A SOUND EAR II - Association of British Orchestras

A SOUND EAR II
Options for controlling noise
Each of the following control measures will provide some dose reduction, and be usable in some circumstances more
than others. The worst daily dose on record is 98dB 4 , so the total amount of reduction needed is not that much (though
still difficult to achieve). Shaving a bit off the dose here and there may be all that is possible, and as much as is necessary.
Get the conductor onside
Add noise to the list of criteria in developing programmes,
and at least avoid putting huge forces on small flat stages.
Get new composers onside
Play less loudly
• Sometimes the excitement can be increased but the exposures reduced by accentuating the quieter areas around
very high power segments.
• Use practice mutes or practice pads during personal practice
• Keep piano lid down during personal practice
• When teaching, encourage students to keep it down
• When teaching in groups, avoid constant ‘group practice’
• How loud does the rehearsal need to be?
Use less powerful instruments – particularly in the brass
Nobody is suggesting switching to period instruments, but different modern brass instruments have different power
ranges. The more powerful instruments are popular, because they require less playing force. However, if they are
played at high power they force up the dynamic of the orchestra. External observers do feel that orchestras have
become louder in the last 30 years.
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Improve projection by:
using high risers – at least 50cm above the row in front
High risers – akin to a return to the old town-hall layout – are readily available in some venues. In others you may
need to consider investing in your own (with the ensuing transport and handling and set up problems), or joining
with other orchestras to lobby for improvements at the venue, or trying a different layout.
High risers make a considerable difference – in one orchestra, players thought the brass were pulling an elaborate practical
joke by playing far too loud. In fact, they were playing as usual, but for the first time they were no longer obstructed by
rows of human sound absorbers. Players on high risers need good feedback from the conductor, will not instantly turn
down the sound, and may have difficulty if they keep having to switch between obstructed and unobstructed layouts.
NB, if an instrument’s sound output goes downwards, high risers may increase the risk to neighbours.
putting noisy sections at the sides
Many chamber ensembles block the noiser sections at the side, rather than at the back. They are not completely
unobstructed, but do have fewer rows of musicians in front, and fewer people in front feeling that they are being assaulted.
putting noisy sections at the front
This sounds bizarre but has been tried by a number of ensembles, with considerable success. The orchestra can be
laid out ‘back to front’, with the brass nearest the conductor and strings furthest.
ensuring each noisy instrument has a clear soundline to the audience
Where you have horizontal space, you can spread the orchestra out so that sound passes between players, rather
than through them. Initially, this will affect ensemble, but orchestras that have tried it have strongly preferred the
generous layout. Even where the whole orchestra cannot be dispersed, you may be able to develop sound channels
for particularly high risk instruments.
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There are plenty of 97 and 96 days, but the restrictions of lung-powered instruments seem to create a ceiling
at 98, So far.