Tag Archives: SPL

Protect your hearing at dance competitions

hd-bw-solo_1024x1024We all love the music that our routines are choreographed to, and that’s why dance competitions usually play your music really LOUD. Sound pressure levels of greater than 95 decibels are common in competition venues. You can easily get an approximate measure of the sound pressure level of any environment you are in with a free smartphone app. (I use Decibel Meter-Free for iPhone.)

Most dance teachers and choreographers are unaware that exposure to sound sources at these volumes (94 db or more) for more than 60 minutes consecutively can cause permanent hearing loss (source:National Institute for Occupational Safety and Health (NIOSH)).

That is why I ALWAYS use hearing protection at dance competitions. You can use the cheap, foam type found in pharmacies, but that type tends to muffle the sound, and is therefore not enjoyable to use. I use Ear Peace protectors, which reduce the volume uniformly across all frequencies. The result is that the music sounds just as good as without the ear plugs, but the sound pressure is reduced so that you don’t damage your hearing or leave the competition with a splitting headache. I find that music actually sounds BETTER at competitions or rock concerts with the ear plugs than without, because at super-loud volumes, music actually distorts in your ear drums. Best of all, you can get a pair of HD Ear Peace protectors, with carrying case, for less than $20.

The other great thing about Ear Peace protection is that you can still have conversations with people that are next to you.

Just as you wear sunglasses in bright sunlight situations, consider hearing protection to be the equivalent device for your ears in loud settings. Do yourself a favor and protect your ears the next time you are at dance competition, especially when the solution is quite inexpensive.

Pump Up The Volume

Just finished bringing up the volume of another movie soundtrack song (based on a Broadway show tune) for a dance teacher in Tennessee.

We can raise the volume (without distortion) of any tracks that are playing too quietly compared to commercial releases today. This service is quite different than simply raising the volume in your audio editor of choice, which will invariably cause a harsh kind of distortion called clipping distortion. I’ve actually heard this kind of clipping distortion blasted over competition sound systems. It’s not pretty.

Raising the volume in this manner is most commonly needed for show tunes, movie soundtrack songs, and some older songs. These type of songs actually sound fantastic, because they retain their dynamic range, but in the world of dance competitions, the people responsible for the sound systems expect a certain volume from the CDs they are playing. You can’t rely on them to raise the volume of a soft song because they don’t know if a loud section of music is still to come. (However, if a song is too loud, you can count on them to turn the volume down.)

Bringing a song up to the proper level without distortion is currently being offered for only $19, and if the song is being edited by Squirrel Trench Audio, then this aspect is included in the regular price. What a bargain!

More info about Mastering your Dance Track and Fixing your Music in time for Competitions

The losers of the loudness wars

It’s been somewhat of a gradual process, but the average volume pressed on CDs has gotten louder and louder over the past 20 years. The casual listener might think this is a good thing, but it actually is not. Because people perceive something to “sound better” when played at a higher volume than the same thing played softly, commercial and other interests have driven what is called the “Loudness Wars“, i.e. the attempt to create CDs that are just a little bit louder than other CDs.

However, there is an upper ceiling to the volume of the music that is recorded to CD. Beyond this maximum level is distortion or noise. So mastering and mixing engineers employ the techniques of compression and limiting to get the perceived volume louder. But there IS a downside to compression, and that is the squishing or flattening of the music. Untrained ears can’t readily identify compression, but if you ever get the chance to go to a recording studio, or even experiment with a compressor on your home computer (through good speakers of course), you can learn to hear the effect of compression on music (a little bit or a severe amount). Listening to severely compressed music for more than a few minutes is also fatiguing on the ears. Our brains “expect” to hear sounds with dynamics.

Loudness and compression “works” for electronic styles of dance music and some other types of modern electronic music. Quality of sound is not the main concern, just a thumping bass and maximum volume.

When creating remixes for dance competition, you naturally want your songs and remixes to be as loud as all of the others. It feels awkward to have your song come onto the sound system at a volume much lower than the song before and the song after.

But you CAN take the loudness war too far in the dance competition world. My girlfriend chose a modern version of the jazz standard  “It Don’t Mean A Thing” for one of her soloists this season. The version she chose is by the Charlotte Swing Band. While this is a fantastic and exciting Big Band version of the song, this recording has been squashed to within an inch of its life in the attempt to get it as loud as possible on the CD.

Just last month, I witnessed something notable at a regional dance competition. I watched as the sound engineer reached for his volume control and TURN DOWN THE MAINS to the house sound system when this song started playing. He had not done so for any other song prior to it that day that I was aware of. Amazing to have witnessed the sound engineer do that since overall, the SPL (sound pressure level) to the house at the competition was quite high (loud) for the room.

Witnessing the sound engineer turn down the volume for this song has really stuck with me. While you want your songs to sound loud, there is a point at which trying to get it still louder will come back to bite you as it did here. I actually have since remixed this song for future competitions to bring the volume slightly lower than originally printed in the iTunes version. I also rolled off some of the very low end and some of the very high end, to try to bring it back to a more “normal” level. However, I can’t uncompress what has already been compressed. The compression level is so severe, it sounds as if it was being played through a television set. With a lot of brass, this severe compression gives the music a quality of something like what you would hear the Tonight Show band playing. Perhaps that’s what the mix and mastering engineers were going for.

Add me to the list of mix engineers who would like to see a return to lower volumes printed onto CDs (such as the K-meter system) so that the volume resides in the LISTENER’s control. If you want a song louder, don’t demand a louder CD, turn up the volume knob on YOUR system.

If you’ve got a song for dance competition that was recorded years and years ago, and you want to get it up to today’s normal loudness level, I can do that for you with professional results. Feel free to contact me for more information about that.

Here’s a great guide posted on YouTube that explains this phenomenon so that you can both hear and see what’s going on: