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Volume XXI, March 2000

Sound Level at FAC Events: Behind the Scenes 

[Editor’s Note: In the following letters, Henry Goldberg and Tom Pixton explain why some 1999 FAC concerts were too loud and what has been done about it.]

Henry Goldberg:

As some of you may know, the sound-level desires of native musicians have been a point of ongoing discussion for the “Balkan music aficionado” community for several years now. In early 1998, the “Decibel Jihad” raged most fiercely and it was, in fact, the FAC-sponsored concert of Esma and Ansambl Teodosievski in June 1998 that was something of a national turning point in demonstrating that these musicians could be presented at acceptable sound levels. (If anyone wants to look through the several hundred email messages that present just about every possible perspective on this issue, some quite eloquently, go to http://www.iecc.com/cgi-bin/eefcsearch and search for “Sound” or “loud” in April through August 1998.)

However, in the case of the electrified band at the two recent FAC events (the Benefit Bash and the Nov. 20 Watertown concert) I do not believe the musical aesthetic is the core point, though the musicians in this band do seem to feel that their music is “misunderstood.” I was not happy with the levels/balance, but the band was also not happy.

I think the problem was the unmet challenge of mixing and balancing electrified (self-amplified) instruments, the trap set, and the system-amplified instruments and voice, and the lack of adequate sound checking time to get this all right. By the time the shows started, it was not a matter of turning the sound system down-- at the Benefit Bash, the house speakers were already turned off for the instrumental numbers. In Watertown, they brought their own sound person, but either she didn’t get it right or she did think it sounded right the way it was. The band, however, says “it was not our intention to blast anybody's ears off.”

I don’t believe that these aberrations represent some pernicious FAC “trend.” We have, in fact, presented a number of “loud” bands at FAC events without such problems (Esma Redzepova & Ansambl Teodosievski; Lexicon; Yuri Yunakov at Balkan Night; etc.) and I believe we can continue to offer such exciting music in the future without causing hearing loss. However, one does need to balance the audience’s needs with the musicians’ needs-- if they are not having fun, the music will not be fun.

Tom Pixton:

I play usually twice a month, as band leader, accordionist, and singer, for folk dancing, with my own sound system. I have also played many out-of-town gigs with hired sound systems. In addition, I spent two years playing with a local Cajun/Swamp Pop club band (“Crewe de Roux”) that had full drum kit, electric guitar, electric bass. The two experiences are very different, and lack of this awareness can cause misunderstanding.

When modern drum kit is introduced into an ensemble, the entire sound changes radically, not only in terms of volume, but also dynamic range. The modern drum kit has a huge dynamic range, from the booming lows of the bass drum, through the trenchant midtones of the toms and tenors, to the sizzling high-sonic blasts of snare, cymbals, and hi-hat. The effect is a full-range sonic assault on every frequency within human hearing.

As a result, electrified guitar-type instruments, with their own individual power amps and speakers, become necessary, and any “acoustic” instrument must be equipped with non-feeding-back pickups capable of competing. In order for the musicians to hear each other on stage, each musician must have an individual monitor. These monitors must be placed directly next to each musician to be effective: A monitor 6” away from its ideal spot is useless.

At the 1999 Benefit Bash it was obvious to me that the problems of sound were due to the band’s inexperience in live performance and lack of advance preparation to ensure their sound would be adequate. As the hapless sound technician suddenly asked to amplify a very different type of musical experience from what I and most of the Benefit Bash’s constituents were expecting, I worked as best I could given the lack of time and materials (more monitors, for example). Had I been informed of the extent of sound requirements for this group, I would have insisted on a full hour sound check for them alone. But I did not learn about the existence of this group on the program until well after schedules and planning had been finalized.

I agree that loud sound hardly represents a trend, either at the FAC or anywhere else. Have any of you heard Stevie Wonder, Bob Dylan, or Fleetwood Mac live? They all amplify painfully loud, compared to our modest folk dances. We should keep things in perspective.

Our Members Comment

In the December 1999 issue, I asked for reactions to the Billmers’ letter about too-loud concerts. The outpouring of response to the letter and the Board’s statement was truly amazing (especially given that I usually hear nothing at all from our readers). In addition to the cards and letters quoted below, we got some verbal comments, including one from a member who said she doesn’t go to concerts because they’re too loud, and one from a member who dealt with the excessive volume by turning off her hearing aid! The Folk Arts Center leadership has taken these responses to heart: Read about it in the President’s Corner in this issue (excerpted below). And thanks to all of you who took the trouble to write.

--Julie Sussman, FolkNews editor

Bob Parr:

I would like to second the sentiments expressed by Laura and Meyer Billmers (concerning excessive volume at certain events) in the December 1999 issue of FolkNews. I suspect that I was one of the folks with hands on ears at that November 20 concert; although I did not leave, I survived only by filling my ears with the wads of tissue that always accompany me to concerts for just that purpose. I can remember sharing my remaining supply of tissue with some of my neighbors in the audience.

Most importantly, I feel very appreciative that the FAC Board appears to be taking this issue seriously (see Board’s reply, same issue). While the November 20 event was unfortunately right in line with the larger culture (I’ve nearly given up on commercial folk concerts), it’s almost an anomaly within the perspective of the FAC events I’ve attended. While it’s proper that we clearly note what went wrong at this concert or at other events (FAC or not) which thoughtlessly exceed thresholds of pain, FAC needs to be commended for those many events which make responsible use of sound enhancement-- may they long continue. I suppose I could digress (oh, why not!) and put in a plug for groups like the Cambridge Folk Orchestra and Zdravets who have the wisdom to understand that their situations do not require amplification-- I hadn’t thought about it much, but that more intimate connection with the music may be one reason I keep coming back to those events.

I tend to be rabidly opinionated on matters concerning my hearing and its protection-- I’ll spare you that. Rather, I’d like to share one remarkable experience. About 25 years ago, I attended a concert by the classical guitarist Segovia at the Kennedy Center in Washington, D.C. There were hundreds of folks crammed into one of the largest halls in the Center (I no longer remember which hall, but we were in the second balcony, on the right side). The stage was enormous and absolutely bare, except for one chair, one man, and his (non-electrified) guitar. No sound system-- not mikes, nor wires, nor speakers-- in evidence anywhere. The audience had to sit quietly and adjust to using a portion of its audio dymamic range not much exercised these days, but the rewards for doing that were great. It was that same subtle and intimate connection that is so difficult to feel when the waves get bent by lot of intervening high tech. The situation seemed impossible, but it worked magnificently. Food for thought.

“Going deaf in California”:

We have attended Kolo Festival for quite a few years. During the last few years the amplification was too loud and I actually got a headache. I voiced my opinion to the organizers, and one of the responses I got was to “use earplugs.” A couple of years ago, a neighbor called the police around 2:00 a.m. because she could not sleep because of the noise. This past year, the organizers supposedly signed a contract with the facility requiring that the noise level be kept down to a certain dB.

Another incident was in 1998 when we attended a concert at a local church. The concert was fine; however, after they cleared the floor of the chairs for dancing, the orchestra started playing. They were so loud that we left.

I think that music need not necessarily be Loud to be Good. Musicians (particularly foreigners) should be made aware that we do have OSHA regulations (even though they may apply to the workplace, they should also apply to public gatherings).

Thought you'd like to know that the problem is not isolated to the East Coast.

Bonnie Armstrong:

I agree that the instrumental group was far too loud. While the effort to integrate the Bulgarian community with the folk music community is admirable, this particular concert was not a success. A pity, because the band members were talented and I might have enjoyed them had I not been so busy protecting my hearing. As I do not equate euphoria with pain, I would not attend any further concerts at that volume.

Jean Krogh and Bob Solosko:

We’re adding our voices in support of those who think the sound level at folk music and dance events is getting too loud. We’ve stopped going to Balkan Music Night because the sound level was way too loud. Earplugs didn’t help. We avoid many concerts and even some dances because we don’t want to have our ears and our nerves assaulted by over-amplified sound. It’s bad enough avoiding many movie theaters and other public venues because of too-loud sound. But it’s really unnecessary for the traditional music and dance community also to be contributing to the noise pollution that seems to be getting worse throughout this country.

Noise pollutes our environment just as surely as do toxic chemical pollutants. Noise pollution is invisible, but it’s there. Hearing loss is only one of the side effects of exposure to damaging noise. “Studies have shown loss of libido due to intense noise, not to mention sleep deprivation; increases in blood pressure, pulse rate, and cholesterol and stress hormone levels; and deleterious effects on the respiratory, circulatory, digestive, and immune systems.” (Utne Reader, Sept.-Oct. '98) “According to ASHA (the American Speech-Language-Hearing Association), hearing loss can be caused by a single exposure to extremely loud noise, by repeated or long exposure to loud noise, or by extended exposure to moderate noise. Noise-induced hearing loss is gradual, painless, and permanent.” (same article)

Is it possible that some of our musicians, sound technicians, and dancers are already suffering from gradual and permanent hearing loss and so aren’t aware of how loud the music really is?

We hope our dance and music community will take a serious look at this noise problem and lower the volume. Let’s protect our own, our children’s, and our friends’ hearing.

Connie and Peter Keenan:

Peter and I attended the Benefit Bash in the fall and found much of the concert too loud. We always carry earplugs (or try to). I used mine at that event, but Peter’s were in the car, so he couldn’t use them. Our votes are to make earplugs unnecessary at FAC events. If earplugs become necessary often, we’ll go elsewhere.

Eli and Betty Gordon:

About the “noise” level at the concerts: You should advise the performers that nuances of music, especially indoors, are enhanced at lower sound levels. Also warn your subscribers to bring earplugs-- or perhaps have them available as is done with hearing aids for the hearing-impaired at movies and plays.

Charlie Rapport:

The Board’s response (in the December 1999 issue) to the Billmers’ letter concerning excessive amplification at FAC-sponsored events reminded me of an old story about a man who had encountered a cockroach in his hotel room. He wrote a letter to the management and received what he felt was a thoughtful reply that strongly stated their regrets and determination to address the problem. Then he noticed a memo in the envelope. It said, “Send this pain in the ass the cockroach letter.”

I do not believe that there is any qualification necessary. Recent events were too loud by any reasonable standard. Period. Julie so stated in her editorial notes, and I have had plenty to say. Some wear earplugs, and others go home.

The Board is welcome to value its outreach to audiences beyond our present membership, as we certainly could benefit from greater numbers, and some of these folks from the ethnic communities are dancers, but it may result in the loss of some of the present and long-time membership. For better or for worse, this may cause the organization to evolve into something completely different, supported by a different type of participant. Perhaps FAC’s hold on its traditional existence has become too tenuous for the organization to take a stand, and that metamorphosis may now be due.

I, for one, plan to suspend renewal of my membership until I have seen a more definitive and pro-active stance by the Board, one that addresses the issue by banning excessive volume from any event it sponsors. Not long ago one could be assured of civilized amplification at any FAC event; there was no need to evaluate. Now that is no longer true, and I see no reason to have a membership that qualifies me for a discount to enter an event I can enjoy better from the parking lot outside.

Incidental, but disquieting in context, is the fact that the New Year’s Eve party sound began to push the envelope of propriety about half way through.

CFO [Cambridge Folk Orchestra] is still not afraid to play in the middle of the floor without amplification, and the musicians at Scandinavian dances rarely resort to it. We may have to listen up just a bit on occasion, but, to me, this slight effort focuses our attention, enhances the experience, and brings musician and dancer closer together.

Chrissie Brown:

In response to your request for feedback regarding the Benefit Bash concert with Tatiana, Jim and I felt very much the same way during the first piece. It was awful and loud and we were wondering what the rest of it was going to be like. The volume improved rapidly thereafter and we had a wonderful time both listening to and watching Tatiana and the members of Zornitsa relate to each other. They were all expressing such a genuine love and appreciation for each other, it was a delight just watching it. Colin’s duet with Tatiana was exquisite.

Bill Tomczak:

I read Laura and Meyer Billmers’ letter concerning the loudness of recent folk events with great interest. This has been a topic of much debate in the contra-dance world as well. As a musician and someone who runs the sound for events, I am well aware of the many issues and perspectives on the matter.

Hearing impairment is no laughing matter for anyone. If music is an important part of your life, loss of hearing is all the more tragic. The amount of noise pollution we are assaulted with puts us at great risk practically every day.

Still, I can’t help but be somewhat amused that as an increasing number of native artists have arrived in this country, we are starting to see more complaints about loudness at concerts and dances. This is completely at odds with the gentle, bucolic image many of us seem to have of “traditional” folk music.

And before sound systems? Look at the louder forms of bagpipes, the zurna, the bombard. People have always associated really loud music with a good time. The big-band era got more volume with bigger bands. Look at the development of western classical music: The orchestra got bigger and bigger (louder). People naturally respond more enthusiastically to louder volumes. It is with the advent of electronic amplification that we have continued this progression beyond all common sense. The equation “loud = fun” is still operative, and now we are losing our hearing from too much of a good thing.

My only quibble with the Billmers’ letter is the implication that this is a new trend of some sort. It is actually the continuation of a long and traditional trend. I agree that loud volumes seem to be their own reward and people start actually wanting them. Musicians feel their music isn’t being put out there strongly enough and dancers seem to think they aren’t having as much fun. OSHA standards may offer some guidelines, but you will still have to deal with people and their perceptions.

Diane Gonzales, FAC Board President:

Thanks to everyone who responded to Laura and Meyer’s letter in the December 1999 issue. I read and shared all the responses with the Board. The Board agrees that we don’t want excessively loud amplification at our events and the two concerts last fall (Benefit Bash & Nov. 20) were certainly louder than desired. [Read “Behind the Scenes,” above, for some of the reasons why.] We are asking event coordinators to be sensitive to volume levels and do their best to ensure that sound people have sufficient advance knowledge, equipment, and time to provide appropriate sound coverage. Our goal is to provide adequate, balanced sound, but at less than rock concert levels, please!

However, it’s also clear that not every event is going to please every member. A good example is Balkan Music Night. In past years some people have found some of the groups too loud and have chosen not to attend. On the other hand, Balkan Music Night is one of the most successful events we sponsor. It consistently draws huge crowds year after year-- members and nonmembers, old-timers and younger people alike. If only all our events were so well attended, my job would be a lot easier.

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