A SOUND EAR II - Association of British Orchestras

A SOUND EAR II
Kill the acoustic
No, not entirely. Expert use of well-designed acoustic insulation has been used to considerable success in pits and
in rehearsal rooms (Royal Opera House, Birmingham Hippodrome, MOD). It has the effect of eliminating the ‘old’
noise bouncing around, leaving the ‘fresh’ noise passing from instruments to players and audience. Noise levels can
be dramatically lowered. Players find it easier because they can hear themselves and their neighbours. Conductors
report much improved playing quality because they can distinguish instruments and more effectively modify the sound.
Shield players from noisy neighbours using screens
• Screens must be used with considerable care. They can provide useful reductions in both noise exposure and
the experience of pain and shock. However, they can significantly increase the risks to the source player, and
there have been instances where a screen has increased the exposure of the shielded player (because their own
instrument reflects off it).
• Manufacturers have put a lot of effort into making manoeuvrable, non-reflectant screens, but orchestras continue
to experience problems and some have stopped using them.
• If a screen obstructs the sound of the source instrument, that player may be forced to play louder to deliver the
same noise. Simultaneously, s/he may be affected by reflection from the screen, and the conductor may complain the
sound is flat (because the screen takes off high frequency noise which can make it sound as though the fundamental
has dropped).
• It is too easy for a screen to do more harm than good. Consider a situation where both players are exposed at 85dB,
and a screen is introduced which delivers 3dB protection to the player in front, but forces the source player to play
louder – increasing his/her exposure by 3dB. At first sight you may think the total risk is the same before and after,
but decibels are logarithmic so one exposure has halved while another has doubled, and the total risk has increased.
• Screen positioning must be carefully prescribed in the noise assessments.
Use an appropriate space
In educational projects, the acoustic of the room should be appropriate to the project.
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Stay out of the line of fire
• In educational projects, players should position themselves out of the line of fire of directional instruments.
• Do not let (for example) soprano soloists face the orchestra
Photo - Chris Stock Photography