RESEARCH POSTER PRESENTATION DESIGN © 2012

www.PosterPresentations.com

QUICK DESIGN GUIDE (--THIS SECTION DOES NOT PRINT--)

This PowerPoint 2007 template produces a 42”x72” professional poster. You can use it to create your research poster and save valuable time placing titles, subtitles, text, and graphics. We provide a series of online tutorials that will guide you through the poster design process and answer your poster production questions. To view our template tutorials, go online to PosterPresentations.com and click on HELP DESK. When you are ready to print your poster, go online to PosterPresentations.com.

Need Assistance? Call us at 1.866.649.3004

Object Placeholders

Using the placeholders To add text, click inside a placeholder on the poster and type or paste your text. To move a placeholder, click it once (to select it). Place your cursor on its frame, and your cursor will change to this symbol . Click once and drag it to a new location where you can resize it. Section Header placeholder Click and drag this preformatted section header placeholder to the poster area to add another section header. Use section headers to separate topics or concepts within your presentation. Text placeholder Move this preformatted text placeholder to the poster to add a new body of text. Picture placeholder Move this graphic placeholder onto your poster, size it first, and then click it to add a picture to the poster.

Student discounts are available on our Facebook page. Go to PosterPresentations.com and click on the FB icon.

QUICK TIPS (--THIS SECTION DOES NOT PRINT--)

This PowerPoint template requires basic PowerPoint (version 2007 or newer) skills. Below is a list of commonly asked questions specific to this template. If you are using an older version of PowerPoint some template features may not work properly.

Template FAQs

Verifying the quality of your graphics Go to the VIEW menu and click on ZOOM to set your preferred magnification. This template is at 100% the size of the final poster. All text and graphics will be printed at 100% their size. To see what your poster will look like when printed, set the zoom to 100% and evaluate the quality of all your graphics before you submit your poster for printing. Modifying the layout This template has four different column layouts. Right-click your mouse on the background and click on LAYOUT to see the layout options. The columns in the provided layouts are fixed and cannot be moved but advanced users can modify any layout by going to VIEW and then SLIDE MASTER. Importing text and graphics from external sources TEXT: Paste or type your text into a pre-existing placeholder or drag in a new placeholder from the left side of the template. Move it anywhere as needed. PHOTOS: Drag in a picture placeholder, size it first, click in it and insert a photo from the menu. TABLES: You can copy and paste a table from an external document onto this poster template. To adjust the way the text fits within the cells of a table that has been pasted, right-click on the table, click FORMAT SHAPE then click on TEXT BOX and change the INTERNAL MARGIN values to 0.25. Modifying the color scheme To change the color scheme of this template go to the DESIGN menu and click on COLORS. You can choose from the provided color combinations or create your own.

©  2013  PosterPresenta/ons.com          2117  Fourth  Street  ,  Unit  C                            Berkeley  CA  94710          posterpresenter@gmail.com  

Off-frequency masking (OFM) is the simultaneous masking of a signal by an off-frequency tone or noise. The purpose of the current study is three-fold: (1) To determine the effect of off-frequency remote masking on the characteristics of the ABR waveform, (2) To quantify differences between electrophysiologic and psychophysical off-frequency remote masking effects and (3) To take the first steps in developing a method to measure electrophysiologic tuning curves. Psychophysical tuning curves can provide an index of frequency selectivity. This is valuable information for not only laboratory study but also in the clinical setting. Unfortunately, there is essentially no viable measures of frequency selectivity in the clinical arena. Electrophysiologic tuning curves, if they can be developed, could be an attractive procedure in that it would allow an objective measure of frequency selectivity and also provide insight to the physiologic integrity of the auditory pathway.

The results of a repeated measures ANOVA demonstrate a significant effect of masking frequency and condition (electrophysiologic vs. behavioral) with no significant effect of ear of presentation and no significant interactions. A pairwise comparison revealed a significant difference between all conditions except between the off-frequency masking conditions (1.5 kHz and 3 kHz centered masking). A strong correlation was observed between electrophysiologic threshold and behavioral threshold (r=0.988). The average difference between electrophysiologic and behavioral threshold was 10 dB, with slightly greater differences observed for the control condition with no masking and the 2 kHz masking condition as compared to the OFM conditions.

Results

Subjects •  11 subjects with bilateral normal hearing over the age of 18. •  Pure tone thresholds were 25 dB HL or better bilaterally at the octave frequencies of

250-8000 Hz using ER-3A insert earphones with no more than 15 dB interaural difference.

•  Normal type A tympanograms bilaterally on the day of testing (Jerger, 1970). •  Normal CAP as determined by Dichotic Digits (Musiek, 1983) at 50 dB SL with 90%

correct bilaterally.

•  No history of learning or reading disability, auditory processing disorders, neurological problems or otologic problems.

Stimuli •  2000 Hz tonal stimuli (tone burst envelope comprises a rise and fall time of 1 ms each

and a plateau of 0 ms) was presented through ER-3A insert earphones at a repetition rate of 17.7 clicks/second and threshold was measured for each condition, behaviorally and electrophysiologically.

•  Masking noise consisted of narrowband noise produced by the GSI 61 and routed into the Nicolet Spirit centered around 2 kHz, 1.5 kHz and 3 kHz with a minimum 1/3rd octave band roll-off.

•  2000 accepted trials will be collected for each run with no more than 200 rejections. Recording Parameters •  Electrodes were placed at Cz (active electrode), A1 or A2 (reference) and A2 or A1

(ground). Impedances remained below 5 kOhms for all electrodes during testing. There was less than 1 kOhms difference between electrodes.

•  Responses were online filtered at 30 Hz to 3 kHz. Procedures •  Test ear was pseudo-randomized such that an equal number of right and left ears were

tested. •  All waveforms were replicated. •  ABR responses were recorded for each recording condition. Threshold was determined

as the last level with a readable waveform. The following was recorded:

•  Absolute wave latencies for ABR wave I, III and V •  Interpeak latencies between ABR wave I, III and V •  Amplitude measurements (peak to trough) of the ABR wave V

Methods

Conclusions

1.  The ABR can be utilized to provide reliable and interpretable responses for the off frequency research paradigm as described.

2.  The trends of masking effects on the waveform morphology and thresholds of the ABR are consistent with what would be expected based on psychophysical data and related ABR investigations into this topic

3.  There is a strong correlation between behavioral and electrophysiologic findings for this off-frequency paradigm.

4.  The electrophysiologic thresholds across the frequencies tested are slightly higher than behavioral thresholds. This differential is typical for electrophysiologic and behavioral comparisons.

Related Readings •  Don, M., Ponton, C. W., Eggermont, J. J., & Kwong, B. (1998). The effects of sensory hearing loss on cochlear

filter times estimated from auditory brainstem response latencies. The Journal of the Acoustical Society of America, 104, 2280.

•  Folsom, R. C., & Wynne, M. K. (1987). Auditory brain stem responses from human adults and infants: Wave V tuning curves. The Journal of the Acoustical Society of America, 81, 412.

•  Folsom, R. C. (1984). Frequency specificity of human auditory brainstem responses as revealed by pure‐tone masking profiles. The Journal of the Acoustical Society of America, 75, 919.

•  Gorga, M. P., & Abbas, P. J. (1981). Forward‐masking AP tuning curves in normal and in acoustically traumatized ears. The Journal of the Acoustical Society of America, 70, 1322.

•  Harrison, R. V., Aran, J. M., & Erre, J. P. (1981). AP tuning curves from normal and pathological human and guinea pig cochleas. The Journal of the Acoustical Society of America, 69(5), 1374.

•  Klein, A. J. (1986). Masking effects on ABR waves I and V in infants and adults. The Journal of the Acoustical Society of America, 79, 755.

•  Klein, A. J., & Mills, J. H. (1981). Physiological and psychophysical measures from humans with temporary threshold shift. The Journal of the Acoustical Society of America, 70, 1045.

•  Oates, P., & Stapells, D. R. (1997). Frequency specificity of the human auditory brainstem and middle latency responses to brief tones. I. high-pass noise masking. The Journal of the Acoustical Society of America, 102(6), 3597.

•  Wilding, T., McKay, C., Baker, R., Picton, T., & Kluk, K. (2011). Using the auditory steady-state response to record response amplitude curves. A possible fast objective method for diagnosing dead regions. Ear and hearing, 32(4), 485.

•  Wu, C. Y., & Stapells, D. R. (1994). Pure-tone masking profiles for human auditory brainstem and middle latency responses to 500-Hz tones. Hearing research, 78(2), 169-174.

Abstract

Off-frequency masking (OFM) is the simultaneous masking of a signal by an off-frequency tone or noise. The purpose of this study, by using OFM, was a first step towards developing a method for measurement of electrophysiologic tuning curves employing ABR. OFM thresholds were established using psychophysical and ABR approaches for 2000 Hz tone bursts (2-0-2 cycles) at a repetition rate of 17.7 clicks per second. Four conditions consisted of an unmasked condition and three masked conditions with masking noise consisting of 1/3 octave band narrowband noise centered around 2000 Hz, 3000 Hz and 1500 Hz at 60 dB SPL. Threshold was measured by varying stimulus intensity while the masker remained stationary. In general, the shift due to masking was comparable between electrophysiological measures and psychophysical measures, with the average difference being about 10 dB. Contour of the psychophysical and electrophysiological tuning curves are similar, which corroborate results from Klein and Mills (1981), showing that it is possible to obtain reliable physiological tuning curves using waves I and V of the ABR in humans. Possible clinical applications are to provide an objective, ecological measure of frequency selectivity.

University of Connecticut Graphic Standards Seals 2

Print backgrounds

The seal may be printed on any solidcolor, screen of color, illustrative, orphotographic background.

In this context, the outer line becomes a printed holding line for the seal —maintaining the integrity of the seal byseparating it from the background. Thebackground of the seal itself (its interiorand the letterforms) will be white, or the color of the paper stock if the paperis not white.

Although the seal may be printed on any background, the integrity of theseal demands that no words or imagesoverlap or merge with it. It shouldnever be integrated into illustrations,cartoons, or other symbols or logos.

UConn Navy Blue (or PANTONE® 281)

Special print techniques

The seal may be embossed, engraved,foil stamped on paper, etched in metal or glass, cast in metal, or carved instone or wood. Some of these specialprint (and fabrication) techniques mayproduce colors other than the officialcolors. However, these colors should bethe result of the requirements of thetechnique and they should be natural,neutral and compatible with the officialidentity, (e.g., silver, gold, wood grain).

Most of the special print and productiontechniques require an altered design forthe seal. This alternate design has solidlettering in an open band.

University of Connecticut seal

The official University of Connecticutseal is the oak leaf symbol encircled byUniversity of Connecticut 1881.

The seal is the formal identifier for theUniversity. It may be used by anyschool or college, regional campus,entity, or organization that is part of theUniversity community.

The use of a seal should be limited. Ingeneral, the use of University signa-tures (as shown on pages 4-5 and 10-11)are preferred. Do not use the seal inprint advertising; a signature will repro-duce cleanly and clearly in small sizesand on newsprint.

Black

Color

The official colors of the University ofConnecticut are UConn Navy Blue (orPANTONE 281) and White. The identitysystem utilizes these official colors with the addition of UConn Gray (orPANTONE Cool Gray 10) for typography.(Black is the alternative when budget or context rule out the use of color.)

The official seal may be printed in eitherUConn Navy Blue (or PANTONE 281) or Black. Except for special print tech-niques, these are the only colors whichmay be used to print the seal.

The four-color process formula forUConn Navy Blue is 100% Cyan, 72%Magenta and 38% Black.

Alternate seal designfor special print techniques

The colors shown on this page and throughout this manual have not been evaluated by Pantone, Inc. for accuracy and may not match the PANTONE Color Standards.

University of Connecticut Graphic Standards Seals 2

Print backgrounds

The seal may be printed on any solidcolor, screen of color, illustrative, orphotographic background.

In this context, the outer line becomes a printed holding line for the seal —maintaining the integrity of the seal byseparating it from the background. Thebackground of the seal itself (its interiorand the letterforms) will be white, or the color of the paper stock if the paperis not white.

Although the seal may be printed on any background, the integrity of theseal demands that no words or imagesoverlap or merge with it. It shouldnever be integrated into illustrations,cartoons, or other symbols or logos.

UConn Navy Blue (or PANTONE® 281)

Special print techniques

The seal may be embossed, engraved,foil stamped on paper, etched in metal or glass, cast in metal, or carved instone or wood. Some of these specialprint (and fabrication) techniques mayproduce colors other than the officialcolors. However, these colors should bethe result of the requirements of thetechnique and they should be natural,neutral and compatible with the officialidentity, (e.g., silver, gold, wood grain).

Most of the special print and productiontechniques require an altered design forthe seal. This alternate design has solidlettering in an open band.

University of Connecticut seal

The official University of Connecticutseal is the oak leaf symbol encircled byUniversity of Connecticut 1881.

The seal is the formal identifier for theUniversity. It may be used by anyschool or college, regional campus,entity, or organization that is part of theUniversity community.

The use of a seal should be limited. Ingeneral, the use of University signa-tures (as shown on pages 4-5 and 10-11)are preferred. Do not use the seal inprint advertising; a signature will repro-duce cleanly and clearly in small sizesand on newsprint.

Black

Color

The official colors of the University ofConnecticut are UConn Navy Blue (orPANTONE 281) and White. The identitysystem utilizes these official colors with the addition of UConn Gray (orPANTONE Cool Gray 10) for typography.(Black is the alternative when budget or context rule out the use of color.)

The official seal may be printed in eitherUConn Navy Blue (or PANTONE 281) or Black. Except for special print tech-niques, these are the only colors whichmay be used to print the seal.

The four-color process formula forUConn Navy Blue is 100% Cyan, 72%Magenta and 38% Black.

Alternate seal designfor special print techniques

The colors shown on this page and throughout this manual have not been evaluated by Pantone, Inc. for accuracy and may not match the PANTONE Color Standards.

Julianne M. Ceruti, B.A. and Frank Musiek, Ph.D. Department of Speech, Language and Hearing Sciences, University of Connecticut, Storrs, CT

ABR and Behavioral Off-frequency Masking Patterns

Control 2 kHz Masking 1.5 kHz Masking

3 kHz Masking

Electrophysiological 33.1 70.0 50.0 50.8

Behavioral 21.5 57.3 42.7 40.0

0.0

10.0

20.0

30.0

40.0

50.0

60.0

70.0

80.0

Thr

esho

ld (

dB

nH

L)

Masking Condition

Average Electrophysiologic and Behavioral Threshold for Different Masking Conditions

(4.8)

(3.2)

(7.1)

(2.6)

(8.3)

(2.6)

(9.0)

(2.0)

Difference (dB) 11.5 12.7 7.3 10.8

Introduction 2 kHz Tone Burst with no masking 2 kHz Tone Burst with 2 kHz centered masking

2 kHz Tone Burst with 1.5 kHz centered off-frequency masking 2 kHz Tone Burst with 3 kHz centered off-frequency masking

References •  Jerger, J. (1970). Clinical experience with impedance audiometry.  Archives of Otolaryngology, 92(4), 311-324. •  Musiek, F. E. (1983). Assessment of central auditory dysfunction: the dichotic digit test revisited. Ear and

Hearing, 4(2), 79-83.