A SOUND EAR II - Association of British Orchestras

A SOUND EAR II
Assessment
Where exposure is likely to exceed the lower levels (80dB for the day/session or 135 dB at all) the employer must
assess and as necessary control the risks. Assessment is not an end in itself; it is a basis for action.
Because musicians are primarily exposed by the output of their own instrument, the dominant factors in noise
exposure are the instrument, the music and the way it is played. Symphonic and pit orchestras will have to assess
nearly all of their work. Some chamber orchestras may be low risk, but many will have to assess much of their work.
Assessment applies to all the orchestra’s work – so it also includes educational and other outreach projects. Where
the orchestra has laid on transport, that may also require assessment – for instance smaller aircraft are noisy.
Who will do this, when, and how?
Because the point of assessment is to achieve reasonable control, assessment of orchestral noise risks needs to be
done before the performance, and will therefore usually not be based on strictly relevant measurements, or even any
measurements. L108 states that you should assess exposure by means of:
• observation of specific working practices;
• reference to relevant information on the probable levels of noise corresponding to any equipment used in the
particular working conditions;
• if necessary, measurement of the level of noise to which employees are likely to be exposed.
… and goes on to state:
“you are not required to make a highly precise or definitive assessment of individual employees’ noise exposures … Your
assessment of exposure must be a reliable estimate with sufficient precision for you to be able to show whether EAVs are likely to
be exceeded. Your assessment … will only be reliable if it uses data which is reasonably representative of individuals’ exposure. You
would be expected to use data from measurements of noise where other sources cannot give you reliable and representative data.
Uncertainties in an assessment of exposure to noise can arise from variability in the level of noise and in the duration of
exposure. If you assess exposure as being close to an EAV then you should proceed as if the EAV has been exceeded, or ensure
that your assessment is sufficiently precise to demonstrate that exposure is below the EAV.”
In an orchestral context this means thinking about the pieces in the programme, how the conductor/leader will want it
performed, whether any dominant personality is likely to drive up the noise level (several orchestras have noticed this),
what layouts are possible in the venue(s), etc.
Other existing measurements can help to ball-park your likely exposures. If you have access to noise monitoring
equipment, then measurements during rehearsal and performance will provide feedback for future assessments, or for
subsequent performances of those pieces.
Noise assessment should start as early as possible – for instance, noise limitations will be one of the many
considerations in arranging seasons and programmes, and in matching programmes to venues.
As the performance date nears, the detail of the assessment should increase, with more of an idea of the control
measures to be applied, and how these will be managed.
After the performance, you may be able to refer to noise measurements, and should obtain feedback from a selection
of people about the perceived effectiveness and acceptability of the various control measures.
Because of the range of inputs needed, and the range of things to be done, noise assessment will often be the work of
a group rather than an individual. The group will probably operate in different formations for different purposes – for
instance, the grouping needed to consider noise implications of long-range planning decisions may differ from that
finishing the arrangements for tonight’s concert. And the group should either incorporate or arrange for consultation
with players or their representatives. However, one individual should have overall responsibility.
In a larger ensemble the noise group might include:
• chief executive
• conductor
• artistic planning
• stage management
• section reps
• safety reps
• venue reps
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