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Distortion-product otoacoustic emissions: body position effects with simultaneous presentation of tone pairs

Samuel R. Atcherson, Amy Mattheis
  • Samuel R. Atcherson
    Department of Audiology and Speech Pathology, University of Arkansas at Little Rock, University of Arkansas for Medical Sciences, Little Rock, Arkansas, United States | sratcherson@ualr.edu
  • Amy Mattheis
    Department of Communication Disorders, University of South Dakota, Vermillion, South Dakota, United States

Abstract

This study examined the effect of three different body positions on distortion-product otoacoustic emission (DPOAE) amplitude and noise levels with multiple primary tone pairs simultaneously-presented to 36 normal-hearing female human adults. Other studies have demonstrated that the simultaneously presented tone pairs method shows clinical promise as a screener, but the sequential method remains in widespread clinical use. Postural changes have been suggested to have an effect not only on DPOAEs, but also transient-evoked OAEs and stimulus- frequency OAEs. DPOAE amplitude and noise levels were recorded in seated, supine, and side-lying positions to the following order of simultaneously-presented tone pairs relative to the f2 frequencies: 1187, 2375, and 4812 Hz; 1500, 3000, and 6062 Hz; and 1875, 3812, and 7625 Hz. No DPOAE could be detected reliably at 7625 Hz as result of poor signal-to-noise ratio. For remaining DPOAEs, statistical analyses revealed that amplitudes were not significantly different among the three body positions. However, at 1500 Hz and below, body position did have a statistically significant effect on noise levels though they are likely clinically negligible. Except at 7625 Hz, results suggest that DPOAEs recorded using a simultaneously presented tone pairs appear to be comparably recorded regardless of an individual’s body position.

Keywords

distortion-product otoacoustic emissions, simultaneous, multiple- tone pair stimuli, body position.

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Submitted: 2011-09-22 22:55:34
Published: 2011-11-09 18:26:36
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Copyright (c) 2011 Samuel R. Atcherson, Amy Mattheis

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