When the device was turned on a month after surgery, the first sentence I heard sounded like "Zzzzzz szz szvizzz ur brfzzzzzz?" My brain gradually learned how to interpret the alien signal. Before long, "Zzzzzz szz szvizzz ur brfzzzzzz?" became "What did you have for breakfast?" After months of practice, I could use the telephone again, even converse in loud bars and cafeterias. In many ways, my hearing was better than it had ever been. Except when I listened to music.
About a year after I received the implant, I asked one implant engineer how much of the device's hardware capacity was being used. "Five percent, maybe." He shrugged. "Ten, tops." I was determined to use that other 90 percent. I set out on a crusade to explore the edges of auditory science. For two years tugging on the sleeves of scientists and engineers around the country, offering myself as a guinea pig for their experiments. I wanted to hear Boléro again.
I suggested rebooting and sampling Boléro through a microphone. But the postdoc told me he couldn't do that in time for my plane. A later flight wasn't an option; I had to be back in the Bay Area. I was crushed. I walked out of the building with my shoulders slumped. Scientifically, the visit was a great success. But for me, it was a failure. On the flight home, I plugged myself into my laptop and listened sadly to Boléro with Hi-Res. It was like eating cardboard.
Hold on. Don't jump to conclusions. I backtrack to 5:59 and switch to Hi-Res. That heart-stopping leap has become an asthmatic whine. I backtrack again and switch to the new software. And there it is again, that exultant ascent. I can hear Boléro's force, its intensity and passion. My chin starts to tremble. I open my eyes, blinking back tears. "Congratulations," I say to Emadi. "You have done it." And I reach across the desk with absurd formality and shake his hand.But being able to hear Boléro again wasn't the end of it; with his new hearing, Chorost started getting into the music that he hadn't been able to hear before, and he's confident that it will improve further:
In his studio, Rettig plays me Ravel's String Quartet in F Major and Philip Glass' String Quartet no. 5. I listen carefully, switching between the old software and the new. Both compositions sound enormously better on 121 channels. But when Rettig plays music with vocals, I discover that having 121 channels hasn't solved all my problems. While the crescendos in Dulce Pontes' Cançào do Mar sound louder and clearer, I hear only white noise when her voice comes in. Rettig figures that relatively simple instrumentals are my best bet - pieces where the instruments don't overlap too much - and that flutes and clarinets work well for me. Cavalcades of brass tend to overwhelm me and confuse my ear.
And some music just leaves me cold: I can't even get through Kraftwerk's Tour de France. I wave impatiently to Rettig to move on. (Later, a friend tells me it's not the software - Kraftwerk is just dull. It makes me think that for the first time in my life I might be developing a taste in music.)Amazing stuff.
Please keep comments on topic and to the point. Inappropriate comments may be deleted.
Note that markup is stripped from comments; URLs will be automatically converted into links.