Amplified Music and Sound Level Management: A Discussion of Opportunities and Challenges

Abstract

Music induced hearing disorders and noise pollution emerge on the crossroads of technology, culture, and society. This paper argues that multidisciplinary approaches are required to reduce hearing risks at music concerts and related problems of noise pollution. The paper segues from a broad to a narrow perspective looking at the interactions between stakeholders "on the floor." The paper argues that even though noise regulations and hearing risk mitigation policies may be different between nations and states, best practices originate from procedures and policies that are developed from an understanding of the multiple stakeholder perspective and that facilitate dialogues between the different agents involved.

Perceptions and Distinctions: Differentiating Modern and Vintage Amplifiers Among Audio Enthusiasts in Malaysia

“…Some Chinese may prefer vintage amplifiers due to their potential association with traditional and classic audio equipment. On the other hand, those owning modern amplifiers may value the technological advancements (Piatier, 1988;Théberge, 1997), cleaner sound reproduction (Verfaille et al, 2011;Wilmering et al, 2013) and potentially greater versatility offered by modern amplifiers (Mulder, 2015;Julien, 1999). Meanwhile, the Indian participants who own vintage amplifiers, perceive sound as the primary differentiating factor between modern and vintage amplifiers.…”

“…Meanwhile, the Indian participants who own vintage amplifiers, perceive sound as the primary differentiating factor between modern and vintage amplifiers. This preference for vintage amps may be influenced by a cultural appreciation for the warmth, tonal characteristics, and harmonics that vintage amplifiers are known to deliver (Mulder, 2015). Vintage amplifiers might resonate with traditional Indian music genres and preferences, which often emphasize organic and natural sound qualities.…”

Sound Level Monitoring at Live Events, Part 3—Improved Tools and Procedures

“…Timely information and feedback are essential to permit effective decision-making regarding sound levels. In the experience of the authors, a professional sound engineer's prime interest is not maximum sound level at an event but rather a sound level that meets the expectations of the various stakeholders [9]: the audience, promoter, musicians, and sound engineer, themselves [10]. This can be referred to as preferred listening level (PLL) and is inextricably linked to being able to provide a positive experience that delivers a so-called "democracy of sound," the same high-quality listening experience to all audience members, permitting an engaging and enjoyable listening experience for all.…”

Average Is the New Loudest

“…This problem is shaped by its many stakeholders, including, in addition to the performers and the audience, venue staff, neighbors, city councils (who may appreciate a cultural economy with live music but at the same time need to assure that urbanites can sleep without disturbance), hearing damage prevention, the hearing aid industry, sound engineers, sound hire companies and loudspeaker and paraphernalia producers [21]. The challenge is to identify practices that can sustain live music without (always) being a nuisance to neighbors and reduce the exposure to hearing damage risks but don't (always) impede musical expression.…”