I would like to know how much effect this has in the real world. Because the dynamic range of your hearing is seriously compromised by your hearing loss. Widex claims their Unique series has an input dynamic range of
108dB (and not dB SPL – that’s a measure of absolute level). I get it that this is in theory an important measure, at least for music. But I do wonder how much difference it makes in actual listening, in the presence of sensorineural pathology.
In answer to your earlier question, about the relative dynamic range of large- and small-capsule microphones, the answer is a qualified no (see link below). So there’s no direct correlation; it depends much more on factors like preamplification. However, I do note that the information I’m drawing from doesn’t consider the kind of tiny microphones that get stuck behind your ears.
But what you’re proposing is basically a microphone, an amplification chain equalized for your audiogram, and a pair of headphones. This seems like a good idea, but I wonder how well it would work. The qualification being that – I think! – the effects of sensorineural damage are both frequency- and level-dependent. So simple frequency equalization, without the frequency-dependent level compression that hearing aids provide, is not necessarily going to do the trick.
In my limited experience, the “music” programs in hearing aids disable some of the digital processing – like noise reduction – that generates serious artifacts, but leave in place the frequency-dependent level compression.
Oh and in a setting like live music, you do get a lot of information from having two microphones on either side of your head, that you would not get from a single microphone, or even a stereo pair, sitting, say, on a stand.
I’d be really interested in further comments about this, because I’m basically guessing