4%) 5 (2%) 14 (6%) 6 (6%) 3 (7%) 6 (12%) 3 (9%) Values are expressed in numbers and percent. Although the prevalence of diplacusis seemed

to be higher among WW and BW-players, no Ruxolitinib in vivo significant differences in the degree of diplacusis at 1, 2, and 4 kHz were found between instrument categories (χ 2 test, p > 0.05). There was no significant age effect. A small but significant correlation was found between the asymmetry in the pure-tone audiogram and the perceived pitch difference at 4 kHz (r = 0.22, p = 0.001). The pitch of the 4 kHz tone tended to be perceived lower in the ear with the poorest threshold. Participants with an interaural difference of 1% or more at 1 and 2 kHz had significantly higher pure-tone thresholds [resp. F(1, 223) = 7.6, www.selleckchem.com/products/Vorinostat-saha.html p = 0.006, F(1, 233) = 6.35, p = 0.012)]. Tinnitus matching could only be performed in case the tinnitus MK-0518 mw was present at the moment the test was taken. Accordingly, 42 (17%) musicians participated in this test. The level of the tinnitus was matched and compared with the audiometric threshold levels resulting in a sensation level of the matched tone (dB SL). On average the sensation level of the tinnitus was 4 dB, but it ranged

from 0 to 32 dB SL. In a number of cases, it was difficult to match the character of the tinnitus with the audiometer sounds. Qualitative descriptions most often showed a high pitched tone-like sound, but numerous variations were mentioned (e.g. selleck chemicals warble, hiss, buzz, ring, waterfall, crackle, vague tone, etc.). Pitch was matched with pure tones between 0.125 and 8 kHz. Ten participants (25%) indicated the pitch of their tinnitus was lower than 4 kHz. A sum of 15 participants (35%) indicated a pitch between 4 and 8 kHz. Unfortunately, we could not estimate pitch above 8 kHz, as 17 (40%) musicians indicated

a pitch higher than 8 kHz. Tinnitus was more often localized utmost left (18, 43%) than utmost right (7, 17%) and middle (13, 31%, χ 2 (4) = 38.1087, p < 0.001). However, no significant difference in localization was found between the instrument categories (p > 0.05). There was no significant effect of gender. Participants with tinnitus at the moment of the test had significantly worse average pure-tone thresholds than the ones without tinnitus at the moment of the test (F(1, 231) = 18.51, p = 0.03). This was especially the case for the higher frequencies. Not surprisingly, the average age of the participants with tinnitus at the moment of the test was also higher (mean = 43.3 vs. mean (tinnitus) = 50.8, F(1, 231) = 18.34, p < 0.000). A total of 239 musicians participated in the speech-in-noise test. The average speech-to–noise ratio (SNR) was −6.7 (SD 1.4), ranging from −9.2 to −1.6. The majority of participants (231, 96.6%) scored an average SNR lower or equal to −4.1, indicating good hearing. 8 (3.3%) participants scored an SNR between −4.1 and −1.4 (i.e. moderate hearing).