue’s stage monitors loud enough for the musicians to hear themselves over the audience, over the sound coming from the stage, and over the main mix.

This would often lead to an arms race of ever-increasing stage volume, potentially causing feedback issues and compromises in clarity and quality for the live mix.

Custom in-ear monitors from JH Audio, one of the first commercial brands to make a name for itself in the IEM market.

With the advent of in-ear monitors, all this began to change. In the mid-1980s, Etymotic developed the first-ever insert-style earphones, and soon after, a designer named Marty Garcia began making one-off custom in-ears for rock stars like Todd Rundgren.

By 1995, Jerry Harvey, founder of Ultimate Earsand JH Audio, brought some of the first commercially-available dual-driver IEMs to market. All of a sudden, everyday musicians had an option that allowed us to save our hearing, get better monitor mixes, and dramatically reduce the chances of feedback onstage.

Today, IEMs are increasingly being considered useful tools for the studio as well. Their ability to prevent sound leakage can be of tremendous value in helping to control click and instrument bleed, and in saving musicians’ hearing by allowing them to monitor at lower levels.

Some musicians and engineers, such as drummer Rich Pagano of The Fab Faux, will use IEMs to quickly check for phase when mic’ing up a drum kit, while others turn to IEMs as a kind of audio microscope, using them to help check for and remove extraneous low-level noise.

Any modern musician would be wise to consider adding in-ear monitors to their toolkit. But is it worth it to dish out the extra money on custom fit IEMs, instead of saving some money with the generic fit ones?

In testing a variety of in-ear monitors from brands like Westone, Ultimate Ears, Future Sonics, and even Skullcandy (that last of which is not recommended for professional use), I have found that there are cases in which generic fit earphones may work better than their custom counterparts. Making the right decision for your needs comes down to considering the following four factors:

1) Cost

Ultimate Ears custom fit in-ear monitors.

Custom fit IEMs tend to cost more than generic fit ones, as it takes more time and effort for the manufacturer to craft a product designed specifically for the unique anatomy of your ear.

Getting custom IEMs made also requires that you go to an audiologist to make a mold of your ear canal that the IEM company can then use to make your monitors fit as well as possible.

Take note of both of these costs, which can range from $100-$200 or more for a fitting from an audiologist, and $299-$1499 or more for the custom monitors to be made.

2) Comfort & Seal

Custom fit IEMs are custom, so they should feel really comfortable, right?  Well, yes and no.

In my experience, custom fit IEMs can feel a little tight in the ear canal compared to generics, especially at first. Hearing so little acoustic feedback from your performance can also take some getting used to, and the tight seal of custom fit in-ears can feel particularly awkward when signing.

Because of this, my looser-fitting Westone 3 generic IEMs actually feel more comfortable to me on vocal duties, so I often find myself using them over my custom fit Future Sonics when I step up to the mic.

Matt Bellamy from Muse (recently featured in Get THAT Guitar Tone) has been seen using both customUltimate Ears UE-11s and generic-fit Westone UM2s when on tour, and my guess is that he has similar reasons.

Though the tight fit of custom IEMs and lack of acoustic feedback from your performance can be a challenge, it’s worth noting that generic foam-tip IEMs also provide their own tradeoffs: The looser fit of generics can sometimes create a bit of a tingling or “tickling” feeling in your ear when playing at higher volumes, so it may be useful to have a pair of each and go with what feels best depending on the date and venue.

Silicone-based Encore Studio custom IEMs from ACS.

Another option here is the custom fit brandACS, which makes its IEMs out of soft silicone shells.

This softer silicone-based design is meant to offer both better comfort and a tighter fit than the hard acrylic shells used by brands like Westone and Ultimate Ears.

Though these silicone monitors sell for a premium price of $400-$1,200 and up, they may help bridge the gap between the tight seal of custom acrylics and the looser and easier fit of foam-tipped generic IEMs.

3) Hearing Protection

In addition to cutting down on sound leakage to help improve sound quality and reduce feedback, another primary benefit of IEMs is that they can offer considerable hearing protection by helping to block out exterior noise, allowing you to monitor at lower levels.

Some of the best custom fit brands like JH Audio and Ultimate Ears offer NRR ratings of 26dB in reduction, and some of the better generic brands advertise comparable results as well. (Though your results with generics may vary depending on the fit and seal in your ear.)

In the long term, reducing the levels you’re regularly exposed to—even by a few extra decibels—could mean the difference between a long and illustrious career as a “golden-eared” audio engineer and potentialtinnitus and irreversible hearing loss.

Also worth checking out is the REV33 system, which can be added on to your your in-ear-monitoring system to help reduce distortion and ear strain. Many live musicians, including Phil X and Steve Salas swear by the system. According to the company:

“All in-ear monitors and headphones generate damaging, unwanted noise and distortion that forces the ear to shut down and compress for protection. The REV33 reduces the symptoms of tinnitus, ear-ringing, ear-fatigue, buzzing and dampened hearing by preventing in-ear monitors and headphones from producing this unwanted noise and distortion.”

4) Waiting and Time Considerations

After getting my first pair of IEM’s made, I found that the right ear monitor turned out well, but I was not getting a proper seal in the left ear at first. This made the monitors essentially useless for my live sound needs at the time, and so I had to send them back for some tweaking.

When I got them back a couple of weeks later, the seal still wasn’t great, so I had to send them back once again for further modification, and visit my audiologist a second time to take another impression of my ear canal to send in.

Getting the perfect fit turned out to be quite a time-consuming process (as well as an expensive one) so unless you’re on the hunt for a long-term solution with as much acoustic isolation as humanly possible, you might satisfice with generic IEMs, or keep some around as an alternate option.

In that case, I would recommend the generic in-ears from Ultimate Ears, Shure, or Westone.

Ultimate Ears’ generic fit UE900 model sports 4 drivers for $400.

The Ultimate Ears UE900’s are a great sounding 4-driver IEM that only costs $399, while the $99 Shure SE215 single-driver IEMs advertise an astonishing 37dB of noise reduction (more than most custom IEMs) at a great price.

My own triple-driver Westone 3’s (since replaced by the W30 model) are the most comfortable in ear monitors I own right now, and they isolate a lot more noise than most thanks to their foam-tip construction.

Compared to custom in-ears, any of these model can potentially save you time and money, or work as a welcome supplement for those times when the tight fit of custom in-ears feels irksome.

I hope my experiences here help you make the right decision when you go to buy your own IEMs. In short, I found that less-expensive generic foam-tipped IEMs worked better for me in many situations, and the savings enabled me to spend my money on better drivers with a fuller sound.

If you’ve used IEM’s in the past, let us know in the comments below whether you prefer custom fits or generic fit ones, and why.

Motorola Announces New Two-Way Radio for Use Extreme Conditions

ATEX Radios don’t get the coverage that they deserve, they are superior to most other radios and are designed for the most dangerous and explosive situations. In the past Motorola have designed ATEX radios on current models and the respective safety features added, but this 8000XE is a new model with features not seen before on previous ATEX radio. Hot off the Motorola News desk, you can find the original article here.

Motorola Solutions continues to design digital radio solutions for firefighters and has added the APX 8000XE two-way radio and APX XE500 RSM to its line of products. The newest entries into Motorola Solutions’ award-winning APX portfolio of Project 25 (P25) digital radios have been developed using the company’s well-established practice of hands-on research with firefighters and other first responders who need the most reliable mission-critical communications to do their jobs efficiently, effectively and safely every day.

The APX 8000XE features all-band functionality and is a rugged P25 two-way radio that can be used in either analog or digital mode across 700/800 MHz, VHF, and UHF bands. Time is of the essence for firefighters and they can be ready in moments by programming the radio remotely via WiFi and radio management software to operate securely on different radio networks, allowing them to quickly help neighboring counties during large-scale emergencies.

Motorola Solutions works closely with firefighters and other radio users to find out exactly what they need, and the APX 8000XE is the latest example of that thinking. It features the trusted ergonomics of the APX XE radio series, designed for easy operation in harsh conditions. The right-sized radio has a large top display, exaggerated controls for gloved hands, and a dedicated push-to-talk button. It also provides best-in-class audio with a 1-watt speaker, three built-in microphones and automatic noise suppression for clarity in the loudest of environments.

“The APX 8000XE is an all-band rugged and submersible portable radio made for firefighters,” said Lieutenant David Hudik, Elgin Fire Department. “With Wi-Fi access, we can reprogram the APX 8000XE on the fly when we are providing mutual aid assistance out-of-state.”

Most firefighters use a remote speaker microphone with their radios and the APX XE500 RSM is designedspecifically for demanding environments, whether combating a fire or providing medical services at the scene of an accident:

With five strategically placed microphones and automatic noise suppression, the APX XE500  provides clear communications when worn on either shoulder, center chest, or over the shoulder.

It can be submersed in two meters of water for up to 4 hours.

It withstands heat conditions of up to 500°F (260°C) for up to five minutes.

A channel knob automatically controls the channels of the user’s portable APX radio.

“With the APX XE500 RSM, I can completely control my APX radio without having to hunt under my bunker coat for it,” said Lieutenant David Hudik, Elgin Fire Department. “With improved water porting, you can carry the APX XE500 upright or upside down for fast water drainage while maintaining clear voicecommunications.”

“Customer input is essential to our design and the Elgin Fire Department was right at our side as we tested the capabilities of the APX 8000XE and APX XE500 RSM,” said Claudia Rodriguez, vice president, Devices Product Management, Motorola Solutions. “The latest XE radio means firefighters will be able to talk with other first responders at the scene and across municipalities and regions. The new rugged RSM means they can communicate clearly in the loudest fireground environments, including blaring horns and wailing sirens.”

The APX 8000XE and XE500 RSM will be available in North America.

Trends in … hearing protection

Many business and factories are very well aware of their legal obligations when it comes to occupational deafness, and here in the UK we have the Control of Noise at Work Regulations 2006. Many of the headsets that are listed on Headsetonline.co.uk are designed exactly for these types of industries, with their experience they are a leader in radio headsets and hearing protection equipment. But as the article below explains the protection has to personalised to everyone, so as to make sure that the individual is catered for and protected adequately. The original source of this article can be found here.

Hearing loss is preventable. Why, then, is it still so common? NIOSH notes that occupational hearing loss is one of the most common work-related illnesses in the United States. And according to OSHA, approximately 30 million people in the United States are exposed to hazardous noise on the job.

“Noise-induced hearing loss is generally a gradual and painless process, so many workers don’t consider it a hazard … until it’s too late,” said Katie Mielcarek, marketing manager for Cleveland-based Gateway Safety Inc. Mielcarek went on to say that workers don’t wear hearing protection for many reasons, including discomfort, poor fit and problems with compliance monitoring and trouble inserting earplugs.

Here, industry insiders discuss what’s new and offer advice on hearing protection.

What’s new

“Electronic muffs contain the latest technology designed to protect against environments with impulse noises,” said Eric Moreno, market manager for Cranberry Township, PA-based MSA. “The technology amplifies weak sounds while compressing dangerous noises to a predetermined safe level of 82 dB or lower.” Moreno said this allows face-to-face communication and lets workers hear important sounds, such as warning signals.

Gary Klee, product manager for above-the-neck products at Latham, NY-based Protective Industrial Products Inc., pointed to a “level-dependent system” available with electronic earmuffs. This system has microphones in both ear cups to help limit sounds reproduced through the internal speakers to a safe level, which “allows communication with others while remaining protected against impulsive or hazardous noise,” Klee said.

Advice

Ricardo Allamelou, COO for Miami Lakes, FL-based Cotral Lab Inc., said providing every worker with the exact same type of hearing protection doesn’t make sense. “The protection has to be personalized since overprotection is as dangerous as no protection at all,” he said.

According to Moreno, “Overprotecting can actually increase the danger to a person’s life because this can hinder their ability to hear relevant noises such as warning signals, moving vehicles, other workers, etc.” To reduce the chance of overprotecting, Moreno recommends thoroughly understanding the level of noise in every area of the workplace to determine what level of protection each area needs.

Additionally, be sure your hearing protection is independently, third-party tested to verify noise reduction ratings, Mielcarek said. “This helps communicate quality in an industry where many manufacturers simply mark their products with a standard or a rating, without the testing to back it up.”

5 Important Safety Features of a Two Way Radio

5 Important Safety Features of a Two Way Radio

The best way to communicate on a 2-Way Radio

It is a wise idea to consider learning how to use a two-way radio in communications. By so doing, one is able to improve their experience in using a radio in communication. Over the years, a number of rules have been put in place to ensure that radio communications proceed more efficiently. These rules can be generalized as the etiquette for using two-way radios. Here are a few radio etiquette that should be considered when using a two-way radio:

Radio Etiquette Rules

It is important to bear in mind that English is the internationally recognized radio language. Users should ensure that they speak English when www.2wayradionline.co.uk . However, there are exceptional cases where a user might be licensed to use other languages in radio communications.

It is not good etiquette to speak and listen to the person on the receiving end without allowing them time to finish what they are saying. This means that it is important to take turns when communicating with a radio. This is unlike the normal phone communication.

It is not good to interrupt someone. Rather, it is important to listen without interrupting other people. However, the only exception where one is allowed to interrupt is when they have some emergency information they would like to convey.

It is advisable not to respond to calls that one is not sure about. In such situations, it is wise to wait for call signs that confirm whose call it is before making any response.

It is wise not to ever transmit military, confidential, sensitive or financial information via a radio call. This is because radio communications can be tapped and be heard by the wrong recipients. Unless one is sure that their conversation is properly secured with high level encryption software, sensitive information should never be transmitted via a radio.

One should always perform checks on their radio to confirm that they are working properly. One should ensure that their radio battery is fully charged and its power is on. The volumes should at all time high. This will allow one to follow the conversation without strain. Additionally, one should ensure that they are within a range that can receive radio signals.

It is prudent to remember and memorize call locations and signs of radio stations and persons that one regularly communicates with. This is because name calling is discouraged in radio communications. People use call signs that are unique to everybody.

One should at all time think before speaking. This implies that one should not just say anything that comes in their mind but should carefully decide what to say. Communications should always be kept clear and precise. Additionally, one should not use complex sentences. Similarly, one should consider dividing long messages into shorter, separate messages for easy understanding. Abbreviations should at all times be avoided unless the receiving end understands the message.

Conclusion

When using a radio in communication, one should ensure that the voice is clear. It is wise to speak slowly and avoid shouting for clarity purposes. Radio messages should be kept simple, precise, and to the point. This allows brevity and simplicity in the entire conversation. As stated earlier, it is advisable to avoid radio transmission of confidential information for security purposes.

Musician sues Royal Opera House over ruined hearing

It is quite a common thing that musicians and artists that are exposed to loud noise, will eventually suffer from hearing damage. We have seen many artists suffer from this career threatening damage, the likes of Phil Collins, Eric Clapton and Ozzy Osbourne and the tinnitus that is effecting Chris Martin from Coldplay, this is a problem that many more will be affected by. This article from the BBC talks about Chris Goldscheider and his pursuit of damages over his hearing damage. Rightly or wrongly it’s an interesting tale.

A renowned viola player is suing the Royal Opera House for ruining his hearing and his career during rehearsals of Wagner’s Die Walkure.

Chris Goldscheider claims his hearing was irreversibly damaged by brass instruments put immediately behind him.

The Musicians’ Union says hearing damage is a major problem for musicians playing in orchestras.

The Royal Opera House denies it is responsible, but around a quarter of its players suffer hearing illnesses.

In court documents seen by the BBC, Goldscheider claims that in 2012 his hearing was “irreversibly damaged” during rehearsals of Richard Wagner’s thunderous Die Walkure “from brass instruments placed immediately behind him” in the famous “pit” at the Royal Opera House.

The sound peaked at around 137 decibels, which is roughly the sound of a jet engine. The court documents say the noise “created an immediate and permanent traumatic threshold shift”.

Image captionChris Goldscheider played the viola with some of the world’s greatest orchestras

Goldscheider says this amounts to “acoustic shock”, one effect of which is that the brain hugely amplifies ordinary sounds.

Music has been in most of Goldscheider’s life: “For the last quarter of a century I’ve been a professional musician. Music was my income. It was my everything,” he says.

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The son of a composer, from the age of 10 he spent in excess of six hours a day practising and rehearsing. He played the viola with the Royal Liverpool Philharmonic and BBC Symphony orchestras, before joining the prestigious Royal Opera House orchestra in 2002.

Career highlights have included performing live with the famous Three Tenors to 100,000 people at the Barcelona Camp Nou football stadium, and with Kylie Minogue on MTV. He has also recorded with artists including the band 10cc.

Goldscheider says the effects of the hearing damage have been devastating.

“Ordinary sounds like banging cups and glasses together is a very painful noise,” he says.

“My newborn daughter last year was crying so much I actually got noise-induced vertigo because of my injury and I ended up in bed for three weeks.”

The musician says he has lost the career he loved and his mental health has deteriorated as he struggles to cope with the impact and effects of his hearing problems.

Life has changed dramatically. To carry out ordinary every day tasks such as preparing food, Chris has to wear ear protectors. Especially upsetting is that he had been unable to listen to his 18-year-old son Ben – one of the country’s outstanding young French horn players.

“Ben is a fantastic musician. I haven’t been able to listen to him play or practice since my injury. I’ve missed him playing concerts and winning competitions. I can’t even bear him practising in an upstairs room when I am downstairs in the house,” he says.

musician has to wear ear protectors to carry out every day tasks

At the time of his injury, Goldscheider was provided with hearing protection capable of reducing the noise by up to 28 decibels, but his lawyers claim this was insufficient. They say he was not given enough training in how to use it and protect himself, and that the noise levels should not have been so dangerously high.

The Royal Opera House does not accept the rehearsal noise caused Goldscheider’s injury, and denies that is responsible.

In a statement it told the BBC: “Mr Goldscheider’s compensation claim against the Royal Opera House is a complex medico-legal issue, which has been going on for some time and is still under investigation.

“All sides are keen to reach a resolution. The matter is now the subject of legal proceedings, and in the circumstances it wouldn’t be appropriate to comment any further at this stage.”

And according to Goldscheider’s solicitor Chris Fry, part of the Royal Opera House’s defence breaks new legal ground.

“Essentially what is being said is that the beautiful artistic output justifies damaging the hearing of the musicians performing it,” he says.

“That’s never been tested by the courts. We don’t think the court is likely to uphold that, in particular where it’s clear steps could be taken to maintain the beautiful sound and protect hearing at the same time.”

he Royal Opera House denies it is responsible for Chris Goldscheider’s hearing issue

Hearing damage suffered by rock musicians is well documented. Years ago The Who’s Pete Townsend went public about his hearing loss and famously said a doctor had told him: “You’re not actually going deaf, but I’d advise you to learn to lip read.”

Brian Johnson of AC/DC and Ozzy Osborne have also been affected. But what is far less well known is that it is a significant problem in the more sedate and sophisticated world of classical music.

There are around 100 players in the orchestra at the Royal Opera House. The BBC has learnt more than a quarter report occasional or mild hearing illness, and that in the 2013/14 season, there were seven cases of sickness absence related to noise problems and a total of 117 weeks of sick leave taken. That’s not music to anyone’s ears.

Morris Stemp of the Musicians Union says there are many reasons for the hearing damage suffered by classical musicians.

“Conductors are allowed to ride roughshod over health and safety considerations,” he says. “They put players on the stage where they will be in harm’s way. And instruments are now louder than they ever were before because of the materials they are now made from.”

Add to that the increased number of live concerts prompted in part by the drop in income from CD sales, and there is a mix of elements that can put the hearing of orchestra players at serious risk.

Chris Goldscheider’s case casts light on a little known or discussed problem, and will be watched closely by all those in the classical music world.

 

Scientists Astounded as Four Legged Fossil Snake Turns up In Museum

A unique species of early cretaceous snake – unique in that it apparently had four functioning limbs – has been discovered in the Bürgermeister Müller Museum in Solnhofen, Germany this month.

The discovery was made by Dr. David Martill of the University of Portsmouth, who was showing a group of students through the museum’s collection when he noticed the specimen’s remarkable attributes.

The snake, which measured about 15 centimetres from nose to tail, is thought to have been a carnivore (a fact borne out by the bones of smaller animals preserved in its stomach) and probably hunted via constriction, like many of today’s snakes. Experts believe that it may even have used its limbs to aid in the process.

Built for burrowing (an activity which likely would not have included its limbs in any significant way), this new discovery lends credence to the scientists who argue for snake evolution occurring on land, as opposed to in the sea.

Fossil snakes with stunted hind limbs are known to palaeontologists – and even today’s boas and pythons have a small pair of spurs where their hind limbs are thought to have once been. However, no snake, extinct or extant, has ever been discovered with four limbs.

Appropriately enough, Dr. Martill named the creature Tetrapodophis, meaning ‘four-legged snake’.

However, some experts are not convinced. In our vibrant, ecologically diverse world, there are a great many species of legless lizards that are not true snakes. European slow worms, for example, are snake-like in aspect, but they are lizards, not snakes. Another example would be the Mexican Bipedidae family, which are serpentine in appearance, but which retain a pair of fully functioning forelimbs.

“Is it even a snake? I honestly don’t think so,” said the University of Alberta’s Dr. Michael Caldwell, an expert in snake evolution, to National Geographic.com’s Ed Yong. According to Caldwell and a growing number of other critics, Tetrapodophis lacks certain distinctive features in the spine and the skull that would label it a snake. The fact that this is the only known specimen in the world and that the skull is only partially preserved will probably see the debate continue until such time as a complete specimen is unearthed.

But Dr. Martill is insistent that his discovery is a snake. Speaking to National Geographic, he pointed out the specimen’s backwards-pointing teeth, single row of belly scales, the connections between the vertebrae and the shortness of the animal’s tail after the hip – all of which suggest snake to the educated observer. Of course, many legless lizards also feature these traits, but none has all of them. This means that even if the animal has been mis-identified, it is still totally unique to science.

Even more mysterious are the origins of the fossil itself, which contains the rather distinctive characteristics indicative of the Crato formation in Brazil. Discounting for a second that this is quite possibly the earliest fossil snake known to have emerged from South America, question marks have been raised regarding how the specimen could have made it to Germany when the trade of such artefacts is illegal under Brazilian law.

Since 1942, it has been illegal for any unlicensed person to dig for fossils in Brazil without first gaining permission from the Brazilian National Department of Mineral Production (DNPM). Last year, a number of people were prosecuted (where they faced a maximum sentence of 20 years in prison) for the illegal export of Brazilian fossils to museums in Germany and Great Britain. Odds are that Brazilian authorities, as well as the scientific community in general, will be looking into the origins of such an important find with great interest.

Can 2 Way Radios of Different Brands Communicate

One question that is frequently asked by people interested in buying two way radios is that can you mix brands of two way radios. To answer this question properly, it is imperative to understand first how the devices work. It should be known that whether you have a small business or a large warehousing facility, UHF band radios never communicate with the VHF band radios. Therefore, if you are looking to buy a radio, make sure to buy additional units of the device of similar bands. In this way be it a UHF band radio or a VHF band radio, if set to the same frequency can work with all brands. However, some considerations have to be put in its place beforehand.

Functionality

Two way radios imply that it can both send as well as receive radio messages . They are transceivers that are battery powered. The radios operate on a half-duplex channel system. This system implies that the radio will be able to transmit a signal on a single channel that can be received on many devices at the same time. Normally these radios are designed to transmit short-range signals. Almost all of the two way radios function on the same principle. They all include a microphone, an antenna, a speaker, and the Push to talk Button. These radios are designed to function on different frequencies.

Frequency types

The general public use frequencies are the Family radio service frequency or the FRS and the general Mobile radio Service frequency or GMRS. Both these frequencies work on a 460 MHz rage. The UHF frequency or the ultra-high frequency is ideal for the two way radios as they can easily penetrate the interference in the form of building and trees. The two way radio with a long UHF antenna will push through the concrete and will do your work efficiently. On the other hand, VHF antennas on the radios are much longer than the ones in the UHF radios. These are ideal to use in the outdoors as they usually can transmit signals over very large distances.

Types of radios

There are normally two types of radios, that are used in businesses and that are used in consumer situations. The consumer radios normally work on the FRS or the GMRS frequencies. Regardless of the number of channels in the radio, the two way radios can be mixed with other brand radios. Only the radios have to be set to the same privacy code, the channel number, and the same frequency. Alternatively, there are several different types of frequency in the business two way radios category. The radios use the UHF, VHF and the 800/900 MHz type frequency. Just by choosing, the radio with the same frequency may not be compatible with the radios of other brands bought beforehand. While buying the radio, the dealer may have programmed a special customized frequency into the radio beforehand. In order for the business, two way radios to work efficiently with the radios of different brands it is essential to completely figure the type of band that the radio uses, the pre-set frequency on the radio from the dealer.

The Effect of Earplugs in Preventing Hearing Loss From Recreational Noise Exposure (A Systematic Review)

This is an interesting review of a study of how effective ear plugs are in the workplace. We take for granted that people working in loud factories wear protective hearing, but many of the clubs, pubs, concerts and festivals that have as equal levels of sound. As they say below, it isn’t mandatory to wear ear plugs in such environments, which defies common sense and possibly causes more damage than we understand. Here you can find the original source of the review.

A review of the literature turned up only two high quality studies that looked at whether wearing earplugs to music venues will prevent hearing loss and tinnitus directly afterward.

Dr. Wilko Grolman and colleagues at University Medical Center Utrecht in The Netherlands searched for published studies containing the keywords “music” and “earplugs” and screened 228 resulting papers. All but four were not eligible for inclusion in the review and only two were highly relevant and did not have a high risk of bias, in the reviewers’ estimation.

Two studies simply examined people who chose on their own to wear or not wear earplugs, while two randomized controlled trials tested what happened when participants were assigned to wear earplugs or not.

Two studies reported on hearing loss and tinnitus while one only reported hearing loss.

The two best studies were different enough that the researchers couldn’t combine their data and analyze the results, the reviewers wrote. Both included 29 concert attendees and performed audiometry before and after the concerts. In one study, participants were allowed to choose whether or not they wore earplugs, and only three chose to wear them.

“Frankly, with such a small comparator group between three subjects and the others, it would be hard to assess validity of plugs or not,” said Dr. Jennifer Derebery, president of the Los Angeles Society of Otolaryngology and lead author of the first study.

“We had trained them all in proper insertion, and encouraged but not required wearing them,” Derebery told Reuters Health by email.

In the other study, 15 participants were assigned to the earplug group.

In general, wearing earplugs did reduce hearing loss directly after the concerts, but did not eliminate it completely, as reported online March 3 in JAMA Otolaryngology-Head and Neck Surgery.

“Ear plugs are effective in preventing hearing loss when they are used both correctly and consistently,” said Colleen G. Le Prell, the Emilie and Phil Schepps Professor of Hearing Science at the University of Texas at Dallas, who was not involved in the review.

“This systematic review highlights the very limited data on prevention of recreational music-induced hearing loss using earplugs,” Le Prell told Reuters Health by email.

“At younger ages, loud toys, firecrackers, loud video games, personal stereos or personal music players, lawnmowers or leaf blowers, sporting events or air shows, or other non-music events might be more likely noisy activities than music venue attendance,” Le Prell said. “A significant number of youth are also involved in target shooting activities, which children can get involved with through Boy Scouts or other organizations.”

For teens and young adults, repeat exposures to amplified music at clubs, concerts, festivals, or other related events may damage the inner ear and result in hearing loss, she said.

“Most concerts are both loud enough, and long enough, that they are likely to exceed the total daily exposure allowed by workplace safety regulations,” she said. “Sound exposure also commonly occurs via loud music delivered via personal listening devices, at sporting or other recreational events, and at jobs that involve lawn-mowing, use of power tools, or construction services.”

For workplace noise exposure, “we are not doing a very good job achieving correct and consistent use of hearing protection devices (HPD), including both ear plugs and ear muffs,” she said.

“In the United States, it is relatively uncommon for music venues to provide ear plugs at no charge,” Le Prell said. Even if they were provided, people may need to be educated in why using them is important and in how to use them correctly, she said.

“As a neurotologist, it really is upsetting to see these kids coming in younger and younger with a completely preventable hearing loss,” Derebery said.