A. Hill, K. Liston, I. Wiggins, and G. Naylor, “A case study on practical live event sound exposure monitoring,” in Proc. AES Conference: AES 2024 International Acoustics & Sound Reinforcement Conference, Jan. 2024, Paper 4. [Online]. Available: https://aes.org/publications/elibrary-page/?id=22370
Hill A, Liston K, Wiggins I, Naylor G. A case study on practical live event sound exposure monitoring. In: AES Conference: AES 2024 International Acoustics & Sound Reinforcement Conference. Audio Engineering Society; 2024. Paper 4. Available from: https://aes.org/publications/elibrary-page/?id=22370
@inproceedings{Hill2024_22370,
author = {Hill, Adam and Liston, Ken and Wiggins, Ian and Naylor, Graham},
title = {{A case study on practical live event sound exposure monitoring}},
booktitle = {AES Conference: AES 2024 International Acoustics \& Sound Reinforcement Conference},
note = {Paper 4},
year = {2024},
month = jan,
publisher = {Audio Engineering Society},
url = {https://aes.org/publications/elibrary-page/?id=22370}
}
TY - CPAPER
TI - A case study on practical live event sound exposure monitoring
AU - Hill, Adam
AU - Liston, Ken
AU - Wiggins, Ian
AU - Naylor, Graham
T2 - AES Conference: AES 2024 International Acoustics & Sound Reinforcement Conference
M1 - Paper 4
PY - 2024
DA - 2024/01/06
UR - https://aes.org/publications/elibrary-page/?id=22370
PB - Audio Engineering Society
LA - en
AB - The recently launched WHO Global Standard for Safe Listening Venues and Events aims to make listening safer and more enjoyable for audiences around the world. Some key questions remain on how to practically monitor sound exposure as well as on how patrons’ hearing may be affected after significant exposure. This paper presents a case study where various sound exposure monitoring systems and methods were trialed in an indoor music venue. The aim of the work was to develop and validate a practical, accurate and repeatable technique to track sound exposure across music venues that can be presented in real-time. Results indicate that this can be achieved with no more than four, and as few as two, sound level monitoring locations alongside fixed calibration measurements and a small number of spot measurements at the mix position during a performance.
ER -