level balance between self, others and reverb in orchestra...
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Level balance between Self, Others and Reverb, and its significance to noise exposure as well as mutual hearing in orchestra musicians
by Magne Skålevik This paper was presented at Euronoise 2015 in Maastricht
ABSTRACT
In order to gain more insight in ensemble issues as well as noise issues, it is proposed to analyze the sound at the ears of musicians in three components, namely the Dry Self, Dry Others and Reverb. Simulation in Odeon and several measurement series in different typical situations have been carried out during 2014. Dry Self represents 50-60% of the energy density at the ear of musicians in all situations investigated so far, except for violinists in individual rehearsal, where Dry Self represents approximately 80%. This means that commonly suggested noise and health measures in the musicians’ acoustical environment is not effective, but instead are likely to more harm than good to ensemble conditions. Suggested balance parameters Foreground-Background-Balance and Dry-Reverb balance exhibit consistent results through changing situations. These are interesting features will be pursued in further work, as they could potentially tie together podium acoustics and rehearsal room acoustics. Click to go to full paper
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LEVEL BALANCE BETWEEN SELF, OTHERS AND REVERB
On noise exposure and mutual hearing in orchestra musicians
Magne SkålevikBrekke & Strand, Oslowww.akutek.info
Euronoise 2015 Maastricht, Tuesday 2nd June 2015
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Noise? – NOSound? - YES
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Outline Sound components at orchestra musician’s ear Simulations – violin in 4 different situations Measurements in orchestra musicians Corrective measures Conclusions
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Sound at musician’s ear
Total sound = Self + Others + Reverb
Self = anechoic sound from own instrument Others = anechoic sound from other instruments Reverb = reverberant sound from all instruments
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Components and Balance
ComponentForeground-Background-
BalanceComponents
Dry-Reverb-Balance
Components
Self ForegroundDry
OthersBackground
Reverb Reverb
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Components’ energy fractions example
Reverb all = 20%
Dry others =17%
Dry self = 63%
REVERB = -7dB
DRY = -1dB
BACKGROUND = -4dB
FOREGROUND = -2dB
Foreground-Background = +2dB Dry - Reverb = 6dB
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Significance of Components and Balance
To a musician, Self, Others and Reverb could be Important information (Signal) Masker (Noise) Harmfully loud Harmless
Self, Others and Reverb play ALTERNATING ROLES as Signal and Masker
Level balance and prominent sound components Crucial when choosing any correcting measures
Poor Balance can drive musicians to play HARDER Long term escalating effect
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4 Odeon models4 situations
in the orchestra musician’s daily life
Individual rehearsal room height=2.5-2.7m
Group rehearsal room height=5.0m
Rehearsal Studio, height=14m
Concert Hall, height=18m
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Simulated 4 situations violin
0 %
10 %
20 %
30 %
40 %
50 %
60 %
70 %
80 %
90 %
100 %
Good Good Good Good Good Good
CH CHc RHc RHd g15c CHb RHa RHb RHe g15d g15e i8178 i2a i2c i2d i2e i 3m LE i 3m DE
Reverb all
Dry others
Dry self
Ensemble play Individual rehearsal
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Dry-Reverb Balance Violin
0,0
2,0
4,0
6,0
8,0
10,0
12,0
14,0
Good Good Good Good Good Good
CH CHc RHc RHd g15c i8178 CHb RHa RHb RHe g15d g15e i2a i2c i2d i2e i 3mLE
i 3mDE
Bal
ance
(dB
)
D-R
D-R
All situations, 6-7dB is Good
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Measurements in-ear
Self, Others and Reverb calculated from measurements
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Small rehearsal room Big rehearsal room
Orchestra Rehearsal Studio Opera House Orchestra Pit
T=0.4 Gr=25
T=0.7 Gr=15
T=1.0 Gr=8
T=2.1 Gr=6
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At ear LA,eq (216s at ff)
70
73
76
79
82
85
88
91
94
reh room big rehroom
studio pit
LA,e
q (d
B)
Leq L
Leq R
Leq far
L = Left ear canal entranceR = Right ear canal entrance
far = behind the back, i.e. screened from own instrument
3 ff parts, total duration 216s, Tchaikovski Swan Lake
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Analysis: energy re self
0,00
0,50
1,00
1,50
2,00
2,50
3,00
rehroom
big rehroom
studio pit
Ener
gy re
dry
sel
f
Reverb all L+R
Dry others L+R
Dry self L+R
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Analysis: energy re self
0,00
0,50
1,00
1,50
2,00
2,50
3,00
rehroom
big rehroom
studio pit
Ener
gy re
dry
sel
f
Reverb all L+R
Dry others L+R
Dry self L+R
Not good for individual rehearsal
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Analysis: energy fractions
0 %10 %20 %30 %40 %50 %60 %70 %80 %90 %
100 %
rehroom
big rehroom
studio pit
Ener
gy re
dry
sel
f
Reverb all L+R
Dry others L+R
Dry self L+R
Reverb fraction appears to be consistent-while self and others alternates in the dry part
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Dry-Reverb Balance, Violin
0
3
6
9
12
15
18
rehroom
big rehroom
studio pit
Bal
ance
(dB
)Dry Reverb L+R
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Violin: Rehearsal and Performance
Reh room Studio Stage
reverb 19% 17% 17%
dry others 0% 21% 21%
dry self 81% 62% 62%
0 %
10 %
20 %
30 %
40 %
50 %
60 %
70 %
80 %
90 %
100 %Simulation - Odeon
Reh room Studio Stage
reverb 13% 22% 15%
dry others 0% 25% 31%
dry self 87% 54% 54%
0 %
10 %
20 %
30 %
40 %
50 %
60 %
70 %
80 %
90 %
100 %Beethoven 5th
219 sLong time average 420 s
Reh room Studio Pit
reverb 19% 20% 14%
dry others 0% 29% 41%
dry self 81% 51% 45%
0 %
10 %
20 %
30 %
40 %
50 %
60 %
70 %
80 %
90 %
100 %Swan Lake
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Rehearsal and Performance
0 %10 %20 %30 %40 %50 %60 %70 %80 %90 %
100 %
R P R P R P R P R P R P R P R P R P R P R P R P R P R P
oboeoboeoboeoboeoboeoboeoboeoboeoboeoboe trp trp trp trp trp trp trp trp trp trp vln vln vln vln vln vln vln vln
1 1 2 2 3 3 4 4 m m 1 1 2 2 3 3 4 4 m m 1 1 2 2 3 3 m m
reverb
dry others
dry self
Oboe Trumpet Violin
Measurementsby H Rydland, NTNU 2014
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Oboe, Trumpet, Violin averages: Rehearsal (R) and Stage Performance (P)
0 %10 %20 %30 %40 %50 %60 %70 %80 %90 %
100 %
R P R P R P
oboe oboe trp trp vln vln
reverb
dry others
dry self
Measurements by Helena Rydland, NTNU 2014
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Stage performance, 3-4 takes and mean
OboeStage
OboeStage
OboeStage
OboeStage
OboeStage
Trp Stage Trp Stage Trp Stage Trp Stage Trp Stage Vln Stage Vln Stage Vln Stage Vln Stage
1 2 3 4 m 1 2 3 4 m 1 2 3 m
reverb 15% 10% 15% 21% 15% 2% 2% 2% 11% 2% 26% 12% 35% 25%
dry others 33% 44% 51% 39% 41% 58% 62% 31% 70% 54% 32% 20% 16% 24%
dry self 52% 45% 34% 40% 44% 41% 36% 67% 19% 44% 42% 67% 49% 51%
0 %
10 %
20 %
30 %
40 %
50 %
60 %
70 %
80 %
90 %
100 %
Oboe Trumpet Violin
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From measurements w/wo Others, concert hall
OboeBrahms N=3
OboeRavel N=4
TrumpetRavel N=5
Violinmisc N=5
Cellomisc N=3
Reverb 9% 9% 5% 13% 52%Others 70% 61% 52% 30% 16%Self 21% 30% 43% 57% 33%
0 %10 %20 %30 %40 %50 %60 %70 %80 %90 %
100 %
Measurements by Helena Rydland, NTNU 2015
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Invisible sound shieldProvide better Foreground-Background-Balance
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Sound shield for Brass protection
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Sound shield for Brass protectionImproving Foreground-Background-BalanceBut not reducing exposure level (How come?)
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Hearwig shield
50
60
70
80
90
100
100 1000 10000
dB
Hz
Brass active in-ear LpA= 103,1outside EarWig LpA= 99,2
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Passive, shielded clarinet player
50
60
70
80
90
100
110
100 1000 10000
dB
Hz
Brass active outside hearwig 96 LpA(dB)R in Ear 97 LpA(dB)
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Active, shielded clarinet player
50
60
70
80
90
100
110
100 1000 10000
dB
Hz
Brass active in-ear LpA= 103,1outside EarWig LpA= 99,2
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Sound shields, Insertion Loss, lab-data
0
5
10
15
20
25
30
0 500 1000 1500 2000 2500 3000 3500 4000 4500
IL (d
B)
Frekvens (Hz)
Insertion Loss Falko S 300 and Hearwig
Hearwig
Falko S 300
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Ear plugs
Who to protect? Harmful Source: ER•9 ER•15 ER•25
Small stringsOwn instrument,
other strings• •
Large strings Brass • •
Woodwinds Brass, percussion •
BrassOwn instrument,
other brass• •
Flutes Percussion •
PercussionOwn instruments, other percussion
• •
Etymotic 9dB, 15dB, 25dB
Multimax and cotton ball (custom)
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4000+ hours of dosimetry, µ and σ , Queensland / O’Brien 2004-2007
81828384858687888990919293
LA,e
q(d
B)
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Conclusions
Self, Others and Reverb have been defined Simulations and measurement examples presented
Relevant for artistic and hearing issues In rehearsal as well as performance situations
Self-fraction and balance varies with instrument type Due to ear-to-instrument distance r’ and orchestral neighbourhood Strong Self-fraction seen in violin due to small r’ and quiet neighbourhood
Key data should be collected in large amounts There are measurement technical issues Sound shields alter balance but not exposure Ear plug attenutation should not be exessive Future work to include more instruments and statistic analysis
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Related papers:
Sound exposure and the hearing of musicians by Dance and Dymock
The influence of Room Acoustic Aspects on the Noise Exposure of Symphonic Orchestra Musicians by Wenmaekers and Hak
A Model for the prediction of Sound Levels within a Symphonic Orchestra based on measured Sound Strength by Wenmaekers and Hak
Noise exposure of musicians: The own instrument’s sound compared to the sound from others (paper) (presentation) by Wenmaekers and Hak
Level balance between Self, Others and Reverb, and its significance to noise exposure as well as mutual hearing in orchestra musicians (paper)
(presentation) by M Skålevik
Rehearsal room acoustics for the orchestra musician, by M Skålevik
Consistency in music room acoustics (paper) (presentation) by M Skålevik
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