Health and Safety

Executive

Measurement of noise levels that staff

are exposed to at live music events

Prepared by Capita Symonds

for the Health and Safety Executive 2006

RR517
Research Report
 Health and Safety
Executive

Measurement of noise levels that staff

are exposed to at live music events

Deni Butterfield
Senior Acoustic Consultant
Capita Symonds
Buchanan House
24­30 Holborn
London EC1N 2LX

More stringent noise at work regulations, developed by HSE after public consultation, came into force for general
industry on 6 April 2006. The music industry was granted a two year period to develop sector specific guidance on
compliance, but should meanwhile comply with existing noise regulations. Local Authorities also have issues
concerning monitoring and compliance. Following a period of debate, it was agreed that Capita Symonds Ltd (CS)
would complete a noise study to assess the current noise exposure of groups of people within the industry and would
then report back on the impact of the proposed legislation on 'live' music concerts.

This report contains details of the personal exposures of a cross section of staff working at twelve events throughout
the year. It explores the adequacy of any control measures in place and makes recommendations for improvements.

This report and the work it describes were funded by the Health and Safety Executive (HSE). Its contents, including any
opinions and/or conclusions expressed, are those of the author alone and do not necessarily reflect HSE policy.

HSE Books
© Crown copyright 2006

First published 2006

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted in
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written permission of the copyright owner.

Applications for reproduction should be made in writing to:

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or by e­mail to hmsolicensing@cabinet­[Link]

Acknowledgements

Thanks to Jim Griffiths of Vanguardia Consulting for

arranging access to the majority of the events and assisting
on the day. Thanks to the management of all the venues for
allowing access to their sites and to all those who supplied
the essential passes for access. Thanks to Olly Creedy for
his able assistance, especially with all the artwork, the
graphs and photos in this report.

ii
Contents

1. EXECUTIVE SUMMARY.......................................................................... 2

2. INTRODUCTION ...................................................................................... 3

3. METHODOLOGY FOR NOISE AT WORK ASSESSMENT..................... 4

4. RESULTS................................................................................................. 5

5. DISCUSSION ......................................................................................... 13

6. CONCLUSIONS ..................................................................................... 21

7. RECOMMENDATIONS .......................................................................... 22

8. APPENDICES ........................................................................................ 23

APPENDIX A GLOSSARY OF TERMS - DEFINITIONS AND UNITS

APPENDIX B TABLE SHOWING RESULTS FROM DOSEMETERS

APPENDIX C GLOSSARY OF TERMS COMMONLY USED IN THE LIVE

ENTERTAINMENT INDUSTRY

APPENDIX D LOCAL AUTHORITY QUESTIONNAIRE

APPENDIX E RESPONSES FROM LOCAL AUTHORITIES TO

QUESTIONNAIRE

APPENDIX F GRAPHS OBTAINED FROM DOSEMETERS

1
 1. EXECUTIVE SUMMARY
More stringent noise at work regulations, developed by HSE after public consultation, came into
force for general industry on 6 April 2006. The music industry was granted a two year period to
develop sector specific guidance on compliance, but should meanwhile comply with existing
noise regulations. Local Authorities also have issues concerning monitoring and compliance.
Following a period of debate, it was agreed that Capita Symonds Ltd (CS) would complete a
noise study to assess the current noise exposure of groups of people within the industry and
would then report back on the impact of the proposed legislation on 'live' music concerts.

This report contains details of the personal exposures of a cross section of staff working at
twelve events throughout the year. It explores the adequacy of any control measures in place
and makes recommendations for improvements.

The calculated daily personal exposures LEP,d ranged from 80dB(A) to 104 dB(A) and the
measured LC, peak values ranged from 122 dB to 146 dB.

It was found that generally the use of hearing protection and noise control was inadequate.

Because of the high noise levels it is recommended that all areas front of house and at the side
of the stage should be designated as hearing protection zones and marked accordingly and all
non-essential staff excluded. All persons working within the hearing protection zone should
wear suitable hearing protection at all times.

Access to the front of house should be restricted and all non-essential personnel should be
excluded. Concessions, first aid, merchandising stalls etc should be removed from areas of high
noise where practicable.

Urgent steps should be taken to educate workers in the live entertainment industry to the
likelihood of hearing damage and noise induced hearing loss.

It is recommended that the information contained in this report is used as an initial assessment
of personnel to see whether they are likely to be exposed to high noise levels and whether this
exposure is necessary.

Speakers should be positioned to minimise exposure to personnel in the pit area. Where possible
they should be situated above head height.

A questionnaire was sent to all local authorities in whose areas the venues were situated, to
ascertain whether sufficient resources were allocated to the enforcement of this legislation. A
mixed response was received. The results of a questionnaire sent to the Local Authorities in
whose districts the events took place suggest that there is little or no enforcement of the current
noise at work legislation currently taking place at these types of events.

It is recommended that consideration be given to the imposition of a maximum concert level

(possibly in the form of a LAeq, 15min measured at the mixer position) and further research on
hearing protection for sound engineers is suggested.

CS confirm that in preparing this report we have exercised all reasonable skill and care.

2
 2. INTRODUCTION

Noise at work can cause hearing loss which can be temporary or permanent. While people may
recover from temporary deafness after leaving a noisy place, those who continue to be exposed
to loud noise are likely to suffer permanent damage. This includes muffled hearing, inability to
keep up with conversations and difficulty using the telephone. They may also develop tinnitus
(ringing in the ears)

New Control of Noise at Work Regulations 2005 [SI 2005 No. 1643] came into force on 6 April
2006, with a two year transitional period for the music and entertainment sectors until 6 April
2008. The new regulations implement the European Union's Physical Agents (Noise) Directive
within Great Britain. These new regulations bring significant changes to the actions required by
employers and employees’ that were required under the Noise at Work Regulations 1989.
Employers have extra responsibilities, and noise exposures and level limits have been lowered.
The Regulations cover virtually all workplaces with few exceptions. The Regulations also
cover the self-employed, employers and all employees.

The transitional period allowed an opportunity to measure and assesses the impact of the revised
action levels on the 'Live' music industry so that appropriate action plans can be prepared and
implemented.
Capita Symonds was commissioned by the Health and Safety Executive to perform this
investigation, and the following tasks were undertaken:

• The study was to include a number of event days comprising of a diverse range
of venues, concert types and artistes, such as festivals, stadium shows and
indoor arenas.
• The LAeq (Equivalent Continuous Sound Pressure level) and LCpeak (Maximum
value of the C-weighted sound pressure level) were logged using Personal
Dosemeters worn by various personnel for each event. Instructions on the use of
dosemeters were given to all volunteers and the meters were checked regularly
throughout the event.
• Short term frequency data was also collected at strategic locations where
possible for the assessment of attenuation measures.
• The Noise at Work systems and noise mitigation measures that were currently
in place were reviewed.
• The concert organisers and local authorities were consulted to establish the
procedures that were being adopted.
• An assessment of the impact of the Regulations was established.
• Recommendations for action plans and mitigation measures have been made.

Hearing damage caused by exposure to loud music is preventable. Employers must take steps to
reduce employee’s exposure to high noise levels. The Control of Noise at Work Regulations
2005 contain provisions to protect workers from the effects of noise.

This report discusses the impact of the changes to the legislation on the music industry at ‘live
music’ events.

A glossary of technical terms is contained in Appendix A.

A glossary of terms commonly used in the live entertainment industry is within Appendix C.

3
 3. METHODOLOGY FOR NOISE AT WORK ASSESSMENT
In order to complete this project, five CEL 360 noise dosemeters (serial numbers 00001- 00005)
conforming to BS EN 61252:1997 and Larson Davies 824 Class 1 sound level meters were used
to undertake direct measurements of noise levels at positions representative of the likely noise
exposure that employees would receive.

The volunteers were fitted with the dosemeters at the beginning of their day. The dosemeters
were started and the volunteers were advised to work their day as normal. They were requested
to avoid impacts as far as possible on the microphone or microphone cable. Throughout the day
at regular intervals, the units were checked by Capita Symonds staff to ensure that they were
still functioning normally.

It was found during the project that the dosemeters did occasionally fail (for various reasons).
This restricted the amount of data collected at some of the venues. The major cause of
malfunction seemed to be microphone failure caused by the microphone cable being pulled hard
away from the unit. This was not always obvious as the cable did not separate from the unit.

The noise monitoring equipment used during the survey was calibrated at the start and end of
the measurements and no drift in calibration was found.

To complement the survey, after it’s completion, a questionnaire (Appendix D) was sent to the
appropriate department of the Local Enforcing Authority in whose area the venues were
situated. This questionnaire was intended to gauge the allocation of resources of Local
Authorities to this issue and explore any difficulties that were currently being encountered by
officers. It also sought to engage officers in an informal debate on the difficulties that were
anticipated in 2008 when the new regulations were extended to this part of the industry.

4
 4. RESULTS
Dosemeters were attached to a number of different types of employees throughout the day. The
aim of the project was to get as large a cross section of personnel as possible. At each event
different groups of staff were targeted. To assist with the terminology associated with persons
who work in this industry a glossary and brief description of their jobs is contained in Appendix
C.

Figure 4.1 - Dosemeter worn by FOH engineer

In total noise readings were taken at 12 different events throughout the period of the survey.

Early results indicated that there were discrepancies between the dosemeter and fixed meter
measurements. Extensive ‘trial and error’ experiments and discussions with manufacturers
resulted in modifications to the method of collecting the data.

The position of the microphone attached to the employee was critical. It had to be fixed to the
point of the shoulder. Attaching it to the collar resulted in an increase in measured levels of up
to 5dB especially in areas of high noise.

The Larson Davies meters were found to overload under some circumstances in areas of high
noise. It was established that these overloads were occurring whilst measuring the ‘C’ weighted
Peak levels. This issue was resolved by inserting a 20dB attenuator between the instrument and
the microphone.

Data was collected for many different types of personnel at a mixture of venue types. A
complete list is shown in Appendix B.

A Diagram to assist with the interpretation of the results and to show the layout of a typical
event is shown below.

5
 Figure 4.2 - Typical Concert layout

Example of a typical graph of measured levels obtained from dosemeters are shown in figure
4.3 (either LAeq(1min) or LCpeak against time) below. The complete set of results obtained from the
dosemeters is contained in Appendix F. This is in the form of graphs showing the occupation of
the wearer and the LAeq(1min) and LCpeak levels. A table showing the measured Lep,d values is in
Appendix B.
These levels are typical and would provide a useful starting point for the industry to use to
identify personnel who may need hearing protection and the type of hearing protection that may
be appropriate.

6
 LAeq,1m in from a typical 7 act music event

120
1 2 3 4 5 6 Main Act
115
110
2

105
dB(A) re 2x10 N/m

100
-5

95
90
85
80
75
70
11:50

22:05
Time (hh:mm)

LC,peak from a typical 7 act music event

150
1 2 3 4 5 6 Main Act
145
140
2

135
dB(C) re 2x10 N/m

130
-5

125
120
115
110
105
100
11:50

22:05

Time (hh:mm)

Figure 4.3 – Graphs to show typical dosemeter levels measured throughout a concert.

Once the load-in/build-up (the time prior to the event where equipment (stage, PA, lighting etc)
is loaded in to the venue and then constructed) has been completed, a full system check is
carried out. This involves running pink (see Appendix A) noise through the sound system so
that the frequency response and coverage can be optimised. The engineer then usually plays a
few tracks to make sure it sounds fine with music. Once the engineer is happy with the system
setup, a line-check (A test to make sure the audio signals from the stage are reaching the front of
house channel inputs cleanly) is carried out. This involves checking the signal from stage to
mixer is ok and individually equalizing each instrument or part of instrument on each channel of

7
the mixing desk, usually starting with the drums. Some engineers prefer to initially mix through
their headphones, but at some stage they will want to see what it sounds like through the Front
of house (FOH) system. Sound pressure levels can in some cases be up to 104dB(A), however
usually for short periods of time. In this example the sound-check was carried out the night
before, which is common practice for full-day events.
The doors open to the public while low-level background music is played usually around 20-30
minutes before the first band comes on. The first band that comes on often plays a short set for
around 30 minutes and at a lower level than the main act would. This can be seen in section 1
on the graphs shown above. The next four support bands also play for short lengths of time.
They tend to run at levels lower than 100dB(A) and have C-weighted peaks below 130dB.
Section 1-6 show a gradual increase in level between bands as the time gets nearer to the main
act. Section 6 would be a more well-known band and can be seen here to run at levels of up to
104dB(A),LAeq,1min and C weighted peaks of around 132dB. The change over time between the
last support band and the main act can be anything up to an hour, however it can be seen that the
crowd noise alone can reach levels of over 100dB(A). The main act is usually on for about 1.5
hours before leaving stage briefly before a final 10-15 minute encore. The levels during the
main act can reach 105dB,LAeq,1min however the 15minute Leq values average around 102dB(A).

In addition to the dosemeters, fixed sound level meters were placed front of house and to the
side of the stage. Table 4.1 below shows typical levels measured at concerts throughout the
period of the survey. This is followed by the results shown in graphical form.

Time allowed before Exposure Action

Value is reached
Venue Type LAeq Lower Exposure Upper Exposure LCpk
Action Value Action Value
80dB(A) 85dB(A)
Arena (FOH) 95.6 13m 41m 137.9
Arena (stage) 95.4 13m 43m 133.4
Stadium (FOH) 99.5 5m 17m 131.6
Hall (FOH) 97.7 8m 25m 134.8
Outdoor Festival (FOH) 96.2 11m 36m 127.4
Large indoor (FOH) 96.5 10m 33m 131.5

Table 4.1: Noise Measurement Results showing typical levels measured using the
fixed sound level meters.

8
 -5 2 -5 2
dB(A) re 2x10 N/m dB(A) re 2x10 N/m

70
75
80
85
90
95
100
105
110
115
120
70
75
80
85
90
95
100
105
110
115
14:30 15:10
120

14:50
15:30
15:10

15:30 15:50

15:50
16:10
16:10
16:30
16:30

16:50 16:50

17:10
17:10
17:30

17:50 17:30

18:10
17:50
18:30

18:50 18:10

19:10
18:30
19:30

9
18:50
19:50

20:10 19:10

20:30
19:30

Time (hh:mm)
Time (hh:mm)
20:50

21:10 19:50

21:30
20:10
21:50
20:30
22:10
LAeq,1m in readings from a fixed SLM at stage right in an arena

22:30
20:50
22:50 LAeq,1m in readings from a fixed SLM at front of house in an arena
21:10
18:13

18:33 21:30

18:53
21:50
19:13

19:33 22:10

19:53
22:30
20:13
22:50
20:33
 dB(A) re 2x10 -5 N/m 2 dB(A) re 2x10 -5 N/m 2

70
75
80
85
90
95
100
105
110
115
120
70
75
80
85
90
95
100
105
110
115
15:00 16:10
120
15:10
16:30
15:20
15:30 16:50

15:40 17:10
15:50
17:30
16:00
16:10 17:50
16:20
18:10
16:30
16:40 18:30
16:50
18:50
17:00
17:10 19:10

17:20 19:30
17:30
19:50
17:40
17:50 20:10
18:00
20:30
18:10
18:20 20:50
18:30
21:10
18:40

10
18:50 21:30

19:00 21:50
19:10
22:10

Time (hh:mm)
19:20 Time (hh:mm)
19:30 18:20
19:40
18:40
19:50
20:00 19:00

20:10 19:20
20:20
LAeq,1min readings from a fixed SLM at front of house in a hall

19:40
20:30
20:40 20:00
20:50
LAeq,1min readings from a fixed SLM at front of house in a large inddor venue 20:20
21:00
21:10 20:40
21:20
21:00
21:30
21:40 21:20

21:50 21:40
22:00
22:00
22:10
22:20 22:20
22:30
20:13
22:40
22:50 20:33
 LAeq,1min readings from a fixed SLM at front of house during an outdoor festival

120

115

110

105
d B(A ) re 2 x10-5 N/m 2

100

95

90

85

80

75

70
15:00

17:30

20:00

22:30

16:15

18:45

21:15
Time (hh:mm)

LAeq,1min readings from a fixed SLM at front of house in a stadium

120

115

110

105
d B(A ) re 2 x10-5 N/m 2

100

95

90

85

80

75

70
12:00

12:20

12:40

13:00

13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

19:40

20:00

20:20

20:40

21:00

21:20

21:40

22:00

22:20

20:13

20:33

Time (hh:mm)

Figure 4.4 – graphs to show typical levels measured during an event using fixed sound
level meters.

11
Questionnaires were sent to all Local Authorities where events took place and monitoring was
done, (See Appendix D) Eleven questionnaires were sent and 6 were returned, (54 % response.)
The questionnaires were designed to evaluate various aspects of Local Authority enforcement
and obtain feedback on the difficulties encountered.

The results of the questionnaire are attached in Appendix E. They suggest that there are wide
variations in how local authorities deal with Noise at Work.

12
 5. DISCUSSION
The Control of Noise at Work Regulations 2005 state that employers must ensure that risk from
the exposure of employees to noise is either eliminated at source or, where this is not reasonably
practicable, reduced to as low a level as is reasonably practicable.

The Control of Noise at Work Regulations 2005 specifies action values and exposure limit
values for daily personal noise exposure (or weekly personal noise exposure) and peak sound
level.

The lower exposure action values are

• 80 dB(A) LEP,d or 80 dB(A) LEP,w - ie a daily or weekly personal noise exposure of

80 dB(A)

• 135 dB(C) LCpeak - ie a peak sound pressure level of 135 dB(C).

The upper exposure action values are

• 85 dB(A) LEP,d or 85 dB(A) LEP,w - ie a daily or weekly personal noise exposure of

85 dB(A)

• 137 dB(C) LCpeak - ie a peak sound pressure of 137 dB(C).

The exposure limit values are

• 87 dB(A) LEP,d or 87 dB(A) LEP,w - ie a daily or weekly personal noise exposure of

87dB (A); ie

• 140 dB(C) LCpeak - ie a peak sound pressure of 140 dB(C).

The live music industry is unique in that high noise levels are often essential in a
performance for audience satisfaction. It is recognised that there are difficulties associated with
the reduction of noise at source without detriment to the production. Although this report
acknowledges those difficulties, there are comments (see below) which refer to this.

Generally the investigation received the full support of the industry and participants were very
interested in the exercise and volunteered willingly.

What has become clear during this investigation is that there are a number of personnel who are
exposed to high levels but it is not necessary for all of them to have that exposure in order for
them to carry out their job. Indeed in some cases it is very likely to be detrimental to their
efficiency. The personnel have therefore been grouped according to whether their exposure is
essential or avoidable as follows:

Category A – persons who do not under normal circumstances need to enter the main
arena to perform their duties

Category B- persons who do sometimes need to enter the main arena to perform their
duties – but can wear hearing protection

Category C - persons who need to be in the arena at all times to perform their duties

13
Within these three categories there are two main types of employee. There are those who are
directly involved with the industry and employed on contract (production crew) and there are
‘casual’ or ‘local’ staff. These two groups present very different issues that need to be resolved.

Category A - Do not need to enter main hall/stage area

Category Occupation Venue LEP,d LCpk Duratio

type n
(hours)
3 A Catering Staff Indoor 91.2 145.9 8
4 A Cashier Indoor 89.1 139.9 8
5 A Crew Catering Chef Outdoor 87.4 146.2 11
5 A Merchandise Manager Outdoor 85.1 146.3 9.5
6 A Merchandise Staff Indoors 99.5 139.5 8
6 A Secondary Bar staff Indoors 97 143.6 5
6 A Main Bar staff Indoors 96.6 135.7 5
6 A Main Bar staff Indoors 95.5 145.6 5
6 A Cloakroom Staff Indoors 90.2 144.7 5
6 A Bar Staff - outside main Indoors 80.2 117.6 8
7 A Fairground staff outdoors 97.6 145.5 13.5
7 A Merchandise Staff outdoors 93.8 146.3 14.5
11 A Bar Manager outdoor 85.5 137.1 5.5
11 A Market Stall Staff outdoor 101.5 145.8 5.5

Table 5.1 – Table 5.1 illustrates those personnel who do not need to enter the main
arena to perform their duties. (Category A).

Although these workers are classified as persons who do not need to enter the main arena,
currently they very often are situated there on a permanent basis. They also tend to be persons
employed on a non-contractual, casual basis and there is little or no control on their exposure.

Most of these persons work for the various types of concessions that are associated with
entertainment venues and they do not generally wear any type of hearing protection. Most of
them do need to be able to communicate to do their work satisfactorily.

There are no compelling reasons why this category of person needs to enter the arena during an
event. Bars, market stalls, food concessions etc could be relocated outside of the main arena in a
quiet area. This also has the benefit that members of the audience will tend to leave the arena to
gain access to these outlets and thus reduce their own individual exposure.

The next category of persons exposed to high levels contains those who are exposed to high
levels and need to be because of their role. It is considered however that these persons should
wear hearing protection as it would not affect their ability to do their job. If communication is
an issue then bespoke hearing protection should be made available.

14
 Category B - Need access to hall/stage area at all times
Category Occupation Venue LEP,d LCpk Duration Can hearing
type (hours) protection
be used?
2 B Promoters Rep Stadium 99.8 146.2 11.5 Y
4 B Fire Officer Indoor 100.9 145.6 8 Y
4 B Events manager Indoor 86.8 136.9 8 Y
4 B Assistant operations Indoor 85.1 134.4 8 Y
6 B Venue Manager Indoors 91 137.4 8 Y
6 B Promotions manager Indoors 90.3 146.5 3 Y
8 B Drummer Indoors 104.7 144.1 6.5 Y
8 B Guitarist Indoors 103.3 145.7 6.5 Y
8 B Bass Guitarist Indoors 100.9 133.4 6 Y
9 B Security - Hospitality outdoors 85 145.5 9 Y
10 B St Johns Ambulance outdoor 87.9 136.5 8 Y
10 B St Johns Ambulance outdoor 90.2 145.1 8 Y
10 B St Johns outdoor 93.7 140.5 8 Y
11 B Site Manager outdoor 86.5 129.2 8 Y
12 B Red Cross (moving) outdoors 87.5 131.2 7.5 Y
12 B Red Cross (Van) outdoors 87.2 142.2 7.5 Y

Table 5.2 – Table 5.2 illustrates those personnel who need access to the arena/stage
area at all times(Category B)

It can be seen that again the majority are not directly associated with the Production of the
event. All persons listed in Table 5.2 have a need to be in the Arena during some stage of the
event, some have communication requirements but these personnel can both restrict the duration
of stay in the arena and could wear hearing protection.

Very few of those interviewed wore ear plugs on a regular basis in spite of their exposure to
high noise levels. The levels tabulated above clearly show that the majority were exposed to
levels above the upper exposure action value.

The practice of Security Personnel varied. Where possible, Security staff were rotated at regular
intervals. This was not only to reduce their noise exposure, it was also to keep them alert, allow
for comfort breaks etc. Sometimes the rotation did not specifically allow for time spent away
from high noise levels. At large outdoor festivals some staff were unable to leave their position
and it was suggested that any changeover period could compromise crowd safety.

Some security companies rely on casual staff and cite this as a reason for being unable to
provide bespoke hearing protection (most security personnel need access to a radio at all times.)

For this type of key worker it is essential that they are provided with adequate hearing
protection if they are within the arena in order to comply with the Regulations.

Particular attention should be paid to personnel in the pit area. They are exposed to very high

15
levels of low frequency noise and peak noise levels. The only persons allowed access to this
area should be essential staff and hearing protection should be provided that gives sufficient
attenuation at low frequencies and to protect from peak noise levels. Where possible the sub
bass speakers should be situated above their head height.

Included in this category are the artistes. We managed to get permission from one band to
measure their noise exposure during a live performance. (see Appendix F-graph 8)

There is no industry standard for musicians. Some wear in-ear monitors (IEM’s) whilst on stage
and others do not. Those that do not have IEM’s depend upon the stage monitors to assist with
their performance. No evidence was obtained to suggest that there was any reason that would
prevent all musicians being provided with IEM’s and provided they were properly mixed and
controlled the noise exposure of the musicians could be substantially reduced.

A bonus associated with the removal of stage monitors would be a substantial reduction in noise
levels off stage with the likelihood of a similar reduction in environmental noise off site,
especially in open air venues.

Hearing protection should be considered as a last resort.

The final category identified is category C. These are the people that need to be present in the
arena throughout the event and are without exception directly associated with the production of
the event. This category can be split into two – those that can (and some do) wear hearing
protection and those who say that they cannot. There is only one class of worker that falls into
this final sub - category and those are the sound engineers. (usually freelancers) There is a
consensus throughout the industry that it is not possible to ‘mix’ effectively whilst wearing
hearing protection.

Because the majority of this group are employed directly and it constitutes a major part of their
employment those that can wear hearing protection should be fitted with the appropriate type of
bespoke hearing protection that suits their job. On tour personnel cannot rotate.

A band sound engineer will generally ‘mix’ for a period of about one and a half hours, preceded
by a sound check/rehearsal earlier in the day. This means that even if the exposure was limited
to that period they would exceed the upper exposure action value. They do not comply with the
current legislative requirements and would not comply with the amended requirements of the
Control of Noise at Work Regulations 2005. Good hearing is an essential requirement of their
job and with continued exposure to loud music their hearing is likely to be impaired.

16
Category C - Need to be in hall/stage area all the time during performance
Category Occupation Venue type LEP,d LCpk Duratio Can hearing
n protection
(hours) be used?
1 C Keyboard Tech Indoor Arena 100.7 144.6 12.5 Y
1 C Promoters Rep Indoor Arena 95.6 144 12.5 Y
1 C Production Manager Indoor Arena 101.3 146 13 Y
2 C Pit Supervisor Stadium 101.7 140.3 11 Y
2 C Stage Manager (main act) Stadium 98.1 137.2 11.5 Y
2 C Stage Manager (support) Stadium 94.5 136.1 11 Y
2 C Lighting Chief Stadium 94.4 146.2 11 Y
3 C Security Staff (Pit) Indoor Hall 100.2 146.3 5 Y
3 C Security Staff (FOH) Indoor Hall 94.3 134.1 5 Y
3 C Security Staff (Pit) Indoor Hall 92.8 138.8 5 Y
3 C Security Staff (pit exit) Indoor Hall 89.8 144.2 5 Y
3 C Security Staff (pit exit) Indoor Hall 89.2 137.1 5 Y
5 C Stage Manager Outdoors 98 134 9 Y
5 C Radio Production Outdoors 93.4 137.9 10.5 Y
5 C Stage Tech Outdoors 90.8 133 8 Y
6 C Film Crew Indoors 100.3 143.1 1.5 Y
6 C Film Crew Indoors 98 139.4 1.5 Y
7 C Acoustic Consultant Outdoors 92.2 135 13.5 Y
9 C Security - Stage right outdoors 99 142 11 Y
9 C Security - pit outdoors 99.6 138.7 11 Y
9 C Security - golden circle outdoors 90.8 144.3 8 Y
9 C Security - Hospitality outdoors 85 145.5 9 Y
9 C Security - Stage rear outdoors 91 143.6 8 Y
9 C Security - Supervisor outdoors 95.5 145.9 11 Y
1 C Pit Security outdoor arena 101.8 146 8 Y
1 C Security - side of stage outdoor arena 87.3 140.1 8 Y
1 C Security - side of stage outdoor arena 96.3 143.3 9 Y
1 C Security - edge of bowl outdoor arena 93.1 146.3 9 Y
1 C Camera Operator outdoor 100.2 137.4 6 Y
1 C Security outdoors 90.2 136.7 8 Y
1 C Pit Security Manager outdoors 91.6 136.3 8 Y

Table 5.3a – Table 5.3a illustrates those personnel that are required to remain in the
arena throughout the event (Category C)

17
 Category C - Needed in hall/stage area all the time
Category Occupation Venue type LEP,d LCpk Duration Hearing
(hours) protection
used?

1 C Monitor Engineer Indoor Arena 103.9 146.8 12.5 N

1 C FOH sound Engineer Indoor Arena 98.9 139.3 14 N
2 C FOH sound Engineer Stadium 100.4 145.7 10.5 N
2 C Monitor Engineer Stadium 96 136 10.5 N
9 C Delay tower engineer outdoors 93.1 125.3 8 N

Table 5.3b – Table 5.3b illustrates those personnel that are required to remain in the
arena throughout the event, but generally do not wear hearing protection (Category C).

Many sound engineers feel that it is a creative requirement that they do not wear hearing
protection and should be exempt from the requirements to wear it. The noise exposure of a
dedicated band engineer can be restricted to the set length of approximately an hour and a half
but this would mean that he still would be likely to exceed the upper exposure action value of
85 dB(A). Even if the band engineer’s access to front of house (FOH) to the period immediately
preceding his set and he wore hearing protection up until he started to mix, his exposure would
still exceed the upper exposure action value.

The levels recorded on the dosemeters demonstrate that job rotation is not a practical remedy.
Nearly all the Lep,d values calculated are above 97 dB. Where the average noise level in an
environment is 97 dB(A) it takes only 30 minutes to receive an allowable dose.

More often than not, system engineers are required to stay at FOH for the duration of the
concert. Sometimes they will ‘mix’ the lesser known bands that precede the main act. It is very
difficult to ‘rotate’ a system engineer. They will be present for the system check, sound checks
and the main concert. This also applies to monitor engineers.

Although some engineers do wear hearing protection, the majority do not. Not one band sound
engineer interviewed felt that they could do their job whilst wearing hearing protection.

To enable someone who works in the live music sector to ascertain whether they are likely to
require hearing protection a flow chart may be helpful. This does not replace the requirement for
a proper risk assessment to be carried out.

18
 Figure 5.1 - Flow chart to identify the need for hearing protection

The weekly noise exposure calculator below shows that for the weekly dose to remain below the
Exposure Limit value the daily dose would have to remain below 92 dB LEP,d . It can be seen
from the typical levels shown in Tables 5.1 to 5.3 that this is unrealistic.

Weekly Noise Exposure Calculator

Daily exposure (LEP,d dB)

Day 1 92
Day 2
Day 3
Day 4
Day 5
Day 6
Day 7

LEP,w 85 dB

Table 5.4 – Weekly noise exposure calculator (ref: [Link]

19
The LCpeak levels measured on the dosemeters are almost without exception very high and
generally fall above the upper exposure action value. The results shown in the table have been
modified to take account of error. (microphone cable or microphone impact). This modification
was done by comparing the LAeq for the same period to see whether an equivalent high level
prevailed.

Despite this modification of results, the LCpeak levels do seem disproportionately high in some
instances, especially when compared with the levels recorded by the fixed sound level meters.
Nevertheless it is clear that the LCpeak levels do on many occasions exceed the upper exposure
action value and must be taken into account when specifying hearing protection.

The A-weighted levels recorded using the fixed sound level meters were consistent with those
recorded by the dosemeters. The data collected was used to verify the results obtained from the
dosemeters. The frequency data obtained also highlights the need for the hearing protection to
be tailored for an environment where low frequencies predominate.

Similar noise levels were obtained at FOH and at the side of the stage adjacent to the monitor
engineer indicating that the relative exposure at these levels is the same.

It is possible that some performances are at unnecessarily high levels. The levels could in some
cases be reduced without affecting the quality of the act. It is suggested that this aspect be
evaluated and perhaps a maximum level measured as a LAeq,15min be specified as a level that
must not be exceeded regardless of the venue or type of act. This would also contribute to
reduced exposure for the audience.

Whilst personnel were being fitted with their dosemeters a brief informal interview was
performed when possible. The results of these interviews demonstrated that few of the
interviewees were aware of the dangers of exposure to high noise levels. A relatively small
proportion wore hearing protection regularly and of those that did very few were aware of the
correct way to wear it. They did not for example realise that removing an ear plug to talk to
someone, substantially reduced the protection provided.

The results of the questionnaires sent to the local authorities (Appendix E) showed a mixed
response. The only common theme from those that replied is that enforcement is a low priority
and lack of resources is the main reason for the deficiency in enforcement.

The local authorities that responded demonstrated that they are aware of the changes to the
legislation and the need for enforcement. A 54% response to the questionnaire was slightly
disappointing especially as many of those that did not respond were those authorities in whose
areas large events take place on a regular basis.

20
 6. CONCLUSIONS

The entertainment industry is unique in that high noise levels are often essential in a
performance for audience satisfaction. It is recognised that there are difficulties associated with
the reduction of noise at source without detriment to the production.

What became clear during this investigation was that there are a number of personnel who are
exposed to high noise levels but it is not always necessary for all of them to receive that
exposure in order for them to carry out their job efficiently. Indeed in some cases it is
detrimental to their efficiency as it impedes communication.

Various types of job have been evaluated and recommendations have been made based on
dosimetry and fixed sound level meter measurements.

Generally, personnel employed in the live entertainment industry are exposed to noise levels
above the upper exposure action value. There is a resistance to the wearing of hearing protection
and there is a need for education. Hearing loss can limit a career in this industry so it is essential
that employees are informed.

The results of a questionnaire sent to the Local Authorities in whose districts the events took
place suggest that there is little or no enforcement of the current noise at work legislation
currently taking place at these types of events.

As a direct result of this research one promoter has equipped 20 members of staff with bespoke
hearing protection. This is a positive move and an indication that there is increasing awareness
within the industry to the dangers of prolonged exposure to high noise levels.

21
 7. RECOMMENDATIONS
Without exception, all areas front of house and at the side of the stage should be designated as
hearing protection zones and marked accordingly and all non-essential staff excluded.

All persons working within the hearing protection zone should wear suitable hearing protection
at all times. It is acknowledged within the report that this has major implications for sound
engineers.

Moulded ear plugs with a flat response could provide a solution to the problems associated with
sound engineers and monitor engineers being unable to work successfully whilst wearing
hearing protection. It is recommended that this be an area of further investigation in the near
future and trials should be implemented as a matter of urgency.

Access to FOH should be restricted and all non-essential personnel should be excluded.

Concessions, first aid, merchandising stalls etc should be removed from areas of high noise
where practicable.

Urgent steps should be taken to educate workers in the live entertainment industry to the
likelihood of hearing damage and noise induced hearing loss. Workers’ perception of noise as a
health issue is low. It is apparent that many workers underestimate their noise exposure, are not
aware of the dangers and do not receive any guidance on these matters.

It is recommended that the information contained in this report is used as an initial assessment
of personnel to see whether they are likely to be exposed to high noise levels and whether they
need to be. This does not however preclude the need for a proper risk assessment to be
performed.

Although it is outside of the scope of this report it is recommended that flat response hearing
protection (ER20’s) are offered for sale at events for purchase by the audience. In addition, it is
recommended that a health warning is printed on every ticket and buckets of free foam ear plugs
are made available at the entrances for use by the public. Hearing protection zone notices should
also be prominently displayed.

Speakers should be positioned to minimise exposure to personnel in the pit area. Where possible
they should be situated above head height.

The use of in ear monitors for musicians and the reduction in use of stage monitors should be
encouraged. This is likely to benefit the external environmental noise climate of the venue as
well.

It is recommended that consideration be given to the imposition of a maximum concert level

(possibly in the form of a LAeq, 15min measured at FOH). Further research needs to be conducted
on this.

22
 APPENDIX A
GLOSSARY OF TERMS - DEFINITIONS AND UNITS

‘A’ weighting dB(A) A-weighting of the audible frequencies designed to reflect the response of the human ear
to noise. The ear is more sensitive to noise at frequencies in the middle of the audible
range than it is to either very high or very low frequencies. Noise measurements are often
A-weighted (using a dedicated filter) to compensate for the sensitivity of the ear.

Attenuation Noise reduction, measured in decibels.

‘C’ weighting dB(C) A weighting of the audible frequencies often used for measurement of peak sound pressure
level. The A-weighting is not appropriate at the very high noise levels; as the ear is better
able to hear low and high frequency. C-weighting has an almost flat (or linear) response
across the audible frequency range. (Note for normal measurements of peak noise, C-
weighting should be used, but if the peak noise contains a large proportion of the low - or
high - frequency sound, then the use of C-weighting may give erroneous results).

Calibration A check of the function of a sound level meter by comparing the meter reading with a
known sound pressure level.

Daily personal noise exposure A measure of the average noise energy a person is exposed to during a working day. The
(LEP,d) LEP,d is directly related to the risk of hearing damage.

Decibel The units of sound level and noise exposure measurement. The range of audible sound
pressures is approximately 0.00002 Pa to 200 Pa. Using decibel notation presents this
range in a more manageable form, 0 dB to 140 dB.

Mathematically:

Sound pressure Level (dB) = 20 log (pt / po), where po = 2 x 10-5 Pa

Earmuff Ear protection consisting of a cup enclosing the outer ear.

Earplug Ear protection in the form of a plug which is inserted into the entrance to the ear canal.

Equivalent continuous sound A measure of the average sound pressure level during a period of time, in dB. It is a
pressure level (LAeq) notional steady sound level which would cause the same A-weighted sound energy to be
received as that due to the actual, possibly fluctuating, sound level over a given period of
time (T).

Exposure limit value The level of daily or weekly personal noise exposure or of peak sound pressure set out in
Regulation 4 which must not be exceeded.

Frequency (Hz) The pitch of the sound, measured in Hertz.

Frequency analysis Analysis of a sound into its frequency components.

Hearing protection A term used to cover all forms of ear protection.

Hearing protection zone An area where a person is likely to be exposed to the upper action level or above or to the
peak action level or above, which has to be demarcated with a suitable sign to conform
with Regulation 7.

23
Hz Hertz, the unit of frequency.

Integrating sound level meter A sound level meter which can accumulate the total sound energy over a specified period
and computes an average (in dB(A)). Used for measuring a fluctuating sound level.

LA,fast max. Maximum value of the A-weighted sound pressure level, measured using the fast (F) time
weighting (in dB(A)).

LC,peak. Maximum value of the C-weighted sound pressure level, measured using the peak time
weighting.

Lower exposure action value The lower of two levels of daily or weekly personal noise exposure or of peak sound
pressure as ascertained in accordance with the Regulations.

Noise exposure A measure of the total sound energy a person is exposed to. It is dependent on both the
sound pressure level to which the person is exposed and the time over which the exposure
occurs.

Noise spectrum A noise represented by its frequency components.

Noise refuge An operator enclosure in which a person can work away from the source of noise.

Octave-bands A division of the frequency range into bands, the upper frequency limit of each band being
twice the lower frequency limit. The width of the octave-bands increases at higher
frequencies.

Octave-band centre frequency The frequency at the centre of an octave band.

Pa Pascal, unit of measurement of sound pressure.

Peak sound pressure level The maximum value reached by the sound pressure at any instant during a measurement
period (in dB, usually with either C or linear frequency weighting).

Pink noise Pink noise is acoustical energy distributed uniformly by octave throughout the audio
spectrum. The total sound power in each octave is equal.

Sound level meter (SLM) Instrument for measuring various noise parameters.

Sound pressure level (SPL) The basic measure of noise loudness, expressed in decibels, usually measured with an
appropriate frequency weighting (e.g. the A-weighted SPL in dB(A)).

Tinnitus Involuntary noises in the ear such as ‘ringing’ often associated with hearing loss.

Upper exposure action value The higher of the two levels of daily or weekly personal noise exposure or of peak sound
pressure as ascertained in accordance with the Regulations.

Weekly personal noise The level of weekly personal noise exposure.

exposure

24
 APPENDIX B

TABLE SHOWING RESULTS FROM DOSEMETERS

Duration
Occupation Venue type LEP'd LCpk
(hours)
1 Monitor Engineer Indoor Arena 103.9 146.8 12.5
1 Production Manager Indoor Arena 101.3 146.0 13
1 Keyboard Tech Indoor Arena 100.7 144.6 12.5
1 FOH sound Engineer Indoor Arena 98.9 139.3 14
1 Promoters Rep Indoor Arena 95.6 144.0 12.5
2 Pit Supervisor Stadium 101.7 140.3 11
2 FOH sound Engineer Stadium 100.4 145.7 10.5
2 Promoters Rep Stadium 99.8 146.2 11.5
2 Stage Manager (main act) Stadium 98.1 137.2 11.5
2 Monitor Engineer Stadium 96 136.0 10.5
2 Stage Manager (support) Stadium 94.5 136.1 11
2 Lighting Chief Stadium 94.4 146.2 11
3 Security Staff (Pit) Indoor Hall 100.2 146.3 5
3 Security Staff (FOH) Indoor Hall 94.3 134.1 5
3 Security Staff (Pit) Indoor Hall 92.8 138.8 5
3 Catering Staff Indoor Hall 91.2 134.0 8
3 Security Staff (pit exit) Indoor Hall 89.8 144.2 5
3 Security Staff (pit exit) Indoor Hall 89.2 137.1 5
4 Fire Officer Indoor Hall 100.9 144.0 8
4 Cashier Indoor Hall 89.1 131.0 8
4 events manager Indoor Hall 86.8 136.9 8
4 Assistant operations manager Indoor Hall 85.1 134.4 8
5 Stage Manager Outdoors 98 134.0 9
5 Radio Production Assistant Outdoors 93.4 137.9 10.5
5 Stage Tech Outdoors 90.8 133.0 8
5 Crew Catering Chef Outdoors 87.4 135.0 11
5 Merchandise Manager Outdoors 85.1 126.5 9.5
6 Film Crew Indoors 100.3 139.4 1.5
6 Merchandise Staff Indoors 99.5 134.0 8
6 Film Crew Indoors 98 143.1 1.5
6 Secondary Bar staff Indoors 97 131.0 5
6 Main Bar staff Indoors 96.6 135.7 5
6 Main Bar staff Indoors 95.5 132.5 5
6 Venue Manager Indoors 91 137.4 8
6 Promotions manager Indoors 90.3 131.0 3
6 Cloakroom Staff Indoors 90.2 144.7 5
6 Bar Staff - outside main hall Indoors 80.2 117.6 8
7 Consultant Outdoors 92.2 135.0 13.5
7 Fairground staff outdoors 97.6 145.5 13.5
7 Merchandise Staff outdoors 93.8 130.0 14.5
8 Drummer Indoors 104.7 144.1 6.5
8 Guitarist Indoors 103.3 145.7 6.5
8 Bass Guitarist Indoors 100.9 133.4 6

25
9 Security - Stage right outdoors 99 142.0 11
9 Security - pit outdoors 99.6 138.7 11
9 Security - golden circle outdoors 90.8 128.0 8
9 Delay tower engineer outdoors 93.1 125.3 8
9 Security - Hospitality outdoors 85 122.5 9
9 Security - Stage rear outdoors 91 143.6 8
9 Security - Supervisor outdoors 95.5 139.0 11
10 St Johns Ambulance outdoor arena 87.9 127.0 8
10 St Johns Ambulance outdoor arena 90.2 124.0 8
10 Pit Security outdoor arena 101.8 144.0 8
10 Security - side of stage outdoor arena 87.3 140.1 8
10 Security - side of stage outdoor arena 96.3 143.3 9
10 Security - edge of bowl outdoor arena 93.1 146.3 9
10 St Johns Ambulance (moving) outdoor arena 93.7 127.0 8
11 Bar Manager outdoor festival 85.5 127.5 5.5
11 Market Stall Staff outdoor festival 101.5 145.8 5.5
11 Camera Operator outdoor festival 100.2 137.4 6
11 Site Manager outdoor festival 86.5 129.2 8
12 Security manager(moving) outdoors 90.2 126.5 8
12 Red Cross (moving) outdoors 87.5 131.2 7.5
12 Red Cross (Van) outdoors 87.2 132.5 7.5
12 Pit Security Manager outdoors 91.6 136.3 8

26
 APPENDIX C

GLOSSARY OF TERMS COMMONLY USED IN THE LIVE ENTERTAINMENT

INDUSTRY

BACKLINE TECH
By day, the backline tech sets up, tunes, and fixes the drums (drum tech), guitars (guitar tech),
basses (bass tech) or keyboards (keyboard tech). During a show the tech will scramble out on
stage to replace a pick or stick, swap a guitar if a string has broken or on rare occasions, a guitar
tech may operate an effect, such as a pedal, for the artist in real time.

CAMERA OPERATORS
The camera operators’ shots make up the live video feed of the show that the audience views in
the arena.

DELAY TOWER ENGINEER

The engineer is required to control levels and enhance the sound that is being produced by the
delay loud speakers. He will work alongside the front of house engineer, however positioned at
the delay tower post.

FRONT OF HOUSE
Control position situated within the audience area from where the FOH engineer mixes.

FRONT OF HOUSE ENGINEER

The front of house engineer, also known as the sound engineer, controls and enhances the sound
that the audience hears using a mixing console. The sound engineer is a powerful and esteemed
position; an engineer can stay with a band for years.

FIRE OFFICER
The Fire Officer has to make sure all exits are kept clear and that the fire safety of the venue is
kept up to date. He may also be involved if pyrotechnics are used during a performance.

LIGHTING DIRECTOR
The lighting director runs the lights during the show. Operating from a lighting design, the
lighting director also tells the spot operators where to shine their spotlights.

LIGHTING TECH
The lighting tech, also referred to as an electrician, sets up, focuses and maintains the band's
lighting system.

LINE CHECK
A test to make sure the audio signals from the stage are reaching the front of house channel
inputs cleanly.

LOAD IN/BUILD UP
The time prior to the event where equipment (stage, PA, lighting etc) is loaded in to the venue
and then constructed

MONITOR ENGINEER
The monitor engineer controls and enhances the sound that the band hears on stage. They must
approximate what each band member will need to hear to produce the best sound in-time and in-

27
tune. The monitor console is positioned on the side of the stage, so the monitor engineer can
keep an eye on all the members of the band who may communicate changes in their monitor
settings.

PINK NOISE
Pink noise is acoustical energy distributed uniformly by octave throughout the audio spectrum.
The total sound power in each octave is equal.

PRODUCTION MANAGER
Production managers work closely with the tour manager to put the production together (e.g.,
procuring sound, lights, video, trucking, etc.). Scheduling both the touring crew and the local
stagehands, production managers are also responsible for the day-to-day running of the
production.

PROMOTER REP
The promoter’s rep helps the promoter with all the promotional duties and acts as the promoter's
on-site representative on the day of the show. The rep helps the band with whatever they may
need to put on the show.

SECURITY STAFF
Are required to control the safety and comfort of the audience.

SOUND TECH
The sound tech sets up and maintains the band's PA system.

STAGE MANAGER
The stage manager controls the ebb and flow of the load-in (set up) and load-out (tear down).
He or she directs the local crew unloading the trucks, then manages the flow of equipment and
people on and off the stage. The stage manager acts as the production manager's right hand, and
makes sure the show starts and finishes on time.

TOUR MANAGER
The tour manager manages the entire tour; he or she is responsible for putting it together as well
as running it on a day-to-day basis. Once a tour manager is hired by an artist’s management,
their responsibilities may also include the travel arrangements and accounting (if there is no tour
accountant).

28
 APPENDIX D
LOCAL AUTHORITY QUESTIONNAIRE

HSE Noise in the live entertainment industry questionnaire.

1 What are the advantages and disadvantages of considering likely noise levels at music and
entertainment venues as part of the process for applying for a licence?

2 In your experience, what are the top four cost-effective solutions that can be put in place at
music and entertainment events to reduce sound levels to those agreed with the LA.

3 Are there any barriers to LA’s in enforcing the agreed noise levels and if so what are they?

4 Do you currently carry out any Noise at Work monitoring at live music events within
your area? If not, why not?

5 When the new regulations (Control of Noise at Work Regs) come into force for the
entertainment industry, do you think your monitoring will increase?

6 What steps (if any) are you taking to warn people in the entertainment sector of the
reduced action levels?

29
 APPENDIX E
RESPONSES FROM LOCAL AUTHORITIES TO QUESTIONNAIRE

HSE Noise in the live entertainment industry questionnaire.

1 What are the advantages and disadvantages of considering likely noise levels at music and
entertainment venues as part of the process for applying for a licence?

This question is not clear. I assume it relates to the protection of the work force only as the
survey relates to the noise at work regs.

The Licensing Act 2003 is not designed to protect the health and safety of those employed at
premises. There is however a licensing objective “public safety” aimed at ensuring the safety of
those attending venues. Considering the likely noise levels at a venue may be useful in helping
to reduce noise induced hearing loss. There is little merit in forcing internal restrictions on
volume to protect peoples hearing as in reality people who attend venues do so at their own
discretion and if they feel it is too noisy can leave at any time.

What may be useful is to consider internal music noise levels and ensure premises owners or
promoters issue warning on tickets / website flyers etc so that the customer is aware of the risks
before entering a given venue and can make an informed choice.

Cannot be enforced through licence conditions as specific health and safety legislation applying.

Advantages
i) Considering likely noise levels as part of the process of licensing can be used as
a means of control. Information can be sought prior to events, functions, etc
and previous breaches can be referred to for consideration. Licences can be
granted subject to conditions being imposed, revoked for breach of conditions
or refused due to unsuitability of venue/premises or where the applicant is
judged to be not a fit and proper person.
ii) Likely to protect the health, safety and welfare of employees.
iii) Reduce the likelihood of complaints from adjacent residents, businesses and
patrons.
iv) Protect the health of non-employees e.g. concert-goers, performers and
enforcement officers.

Disadvantages
i) Difficult to obtain information about predicted noise levels where different
bands/performers are playing or different equipment is being used.
ii) Enforcement powers are limited or difficult for one-off or transient events.
iii) A considerable number of children, including toddlers and babies,
accompanied their parents to a recent large music event. A major disadvantage
of not considering noise levels as part of the licensing process at such an event
is that there is no control over the age of children attending. The potential for
hearing damage where young children and babies are exposed to live music
noise levels needs to be assessed. Licensing authorities should be aware of the
greater risk to young children and babies and should undertake research prior
to considering what the acceptable noise levels for live music events should be.
iv) Training, guidance, competency and availability of enforcement officers.

30
Presuming that we are considering employee noise at work issues this may not be lawful;
requirements which can required using other legislation should not be added as conditions on a
Premises Licence.

The advantages:
1. Deals with potential noise impacts proactively, and aiming to avoid problems before
they arise
2. Applicants are usually so keen to get their Licence, any works will be completed
without delay.
3. Saves time in the long run
4. Achieves a higher standard than simply the avoidance of nuisance
Disadvantages:
If you ask for things to be done, and it doesn’t work, and there is a noise problem, then its
your fault.

Cannot be enforced through licence conditions as specific health and safety legislation applying.

We apply noise levels in the licence as recommended by the Noise Council CoP but not the
Noise at Work Regs

2 In your experience, what are the top four cost-effective solutions that can be put in place at
music and entertainment events to reduce sound levels to those agreed with the LA.

Again, not a clear question. My answer is based upon protection of the work only.

These views are more from an academic perspective rather than hands on experience of
controlling music noise levels internally for health and safety purposes.

a. Reduce the volume. This is perhaps the cheapest method. Does not involve any
direct costs however may have knock on effects such as fewer customers if the
volume of the music is not sufficient to be “enjoyed”
b. Ear defenders.
c. Length of shifts / management of working in noisy areas. Shifts and the
length of time people work in a particular area cannot be restricted to ensure that
the noise exposure limits are not exceed.
d. Screening / enclosures. , some staff can work in areas screened from the main
noise source and thereby reducing exposure. Not particularly practical from
entertainment venues though as most staff i.e bar staff, glass collectors and
security will all be positioned in areas where music is being played.

Reduce sound levels in venue.

Provision of working areas for staff i.e. bars with lower sound levels.
Alternation of job tasks between higher and lower exposure areas to reduce overall noise
exposure
Hearing protection.

31
 • Repositioning, redirecting or insulation of speakers.
• Isolation of equipment.
• Acoustic absorption for indoor venues.
• Noise limiting devices.

Very little experience of dealing with employee noise issues.

We did carry out a employee noise survey some years ago aimed at DJ’s and bar workers. We
found that chilling areas, limited noise exposure periods seemed to help in reaching action
levels.

1) Sound limiter
2) Entrance Lobbys
3) Lockable double glazed windows
4) Restricted opening hours

Reduce sound levels in venue.

Provision of working areas for staff ie bars with lower sound levels.
Alternation of job tasks between higher and lower exposure areas to reduce overall noise
exposure
Hearing protection.

We do ask our promoters to carry out assessments. Rotation of staff & ear plugs/defenders are
the most popular

3 Are there any barriers to LA’s in enforcing the agreed noise levels and if so what are they?

Resource availability within the LA and the practicalities of being able to make a significant
difference.

Resources to focus on this activity. Competing priorities mean this may come down list of
priority activities.

The timing of live music events tends to be late at night or at weekends, which could be
resource intensive and could divert resources from "normal" enforcement activity due to
recovery time, etc.,

None at all; as long as legislation is clear and enforceable and LA has provided adequate
resources

There needs to be consistency and joined-up-thinking between the Licensing and Environmental
Health agencies

Resources to focus on this activity. Competing priorities mean this may come down list of
priority activities.

We find it difficult to supply staff to support large events up to 50K.

32
 4 Do you currently carry out any Noise at Work monitoring at live music events
within your area? If not, why not?

We carry out monitoring in response to complaints made to this office, but this is often as a
result of a member of the public contacting us rather than an employee.

We are scheduled to carry out monitoring of certain venues in the forthcoming months to inform
ourselves and the venue owners of the noise levels, and to identify where the problem areas are
located in view of the new legislation.

No specific monitoring. It is duty of employer to ensure this is monitored and will

investigate/prosecute if found to be in breach.

No, probably as a result of these events happening out of hours or lack of complaints from
employees indicating that there is a problem.
Noise monitoring was undertaken when the original regulations came into force. This
resulted in Improvement and Prohibition Notices being served. The onus is on the
employer to undertake a noise at work assessment. Assessments are required on inspection
or licensing visits and are reviewed by enforcement officers. If there is deemed to be a
problem, monitoring would be considered.
Also, not all live events fall to LA control, many are HSE.
In addition, responsibility for enforcement officer health and safety needs to be
considered, risk assessed and surveillance screening put in place.

No, we do not.
i) Noise at Work is not a Topic Inspection theme,
ii) no perceived problem; no complaints received from employees.
iii) we set environmental noise levels, which may assist with employee risks.

No.
Reason – as ever – lack of resources. This would be seen as a non-essential statutory exercise.
We just don’t have time for proactive work.

No specific monitoring. It is duty of employer to ensure this is monitored and will

investigate/prosecute if found to be in breach.

No,: lack of resources

5 When the new regulations (Control of Noise at Work Regs) come into force for the
entertainment industry, do you think your monitoring will increase?

Yes, but in line with available resources.

No

33
This will be assessed and prioritised when the next Service Delivery Plan is being drawn
up.

Not if it isn’t a Topic Theme and HSE has not flagged up growing industry problem, and we
receive no complaints

We intend to start a project next year in our “night-club district”

No

Unlikely

6. What steps (if any) are you taking to warn people in the entertainment sector of the
reduced action levels?

This will be included when visits are made by officers to premises where this is an issue. The
new HSE advisory leaflet will also be distributed.

It will also form part of our work programme for 2007/8, but further details not identified at this
stage.

No more specific than other health and safety legislation. Information/advice provided on
routine inspection.

Advisory phone calls/letters to architects/applicants when planning and building warrant

applications are received for proposed new premises or alterations to existing premises.
On inspection/visits to premises, advice is being given.

None; but we may reconsider. The topic can be raised at Event Safety Planning meetings, but
these are focused on public safety matters. Under the “New Ways of Working”, HSE would
through its statistical analysis flag up the problem of noise at work in this sector and would
then undertake with others, in partnership, some form of intervention.

We have already spoken to some night-club owners.

We have included Licence conditions requiring night-clubs to conduct NAW Reg surveys

No more specific than other health and safety legislation. Information/advice provided on
routine inspection.

Very little. The promoters of our large events are aware of the changes & will address their
Event Plan.

Additional Comments

34
A Capita Symonds staff member wore a dosimeter for the duration of the event. In the
main, he was located at a work station within the main tent. This was part of the survey.

A distinction should be made, quite pointedly, between environmental noise control and
health and safety noise control - the acceptable limits can differ considerably from one
event to another. H&S limits are constant but environmental limits vary with location.
The questionnaire does not lend itself to this distinction.

For live broadcast events the health and safety noise control is the responsibility of the
HSE.

35
 APPENDIX F

GRAPHS OBTAINED FROM DOSEMETERS

Appendix F contains all the graphs obtained from the dosemeters from every event. An
explanation of how to interpret these graphs is contained in section 5 of the report, which shows
an example. A complete list of all the personnel and numerical information relating to their
noise exposure is contained in Appendix B.

These levels are typical and would be a useful starting point for the industry to use to identify
personnel who may need hearing protection and the type of hearing protection that may be
appropriate.

36
37
dB(A) re 2x10-5 N/m2

100
105
110
115
120

70
75
80
85
90
95
10:48

11:08

11:28

11:48

12:08

12:28

12:48

13:08

13:28

13:48

14:08

14:28

14:48

15:08

15:28

15:48

16:08

16:28

16:48

17:08

17:28

Time (hh:mm) 17:48

18:08

18:28

18:48

19:08

19:28

19:48

20:08
1. LAeq,1min dosemeter readings obtained from a front of house sound engineer

20:28

20:48

21:08

21:28

21:48

22:08

22:28

22:48
38
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
10:48
11:08
11:28
11:48
12:08
12:28
12:48
13:08
13:28
13:48
14:08
14:28
14:48
15:08
15:28
15:48
16:08
16:28
16:48
17:08
17:28
Time(hh:mm) 17:48
18:08
18:28
18:48
19:08
19:28
19:48
20:08
1. LC,peak dosemeter readings obtained from a front of house sound engineer

20:28
20:48
21:08
21:28
21:48
22:08
22:28
22:48
39
dB(A) re 2x10-5 N/m2

100
105
110
115
120

70
75
80
85
90
95
10:36

10:56

11:16

11:36

11:56

12:16

12:36

12:56

13:16

13:36

13:56

14:16

14:36

14:56

15:16

15:36

15:56

16:16

16:36

16:56

17:16

Time(hh:mm)
17:36

17:56

18:16

18:36

18:56

19:16

19:36

19:56
1. LAeq,1min dosemeter readings obtained from a keyboard tech

20:16

20:36

20:56

21:16

21:36

21:56

22:16

22:36

22:56
40
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
10:36

10:56

11:16

11:36

11:56

12:16

12:36

12:56

13:16

13:36

13:56

14:16

14:36

14:56

15:16

15:36

15:56

16:16

16:36

16:56

17:16

Time (hh:mm)
17:36

17:56

18:16

18:36

18:56

19:16

19:36
1. LC,peak dosemeter readings obtained from a keyboard tech

19:56

20:16

20:36

20:56

21:16

21:36

21:56

22:16

22:36

22:56
41
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
10:04

10:24

10:44

11:04

11:24

11:44

12:04

12:24

12:44

13:04

13:24

13:44

14:04

14:24

15:08

15:28

15:48

16:08

16:28

16:48

17:08

Time (hh:mm)
17:28

18:06

18:26

18:46

19:06

19:26

19:46
1. LAeq,1min dosemeter readings obtained from a monitor engineer

20:06

20:26

20:46

21:06

21:26

21:46

22:06

22:26

22:46

23:06
42
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
10:04

10:24

10:44

11:04

11:24

11:44

12:04

12:24

12:44

13:04

13:24

13:44

14:04

14:24

15:08

15:28

15:48

16:08

16:28

16:48

17:08

Time (hh:mm)
17:28

18:06

18:26

18:46

19:06

19:26
1. LC,peak dosemeter readings obtained from a monitor engineer

19:46

20:06

20:26

20:46

21:06

21:26

21:46

22:06

22:26

22:46

23:06
43
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
9:18
9:38
9:58
10:18
10:38
10:58
11:18
11:38
11:58
12:18
12:38
12:58
13:18
13:38
13:58
14:18
14:38
14:58
15:18
15:38
15:58
16:18
16:38
16:58

Time (hh:mm)
17:18
17:38
17:58
18:18
18:38
18:58
19:18
19:38
1. LAeq,1min dosemeter readings obtained from a production manager

19:58
20:18
20:38
20:58
21:18
21:38
21:58
22:18
22:38
22:58
44
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
9:18
9:38
9:58
10:18
10:38
10:58
11:18
11:38
11:58
12:18
12:38
12:58
13:18
13:38
13:58
14:18
14:38
14:58
15:18
15:38
15:58
16:18
16:38
16:58

Time (hh:mm)
17:18
17:38
17:58
18:18
18:38
18:58
19:18
1. LC,peak dosemeter readings obtained from a production manager

19:38
19:58
20:18
20:38
20:58
21:18
21:38
21:58
22:18
22:38
22:58
45
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
10:06

10:26

10:46

11:06

11:26

11:46

12:06

12:26

12:46

13:06

13:26

13:46

14:06

14:26

14:46

15:06

15:26

15:46

16:06

16:26

16:46

17:06

Time (hh:mm)
17:26

17:46

18:06

18:26

18:46

19:06

19:26
1. LAeq,1min dosemeter readings obtained from a promoters rep

19:46

20:06

20:26

20:46

21:06

21:26

21:46

22:06

22:26

22:46

23:06
46
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
10:06

10:26

10:46

11:06

11:26

11:46

12:06

12:26

12:46

13:06

13:26

13:46

14:06

14:26

14:46

15:06

15:26

15:46

16:06

16:26

16:46

17:06

Time (hh:mm)
17:26

17:46

18:06

18:26

18:46

19:06
1. LC,peak dosemeter readings obtained from a promoters rep

19:26

19:46

20:06

20:26

20:46

21:06

21:26

21:46

22:06

22:26

22:46

23:06
47
dB(A) re 2x10-5 N/m2

100
105
110
115
120

70
75
80
85
90
95
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
1

14:00
14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
16:40
4

16:50
17:00
17:10
17:20
17:30
17:40

Time (hh:mm)
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
6

19:30
19:40
19:50
20:00
20:10
2. LAeq,1min dosemeter readings obtained from a front of house sound engineer

20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
21:40
Main Act

21:50
22:00
22:10
22:20
48
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30

14:50

15:10

15:30

15:50

16:10

16:30

16:50

17:10

17:30

Time (hh:mm)
17:50

18:10

18:30

18:50

19:10

19:30

19:50
2. LC,peak dosemeter readings obtained from a front of house sound engineer

20:10

20:30

20:50

21:10

21:30

21:50

22:10
49
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
14:00
1

14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
16:40
4

16:50
17:00
17:10
17:20
17:30
17:40

Time (hh:mm)
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
2. LAeq,1min dosemeter readings obtained from a lighting chief

19:30
19:40
19:50
20:00
20:10
20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
21:40
Main Act

21:50
22:00
22:10
22:20
50
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:31

11:51

12:11

12:31

12:51

13:11

13:31

13:51

14:11

14:31

14:51

15:11

15:31

15:51

16:11

16:31

16:51

17:11

17:31

Time (hh:mm)
17:51

18:11

18:31

18:51

19:11

19:31
2. LC,peak dosemeter readings obtained from a lighting chief

19:51

20:11

20:31

20:51

21:11

21:31

21:51

22:11

22:31

22:51
51
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
14:00
1

14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
4

16:40
16:50
17:00
17:10
17:20
17:30

Time (hh:mm)
17:40
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
6

19:30
2. LAeq,1min dosemeter readings obtained from a monitor engineer

19:40
19:50
20:00
20:10
20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
Main Act

21:40
21:50
22:00
22:10
52
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:29

11:49

12:09

12:29

12:49

13:09

13:29

13:49

14:09

14:29

14:49

15:09

15:29

15:49

16:09

16:29

16:49

17:09

17:29

Time (hh:mm)
17:49

18:09

18:29

18:49

19:09

19:29
2. LC,peak dosemeter readings obtained from a monitor engineer

19:49

20:09

20:29

20:49

21:09

21:29

21:49

22:09

22:29

22:49
53
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
1

14:00
14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
4

16:40
16:50
17:00
17:10
17:20
17:30
17:40

Time (hh:mm)
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
6
2. LAeq,1min dosemeter readings obtained from a pit supervisor

19:30
19:40
19:50
20:00
20:10
20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
21:40
Main Act

21:50
22:00
22:10
22:20
54
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:56

12:16

12:36

12:56

13:16

13:36

13:56

14:16

14:36

14:56

15:16

15:36

15:56

16:16

16:36

16:56

17:16

17:36

Time (hh:mm)
17:56

18:16

18:36

18:56

19:16
2. LC,peak dosemeter readings obtained from a pit supervisor

19:36

19:56

20:16

20:36

20:56

21:16

21:36

21:56

22:16

22:36
55
dB(A) re 2x10-5 N/m2

100
105
110
115
120

70
75
80
85
90
95
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
14:00
1

14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
16:40
4

16:50
17:00
17:10
17:20
17:30
17:40

Time (hh:mm)
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
2. LAeq,1min dosemeter readings obtained from a promoters rep

19:30
19:40
19:50
20:00
20:10
20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
21:40
Main Act

21:50
22:00
22:10
22:20
56
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:07

11:27

11:47

12:07

12:27

12:47

13:07

13:27

13:47

14:07

14:27

14:47

15:07

15:27

15:47

16:07

16:27

16:47

17:07

Time (hh:mm)
17:27

17:47

18:07

18:27

18:47

19:07
2. LC,peak dosemeter readings obtained from a promoters rep

19:27

19:47

20:07

20:27

20:47

21:07

21:27

21:47

22:07
57
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
14:00
1

14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
16:40
4

16:50
17:00
17:10
17:20
17:30
17:40

Time(hh:mm)
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
6
2. LAeq,1min dosemeter readings obtained from a stage manager

19:30
19:40
19:50
20:00
20:10
20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
21:40
Main Act

21:50
22:00
22:10
22:20
58
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:30

11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30

14:50

15:10

15:30

15:50

16:10

16:30

16:50

17:10

17:30

Time (hh:mm)
17:50

18:10

18:30

18:50

19:10

19:30
2. LC,peak dosemeter readings obtained from a stage manager

19:50

20:10

20:30

20:50

21:10

21:30

21:50

22:10

22:30

22:50
59
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:00
12:10
12:20
12:30
12:40
12:50
13:00
13:10
13:20
13:30
13:40
13:50
14:00
1

14:10
14:20
14:30
14:40
14:50
2

15:00
15:10
15:20
15:30
15:40
3

15:50
16:00
16:10
16:20
16:30
16:40
4

16:50
17:00
17:10
17:20
17:30
17:40

Time (hh:mm)
17:50
5

18:00
18:10
18:20
18:30
18:40
18:50
19:00
19:10
19:20
6

19:30
19:40
19:50
2. LAeq,1min dosemeter readings obtained from a support stage manager

20:00
20:10
20:20
20:30
20:40
20:50
21:00
21:10
21:20
21:30
21:40
Main Act

21:50
22:00
22:10
22:20
60
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
11:30

11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30

14:50

15:10

15:30

15:50

16:10

16:30

16:50

17:10

17:30

Time (hh:mm) 17:50

18:10

18:30

18:50

19:10

19:30
2. LC,peak dosemeter readings obtained from a support stage manager

19:50

20:10

20:30

20:50

21:10

21:30

21:50

22:10
 3. LAeq,1min dosemeter readings obtained from a security person positioned on the pit exit

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
17:53

18:13

18:33

18:53

19:13

19:33

19:53

20:13

20:33

20:53

21:13

21:33

21:53

22:13

22:33
Time (hh:mm)

61
 3. LC,peak dosemeter readings obtained from a security person positioned on the pit exit

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
17:53

18:13

18:33

18:53

19:13

19:33

19:53

20:13

20:33

20:53

21:13

21:33

21:53

22:13

22:33
Time (hh:mm)

62
 3. LAeq,1min dosemeter readings obtained from a security person positioned on the pit exit2

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
17:53

18:13

18:33

18:53

19:13

19:33

19:53

20:13

20:33

20:53

21:13

21:33

21:53

22:13
Time (hh:mm)

63
 3. LC,peak dosemeter readings obtained from a security person positioned on the pit exit2

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
17:53

18:13

18:33

18:53

19:13

19:33

19:53

20:13

20:33

20:53

21:13

21:33

21:53

22:13
Time (hh:mm)

64
 3. LAeq,1min dosemeter readings obtained from a security person positioned at FOH

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
17:55

18:15

18:35

18:55

19:15

19:35

19:55

20:15

20:35

20:55

21:15

21:35

21:55

22:15
Time (hh:mm)

65
 3. LC,peak dosemeter readings obtained from a security person positioned at FOH

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
17:55

18:15

18:35

18:55

19:15

19:35

19:55

20:15

20:35

20:55

21:15

21:35

21:55

22:15
Time (hh:mm)

66
 3. LAeq,1min dosemeter readings obtained from a security person positioned in the pit

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
17:55

18:15

18:35

18:55

19:15

19:35

19:55

20:15

20:35

20:55

21:15

21:35

21:55

22:15

22:35
Time (hh:mm)

67
 3. LC,peak dosemeter readings obtained from a security person positioned in the pit

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
17:55

18:15

18:35

18:55

19:15

19:35

19:55

20:15

20:35

20:55

21:15

21:35

21:55

22:15

22:35
Time (hh:mm)

68
 3. LAeq,1min dosemeter readings obtained from a security person positioned in the pit2

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
17:56

18:16

18:36

18:56

19:16

19:36

19:56

20:16

20:36

20:56

21:16

21:36

21:56

22:16
Time (hh:mm)

69
 3. LC,peak dosemeter readings obtained from a security person positioned in the pit2

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
17:56

18:16

18:36

18:56

19:16

19:36

19:56

20:16

20:36

20:56

21:16

21:36

21:56

22:16
Time (hh:mm)

70
71
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
14:24

14:44

15:04

15:24

15:44

16:04

16:24

16:44

17:04

17:24

17:44

18:04

18:24

Time (hh:mm)
18:44

19:04

19:24

19:44

20:04

20:24
4. LAeq,1min dosemeter readings obtained from an assiatant operations manager

20:44

21:04

21:24

21:44

22:04
72
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
14:24

14:44

15:04

15:24

15:44

16:04

16:24

16:44

17:04

17:24

17:44

18:04

18:24

Time (hh:mm)
18:44

19:04

19:24

19:44

20:04

20:24
4. LC,peak dosemeter readings obtained from an assistant operations manager

20:44

21:04

21:24

21:44

22:04
73
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
13:34

13:54

14:14

14:34

14:54

15:14

15:34

15:54

16:14

16:34

16:54

17:14

17:34

17:54

18:14

Time (hh:mm)
18:34

18:54

19:14
4. LAeq,1min dosemeter readings obtained from a cashier

19:34

19:54

20:14

20:34

20:54

21:14

21:34

21:54
74
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
13:34

13:54

14:14

14:34

14:54

15:14

15:34

15:54

16:14

16:34

16:54

17:14

17:34

17:54

18:14

Time (hh:mm)
18:34

18:54

19:14
4. LC,peak dosemeter readings obtained from a cashier

19:34

19:54

20:14

20:34

20:54

21:14

21:34

21:54
75
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
14:35

14:55

15:15

15:35

15:55

16:15

16:35

16:55

17:15

17:35

17:55

18:15

18:35

18:55

Time (hh:mm)
19:15

19:35

19:55

20:15
4. LAeq,1min dosemeter readings obtained from catering staff

20:35

20:55

21:15

21:35

21:55

22:15

22:35

22:55
76
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
14:35

14:55

15:15

15:35

15:55

16:15

16:35

16:55

17:15

17:35

17:55

18:15

18:35

18:55

Time (hh:mm)
19:15

19:35

19:55

20:15
4. LC,peak dosemeter readings obtained from catering staff

20:35

20:55

21:15

21:35

21:55

22:15

22:35

22:55
77
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
15:01

15:21

15:41

16:01

16:21

16:41

17:01

17:21

17:41

18:01

18:21

18:41

19:01

19:21

Time (hh:mm)
19:41

20:01

20:21

20:41
4. LAeq,1min dosemeter readings obtained from an events manager

21:01

21:21

21:41

22:01

22:21

22:41

23:01
78
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
15:01

15:21

15:41

16:01

16:21

16:41

17:01

17:21

17:41

18:01

18:21

18:41

19:01

19:21

Time (hh:mm)
19:41

20:01

20:21

20:41
4. LC,peak dosemeter readings obtained from an events manager

21:01

21:21

21:41

22:01

22:21

22:41

23:01
79
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
17:04

17:24

17:44

18:04

18:24

18:44

19:04

19:24

19:44

20:04

Time (hh:mm)
20:24

20:44

21:04
4. LAeq,1min dosemeter readings obtained from a fire officer

21:24

21:44

22:04

22:24

22:44
80
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
17:04

17:24

17:44

18:04

18:24

18:44

19:04

19:24

19:44

20:04

Time (hh:mm)
20:24

20:44

21:04
4. LC,peak dosemeter readings obtained from a fire officer

21:24

21:44

22:04

22:24

22:44
81
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
9:37

9:57

10:17

10:37

10:57

11:17

11:37

11:57

12:17

12:37

12:57

13:17

13:37

13:57

14:17

14:37

14:57

15:17

15:37

Time (hh:mm)
15:57

16:17

16:37

16:57

17:17

17:37
5. LAeq,1min dosemeter readings obtained from a crew catering chef

17:57

18:17

18:37

18:57

19:17

19:37

19:57

20:17

20:37
82
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
9:37

9:57

10:17

10:37

10:57

11:17

11:37

11:57

12:17

12:37

12:57

13:17

13:37

13:57

14:17

14:37

14:57

15:17

15:37

Time (hh:mm)
15:57

16:17

16:37

16:57

17:17

17:37
5. LC,peak dosemeter readings obtained from a crew catering chef

17:57

18:17

18:37

18:57

19:17

19:37

19:57

20:17

20:37
83
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:00

12:20

12:40

13:00

13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

Time (hh:mm)
17:20

17:40

18:00

18:20

18:40

19:00
5. LAeq,1min dosemeter readings obtained from a merchandise manager

19:20

19:40

20:00

20:20

20:40

21:00

21:20
84
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
12:00

12:20

12:40

13:00

13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

Time (hh:mm)
17:20

17:40

18:00

18:20

18:40

19:00
5. LC,peak dosemeter readings obtained from a merchandise manager

19:20

19:40

20:00

20:20

20:40

21:00

21:20
85
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
10:51

11:11

11:31

11:51

12:11

12:31

12:51

13:11

13:31

13:51

14:11

14:31

14:51

15:11

15:31

15:51

16:11

16:31

Time (hh:mm) 16:51

17:11

17:31

17:51

18:11

18:31

18:51
5. LAeq,1min dosemeter readings obtained from a radio production assistant

19:11

19:31

19:51

20:11

20:31

20:51

21:11
86
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
10:51

11:11

11:31

11:51

12:11

12:31

12:51

13:11

13:31

13:51

14:11

14:31

14:51

15:11

15:31

15:51

16:11

16:31

Time (hh:mm) 16:51

17:11

17:31

17:51

18:11

18:31
5. LC,peak dosemeter readings obtained from a radio production assistant

18:51

19:11

19:31

19:51

20:11

20:31

20:51

21:11
87
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
12:27

12:47

13:07

13:27

13:47

14:07

14:27

14:47

15:07

15:27

15:47

16:07

16:27

16:47

17:07

Time (hh:mm)
17:27

17:47

18:07

18:27

18:47
5. LAeq,1min dosemeter readings obtained from a stage manager

19:07

19:27

19:47

20:07

20:27

20:47

21:07
88
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
12:27

12:47

13:07

13:27

13:47

14:07

14:27

14:47

15:07

15:27

15:47

16:07

16:27

16:47

17:07

Time (hh:mm)
17:27

17:47

18:07

18:27

18:47
5. LC,peak dosemeter readings obtained from a stage manager

19:07

19:27

19:47

20:07

20:27

20:47

21:07
 5. LAeq,1min dosemeter readings obtained from a stage tech (soundcheck)

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
9:50

10:10

10:30

10:50

11:10

11:30

11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30
Time (hh:mm)

89
 5. LC,peak dosemeter readings obtained from a stage tech (soundcheck)

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
9:50

10:10

10:30

10:50

11:10

11:30

11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30
Time (hh:mm)

90
 6. LAeq,1min dosemeter readings obtained from cloakroom staff

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
19:11

19:31

19:51

20:11

20:31

20:51

21:11

21:31

21:51

22:11

22:31

22:51
Time (hh:mm)

91
 6. LC,peak dosemeter readings obtained from cloakroom staff

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
19:11

19:31

19:51

20:11

20:31

20:51

21:11

21:31

21:51

22:11

22:31

22:51
Time (hh:mm)

92
 6. LAeq,1min dosemeter readings obtained from film crew 1

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
16:13

16:33

16:53

17:13

17:33
Time (hh:mm)

93
 6. LC,peak dosemeter readings obtained from film crew 1

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
16:13

16:33

16:53

17:13

17:33
Time (hh:mm)

94
95
dB(A) re 2x10-5 N/m2

70
75
80
85
90
95
100
105
110
115
120
16:09

16:29

16:49

17:09

17:29

17:49

18:09

18:29

18:49

19:09

19:29

19:49

Time (hh:mm) 20:09

20:29

20:49
6. LAeq,1min dosemeter readings obtained from film crew 2

21:09

21:29

21:49

22:09

22:29

22:49
96
dB(C) re 2x10-5 N/m2

100
105
110
115
120
125
130
135
140
145
150
16:09

16:29

16:49

17:09

17:29

17:49

18:09

18:29

18:49

19:09

19:29

19:49

Time (hh:mm) 20:09

20:29

20:49
6. LC,peak dosemeter readings obtained from film crew 2

21:09

21:29

21:49

22:09

22:29

22:49
 6. LAeq,1min dosemeter readings obtained from main bar staff

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
18:42

19:02

19:22

19:42

20:02

20:22

20:42

21:02

21:22

21:42

22:02

22:22

22:42
Time (hh:mm)

97
 6. LC,peak dosemeter readings obtained from main bar staff

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
18:42

19:02

19:22

19:42

20:02

20:22

20:42

21:02

21:22

21:42

22:02

22:22

22:42
Time (hh:mm)

98
 6. LAeq,1min dosemeter readings obtained from main bar staff 2

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
18:11

18:31

18:51

19:11

19:31

19:51

20:11

20:31

20:51

21:11

21:31

21:51

22:11

22:31

22:51
Time (hh:mm)

99
 6. LC,peak dosemeter readings obtained from main bar staff 2

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
18:11

18:31

18:51

19:11

19:31

19:51

20:11

20:31

20:51

21:11

21:31

21:51

22:11

22:31

22:51
Time (hh:mm)

100
 dB(A) re 2x10-5 N/m2

101
70
75
80
85
90
95
100
105
110
115
120
16:26

16:46

17:06

17:26

17:46

18:06

18:26

18:46

19:06

19:26

19:46

Time (hh:mm)
20:06

20:26

20:46

21:06
6. LAeq,1min dosemeter readings obtained from merchandise staff

21:26

21:46

22:06

22:26

22:46
 dB(C) re 2x10-5 N/m2

102
100
105
110
115
120
125
130
135
140
145
150
16:26

16:46

17:06

17:26

17:46

18:06

18:26

18:46

19:06

19:26

19:46

Time (hh:mm)
20:06

20:26

20:46
6. LC,peak dosemeter readings obtained from merchandise

21:06

21:26

21:46

22:06

22:26

22:46
 6. LAeq,1min dosemeter readings obtained from promotions staff

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
18:48

19:08

19:28

19:48

20:08

20:28

20:48

21:08

21:28
Time (hh:mm)

103
 6. LC,peak dosemeter readings obtained from promotions staff

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
18:48

19:08

19:28

19:48

20:08

20:28

20:48

21:08

21:28
Time (hh:mm)

104
 6. LAeq,1min dosemeter readings obtained from secondary bar staff

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
19:05

19:25

19:45

20:05

20:25

20:45

21:05

21:25

21:45

22:05

22:25

22:45
Time (hh:mm)

105
 6. LC,peak dosemeter readings obtained from secondary bar staff

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
19:05

19:25

19:45

20:05

20:25

20:45

21:05

21:25

21:45

22:05

22:25

22:45
Time (hh:mm)

106
 dB(A) re 2x10-5 N/m2

107
70
75
80
85
90
95
100
105
110
115
120
15:45

16:05

16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

19:05

19:25

19:45

Time (hh:mm)
20:05

20:25

20:45
6. LAeq,1min dosemeter readings obtained from venue manager

21:05

21:25

21:45

22:05

22:25

22:45
 dB(C) re 2x10-5 N/m2

108
100
105
110
115
120
125
130
135
140
145
150
15:45

16:05

16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

19:05

19:25

19:45

Time (hh:mm)
20:05

20:25

20:45
6. LC,peak dosemeter readings obtained from venue manager

21:05

21:25

21:45

22:05

22:25

22:45
 dB(A) re 2x10-5 N/m2

109
70
75
80
85
90
95
100
105
110
115
120
12:20
12:40
13:00
13:20
13:40
14:00
14:20
14:40
15:00
15:20
15:40
16:00
16:20
16:40
17:00
17:20
17:40
18:00
18:20
18:40
19:00
19:20
19:40

Time (hh:mm) 20:00

20:20
20:40
21:00
21:20
21:40
22:00
22:20
7. LAeq,1min dosemeter readings obtained from an acoustic consultant

22:40
23:00
23:20
23:40
0:00
0:20
0:40
1:00
1:20
1:40
 dB(C) re 2x10-5 N/m2

110
100
105
110
115
120
125
130
135
140
145
150
12:20
12:40
13:00
13:20
13:40
14:00
14:20
14:40
15:00
15:20
15:40
16:00
16:20
16:40
17:00
17:20
17:40
18:00
18:20
18:40
19:00
19:20
19:40

Time (hh:mm) 20:00

20:20
20:40
21:00
21:20
21:40
22:00
7. LC,peak dosemeter readings obtained from an acoustic consultant

22:20
22:40
23:00
23:20
23:40
0:00
0:20
0:40
1:00
1:20
1:40
 dB(A) re 2x10-5 N/m2

111
70
75
80
85
90
95
100
105
110
115
120
14:21
14:41
15:01
15:21
15:41
16:01
16:21
16:41
17:01
17:21
17:41
18:01
18:21
18:41
19:01
19:21
19:41
20:01
20:21
20:41
21:01
21:21
21:41

Time (hh:mm)
22:01
22:21
22:41
23:01
23:21
23:41
0:01
7. LAeq,1min dosemeter readings obtained from fairground staff

0:21
0:41
1:01
1:21
1:41
2:01
2:21
2:41
3:01
3:21
3:41
 dB(C) re 2x10-5 N/m2

112
100
105
110
115
120
125
130
135
140
145
150
14:21
14:41
15:01
15:21
15:41
16:01
16:21
16:41
17:01
17:21
17:41
18:01
18:21
18:41
19:01
19:21
19:41
20:01
20:21
20:41
21:01
21:21
21:41

Time (hh:mm)
22:01
22:21
22:41
23:01
23:21
23:41
7. LC,peak dosemeter readings obtained from fairground staff

0:01
0:21
0:41
1:01
1:21
1:41
2:01
2:21
2:41
3:01
3:21
3:41
 dB(A) re 2x10-5 N/m2

113
70
75
80
85
90
95
100
105
110
115
120
12:39
12:59
13:19
13:39
13:59
14:19
14:39
14:59
15:19
15:39
15:59
16:19
16:39
16:59
17:19
17:39
17:59
18:19
18:39
18:59
19:19
19:39
19:59
20:19
20:39

Time (hh:mm)
20:59
21:19
21:39
21:59
22:19
22:39
22:59
7. LAeq,1min dosemeter readings obtained from merchandise staff

23:19
23:39
23:59
0:19
0:39
0:59
1:19
1:39
1:59
2:19
2:39
2:59
 dB(C) re 2x10-5 N/m2

114
100
105
110
115
120
125
130
135
140
145
150
12:39
12:59
13:19
13:39
13:59
14:19
14:39
14:59
15:19
15:39
15:59
16:19
16:39
16:59
17:19
17:39
17:59
18:19
18:39
18:59
19:19
19:39
19:59
20:19
20:39

Time (hh:mm)
20:59
21:19
21:39
21:59
22:19
22:39
22:59
7. LC,peak dosemeter readings obtained from merchandise staff

23:19
23:39
23:59
0:19
0:39
0:59
1:19
1:39
1:59
2:19
2:39
2:59
 8. LAeq,1min dosemeter readings obtained from a bass guitarist during live performance

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
21:00

21:20

21:40

22:00

22:20

22:40
Time (hh:mm)

115
 8. LC,peak dosemeter readings obtained from a bass guitarist during live performance

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
21:00

21:20

21:40

22:00

22:20

22:40
Time (hh:mm)

116
 8. LAeq,1min dosemeter readings obtained from a drummer during live performance

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
21:00

21:20

21:40

22:00

22:20

22:40

23:00
Time (hh:mm)

117
 8. LC,peak dosemeter readings obtained from a drummer during live performance

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
21:00

21:20

21:40

22:00

22:20

22:40

23:00
Time (hh:mm)

118
 8. LAeq,1min dosemeter readings obtained from a guitarist during live performance

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
21:00

21:20

21:40

22:00

22:20

22:40

23:00
Time (hh:mm)

119
 8. LC,peak dosemeter readings obtained from a guitarist during live performance

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
21:00

21:20

21:40

22:00

22:20

22:40

23:00
Time (hh:mm)

120
 dB(A) re 2x10-5 N/m2

121
70
75
80
85
90
95
100
105
110
115
120
13:38

13:58

14:18

14:38

14:58

15:18

15:38

15:58

16:18

16:38

16:58

17:18

17:38

17:58

Time (hh:mm) 18:18

18:38

18:58

19:18
9. LAeq,1min dosemeter readings obtained from a delay tower engineer

19:38

19:58

20:18

20:38

20:58

21:18
 dB(C) re 2x10-5 N/m2

122
100
105
110
115
120
125
130
135
140
145
150
13:38

13:58

14:18

14:38

14:58

15:18

15:38

15:58

16:18

16:38

16:58

17:18

17:38

17:58

Time (hh:mm) 18:18

18:38

18:58

19:18
9. LC,peak dosemeter readings obtained from delay tower engineer

19:38

19:58

20:18

20:38

20:58

21:18
 dB(A) re 2x10-5 N/m2

123
70
75
80
85
90
95
100
105
110
115
120
11:49

12:09

12:29

12:49

13:09

13:29

13:49

14:09

14:29

14:49

15:09

15:29

15:49

16:09

Time (hh:mm) 16:29

16:49

17:09

17:29

17:49

18:09
9. LAeq,1min dosemeter readings obtained from security positioned in golden circle

18:29

18:49

19:09

19:29
 dB(C) re 2x10-5 N/m2

124
100
105
110
115
120
125
130
135
140
145
150
11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30

14:50

15:10

15:30

15:50

16:10

Time (hh:mm) 16:30

16:50

17:10

17:30

17:50

18:10
9. LC,peak dosemeter readings obtained from security positioned in golden circle

18:30

18:50

19:10

19:30
 dB(A) re 2x10-5 N/m2

125
70
75
80
85
90
95
100
105
110
115
120
11:27

11:47

12:07

12:27

12:47

13:07

13:27

13:47

14:07

14:27

14:47

15:07

15:27

15:47

16:07

Time (hh:mm) 16:27

16:47

17:07

17:27

17:47

18:07
9. LAeq,1min dosemeter readings obtained from security positioned by hospitality

18:27

18:47

19:07

19:27

19:47

20:07
 dB(C) re 2x10-5 N/m2

126
100
105
110
115
120
125
130
135
140
145
150
12:00

12:20

12:40

13:00

13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

Time (hh:mm) 16:40

17:00

17:20

17:40

18:00
9. LC,peak dosemeter readings obtained from security positioned by hospitality

18:20

18:40

19:00

19:20

19:40
 dB(A) re 2x10-5 N/m2

127
70
75
80
85
90
95
100
105
110
115
120
11:29

11:49

12:09

12:29

12:49

13:09

13:29

13:49

14:09

14:29

14:49

15:09

15:29

15:49

16:09

16:29

16:49

17:09

17:29

Time (hh:mm)
17:49

18:09

18:29

18:49

19:09

19:29

19:49
9. LAeq,1min dosemeter readings obtained from security positioned in pit

20:09

20:29

20:49

21:09

21:29

21:49

22:09

22:29
 dB(C) re 2x10-5 N/m2

128
100
105
110
115
120
125
130
135
140
145
150
11:30

11:50

12:10

12:30

12:50

13:10

13:30

13:50

14:10

14:30

14:50

15:10

15:30

15:50

16:10

16:30

16:50

17:10

17:30

Time (hh:mm)
17:50

18:10

18:30

18:50

19:10

19:30

19:50
9. LC,peak dosemeter readings obtained from security positioned in pit

20:10

20:30

20:50

21:10

21:30

21:50

22:10

22:30
 dB(A) re 2x10-5 N/m2

129
70
75
80
85
90
95
100
105
110
115
120
11:59

12:19

12:39

12:59

13:19

13:39

13:59

14:19

14:39

14:59

15:19

15:39

15:59

16:19

Time (hh:mm) 16:39

16:59

17:19

17:39

17:59
9. LAeq,1min dosemeter readings obtained from security positioned on stage

18:19

18:39

18:59

19:19

19:39
 dB(C) re 2x10-5 N/m2

130
100
105
110
115
120
125
130
135
140
145
150
12:00

12:20

12:40

13:00

13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

Time (hh:mm) 16:40

17:00

17:20

17:40

18:00
9. LC,peak dosemeter readings obtained from security positioned on stage

18:20

18:40

19:00

19:20

19:40
 dB(A) re 2x10-5 N/m2

131
70
75
80
85
90
95
100
105
110
115
120
11:51

12:11

12:31

12:51

13:11

13:31

13:51

14:11

14:31

14:51

15:11

15:31

15:51

16:11

16:31

16:51

17:11

17:31

17:51

Time (hh:mm) 18:11

18:31

18:51

19:11

19:31

19:51

20:11
9. LAeq,1min dosemeter readings obtained from security positioned by stage right

20:31

20:51

21:11

21:31

21:51

22:11

22:31
 dB(C) re 2x10-5 N/m2

132
100
105
110
115
120
125
130
135
140
145
150
11:51

12:11

12:31

12:51

13:11

13:31

13:51

14:11

14:31

14:51

15:11

15:31

15:51

16:11

16:31

16:51

17:11

17:31

17:51

Time (hh:mm) 18:11

18:31

18:51

19:11

19:31

19:51

20:11
9. LC,peak dosemeter readings obtained from security positioned by stage right

20:31

20:51

21:11

21:31

21:51

22:11

22:31
 dB(A) re 2x10-5 N/m2

133
70
75
80
85
90
95
100
105
110
115
120
11:52

12:12

12:32

12:52

13:12

13:32

13:52

14:12

14:32

14:52

15:12

15:32

15:52

16:12

16:32

16:52

17:12

17:32

17:52

Time (hh:mm) 18:12

18:32

18:52

19:12

19:32
9. LAeq,1min dosemeter readings obtained from security supervisor

19:52

20:12

20:32

20:52

21:12

21:32

21:52

22:12

22:32
 dB(C) re 2x10-5 N/m2

134
100
105
110
115
120
125
130
135
140
145
150
11:52

12:12

12:32

12:52

13:12

13:32

13:52

14:12

14:32

14:52

15:12

15:32

15:52

16:12

16:32

16:52

17:12

17:32

17:52

Time (hh:mm) 18:12

18:32

18:52

19:12

19:32
9. LC,peak dosemeter readings obtained from security supervisor

19:52

20:12

20:32

20:52

21:12

21:32

21:52

22:12

22:32
 dB(A) re 2x10-5 N/m2

135
70
75
80
85
90
95
100
105
110
115
120
14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

Time (hh:mm) 19:20

19:40

20:00

20:20

20:40

21:00
10. LAeq,1min dosemeter readings obtained from security positioned at boundary

21:20

21:40

22:00

22:20

22:40

23:00
 dB(C) re 2x10-5 N/m2

136
100
105
110
115
120
125
130
135
140
145
150
14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

Time (hh:mm) 19:20

19:40

20:00

20:20

20:40

21:00
10. LC,peak dosemeter readings obtained from security positioned on boundary

21:20

21:40

22:00

22:20

22:40

23:00
 dB(A) re 2x10-5 N/m2

137
70
75
80
85
90
95
100
105
110
115
120
14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

Time (hh:mm) 18:40

19:00

19:20

19:40

20:00
10. LAeq,1min dosemeter readings obtained from security positioned in pit

20:20

20:40

21:00

21:20

21:40
 dB(C) re 2x10-5 N/m2

138
100
105
110
115
120
125
130
135
140
145
150
14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

Time (hh:mm) 18:40

19:00

19:20

19:40

20:00
10. LC,peak dosemeter readings obtained from security positioned in pit

20:20

20:40

21:00

21:20

21:40
 dB(A) re 2x10-5 N/m2

139
70
75
80
85
90
95
100
105
110
115
120
14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

Time (hh:mm)
19:20

19:40

20:00

20:20

20:40

21:00

21:20
10. LAeq,1min dosemeter readings obtained from security positioned at side of stage 1

21:40

22:00

22:20

22:40

23:00
 dB(C) re 2x10-5 N/m2

140
100
105
110
115
120
125
130
135
140
145
150
14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

Time (hh:mm)
19:20

19:40

20:00

20:20

20:40

21:00

21:20
10. LC,peak dosemeter readings obtained from security positioned on side of stage

21:40

22:00

22:20

22:40

23:00
 dB(A) re 2x10-5 N/m2

141
70
75
80
85
90
95
100
105
110
115
120
14:05

14:25

14:45

15:05

15:25

15:45

16:05

16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

Time (hh:mm)
19:05

19:25

19:45

20:05

20:25

20:45

21:05
10. LAeq,1min dosemeter readings obtained from security positioned at side of stage 2

21:25

21:45

22:05

22:25

22:45
 dB(C) re 2x10-5 N/m2

142
100
105
110
115
120
125
130
135
140
145
150
14:05

14:25

14:45

15:05

15:25

15:45

16:05

16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

Time (hh:mm)
19:05

19:25

19:45

20:05

20:25

20:45

21:05
10. LC,peak dosemeter readings obtained from security positioned on side of stage 2

21:25

21:45

22:05

22:25

22:45
 dB(A) re 2x10-5 N/m2

143
70
75
80
85
90
95
100
105
110
115
120
15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20

20:40
10. LAeq,1min dosemeter readings obtained from St Johns ambulance 1

21:00

21:20

21:40

22:00

22:20

22:40
 dB(C) re 2x10-5 N/m2

144
100
105
110
115
120
125
130
135
140
145
150
15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20

20:40
10. LC,peak dosemeter readings obtained from St Johns ambulance

21:00

21:20

21:40

22:00

22:20

22:40
 dB(A) re 2x10-5 N/m2

145
70
75
80
85
90
95
100
105
110
115
120
15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20

20:40
10. LAeq,1min dosemeter readings obtained from St Johns ambulance 2

21:00

21:20

21:40

22:00

22:20

22:40
 dB(C) re 2x10-5 N/m2

146
100
105
110
115
120
125
130
135
140
145
150
15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20

20:40
10. LC,peak dosemeter readings obtained from St Johns ambulance 2

21:00

21:20

21:40

22:00

22:20

22:40
 dB(A) re 2x10-5 N/m2

147
70
75
80
85
90
95
100
105
110
115
120
15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20

20:40

21:00
10. LAeq,1min dosemeter readings obtained from St Johns ambulance(moving)

21:20

21:40

22:00

22:20

22:40

23:00
 dB(C) re 2x10-5 N/m2

148
100
105
110
115
120
125
130
135
140
145
150
15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20

20:40

21:00
10. LC,peak dosemeter readings obtained from St Johns ambulance(moving)

21:20

21:40

22:00

22:20

22:40

23:00
 dB(A) re 2x10-5 N/m2

149
70
75
80
85
90
95
100
105
110
115
120
16:50

17:10

17:30

17:50

18:10

18:30

18:50

19:10

19:30

19:50

Time (hh:mm)
20:10

20:30
11. LAeq,1min dosemeter readings obtained from a bar manager

20:50

21:10

21:30

21:50

22:10
 11. LC,peak dosemeter readings obtained from a bar manager

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
16:50

17:10

17:30

17:50

18:10

18:30

18:50

19:10

19:30

19:50

20:10

20:30

20:50

21:10

21:30

21:50

22:10
Time (hh:mm)

150
 dB(A) re 2x10-5 N/m2

151
70
75
80
85
90
95
100
105
110
115
120
16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

19:05

19:25

19:45

Time (hh:mm)
20:05

20:25

20:45
11. LAeq,1min dosemeter readings obtained from a camera operator

21:05

21:25

21:45

22:05

22:25
 dB(C) re 2x10-5 N/m2

152
100
105
110
115
120
125
130
135
140
145
150
16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

19:05

19:25

19:45

Time (hh:mm)
20:05

20:25

20:45
11. LC,peak dosemeter readings obtained from a camera operator

21:05

21:25

21:45

22:05

22:25
 11. LAeq,1min dosemeter readings obtained from market stall staff

120

115

110

105
dB(A) re 2x10-5 N/m2

100

95

90

85

80

75

70
16:59

17:19

17:39

17:59

18:19

18:39

18:59

19:19

19:39

19:59

20:19

20:39

20:59

21:19

21:39

21:59

22:19
Time (hh:mm)

153
 11. LC,peak dosemeter readings obtained from market staff

150

145

140

135
dB(C) re 2x10-5 N/m2

130

125

120

115

110

105

100
17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

19:40

20:00

20:20

20:40

21:00

21:20

21:40

22:00

22:20
Time (hh:mm)

154
 dB(A) re 2x10-5 N/m2

155
70
75
80
85
90
95
100
105
110
115
120
13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

Time (hh:mm) 18:00

18:20

18:40

19:00
11. LAeq,1min dosemeter readings obtained from a site manager

19:20

19:40

20:00

20:20

20:40

21:00
 dB(C) re 2x10-5 N/m2

156
100
105
110
115
120
125
130
135
140
145
150
13:20

13:40

14:00

14:20

14:40

15:00

15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

Time (hh:mm) 18:00

18:20

18:40

19:00
11. LC,peak dosemeter readings obtained from a site manager

19:20

19:40

20:00

20:20

20:40

21:00
 dB(A) re 2x10-5 N/m2

157
70
75
80
85
90
95
100
105
110
115
120
15:15

15:35

15:55

16:15

16:35

16:55

17:15

17:35

17:55

18:15

18:35

18:55

19:15

Time (hh:mm)
19:35

19:55

20:15

20:35
12. LAeq,1min dosemeter readings obtained from pit security

20:55

21:15

21:35

21:55

22:15

22:35

22:55
 dB(C) re 2x10-5 N/m2

158
100
105
110
115
120
125
130
135
140
145
150
15:15

15:35

15:55

16:15

16:35

16:55

17:15

17:35

17:55

18:15

18:35

18:55

19:15

Time (hh:mm)
19:35

19:55

20:15

20:35
12. LC,peak dosemeter readings obtained from pit security

20:55

21:15

21:35

21:55

22:15

22:35

22:55
 dB(A) re 2x10-5 N/m2

159
70
75
80
85
90
95
100
105
110
115
120
15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20
12. LAeq,1min dosemeter readings obtained from redcross 2

20:40

21:00

21:20

21:40

22:00

22:20

22:40
 dB(C) re 2x10-5 N/m2

160
100
105
110
115
120
125
130
135
140
145
150
15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20
12. LC,peak dosemeter readings obtained from redcross2

20:40

21:00

21:20

21:40

22:00

22:20

22:40
 dB(A) re 2x10-5 N/m2

161
70
75
80
85
90
95
100
105
110
115
120
15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20
12. LAeq,1min dosemeter readings obtained from redcross 1

20:40

21:00

21:20

21:40

22:00

22:20

22:40
 dB(C) re 2x10-5 N/m2

162
100
105
110
115
120
125
130
135
140
145
150
15:20

15:40

16:00

16:20

16:40

17:00

17:20

17:40

18:00

18:20

18:40

19:00

19:20

Time (hh:mm) 19:40

20:00

20:20
12. LC,peak dosemeter readings obtained from redcross 1

20:40

21:00

21:20

21:40

22:00

22:20

22:40
 dB(A) re 2x10-5 N/m2

163
70
75
80
85
90
95
100
105
110
115
120
15:05

15:25

15:45

16:05

16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

19:05

Time (hh:mm)
19:25

19:45

20:05

20:25

20:45
12. LAeq,1min dosemeter readings obtained from roaming security

21:05

21:25

21:45

22:05

22:25

22:45
 12/06 Published by the Health and Safety Executive

dB(C) re 2x10-5 N/m2

164
100
105
110
115
120
125
130
135
140
145
150
15:05

15:25

15:45

16:05

16:25

16:45

17:05

17:25

17:45

18:05

18:25

18:45

19:05

Time (hh:mm)
19:25

19:45

20:05

20:25
12. LC,peak dosemeter readings obtained from roaming security

20:45

21:05

21:25

21:45

22:05

22:25

22:45
 Health and Safety
Executive

Measurement of noise levels that staff

are exposed to at live music events

More stringent noise at work regulations, developed by

HSE after public consultation, came into force for general
industry on 6 April 2006. The music industry was granted
a two year period to develop sector specific guidance on
compliance, but should meanwhile comply with existing
noise regulations. Local Authorities also have issues
concerning monitoring and compliance. Following a
period of debate, it was agreed that Capita Symonds Ltd
(CS) would complete a noise study to assess the current
noise exposure of groups of people within the industry
and would then report back on the impact of the
proposed legislation on 'live' music concerts.

This report contains details of the personal exposures of a

cross section of staff working at twelve events throughout
the year. It explores the adequacy of any control
measures in place and makes recommendations for
improvements.

This report and the work it describes were funded by

the Health and Safety Executive (HSE). Its contents,
including any opinions and/or conclusions expressed, are
those of the author alone and do not necessarily reflect
HSE policy.

RR517

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