sound proofing
- Thread startercb668
- Start date
Build walls to separate out the orchestra, move the orchestra to another room and mic them, move the orchestra backstage and mic them. Best thing to do would be to build 4' or 5' tall walls made out of homosote and place them around the orchestra. Buy a drum shield for your percussionists. Anything you can get in there to absorb sound the better.
FatherMurphy
Active Member
Build some hollywood (tv) flats, fill them with fiberglass insulation, and then cover them with fabric. Place them with the fabric side towards the sound source, and they'll absorb about as much as can be hoped for. Making the flats with 1x6 frames instead of 1x4 will add some absorption depth.
I suppose asking the musicians to play more quietly isn't one of the options...
I suppose asking the musicians to play more quietly isn't one of the options...
Absorbing sound and increasing the attenuation between source and receiver (or sound isolation) are two different issues. Think about it, right now they have the best absorption possible in there being no reflective surfaces around them at all, the perfect absorber. So it is adding attenuation rather than absorption that seems to be needed.
Putting flats with absorption toward the performers may help slightly reduce the orchestra levels compared to flats without any absorption but adding absorption to a lightweight panel will do nothing to increase the minimal attenuation the panel provides. Carpet as absorption may help the piccolos but won't do much for the bassoons, double basses, tympanis or tubas. A barrier wall could help reduce the levels in the front rows but a wall that lets you see the sound sources will provide little, if any, attenuation of those sources since it does not block the direct path. Incorporating a barrier that at a minimum breaks line of sight may not be practical, although a plexi barrier or plexi used to extend a barrier may be possible.
So, add a pit or don't use the first six rows of seating or get the orchestra to play softer. The latter may be most practical. As noted, some things like enclosures around certain instruments or diffusion instead of absorption toward the performers, creating better ensemble among the performers so they can hear each other and themselves, may permit some members of the orchestra to play softer.
Putting flats with absorption toward the performers may help slightly reduce the orchestra levels compared to flats without any absorption but adding absorption to a lightweight panel will do nothing to increase the minimal attenuation the panel provides. Carpet as absorption may help the piccolos but won't do much for the bassoons, double basses, tympanis or tubas. A barrier wall could help reduce the levels in the front rows but a wall that lets you see the sound sources will provide little, if any, attenuation of those sources since it does not block the direct path. Incorporating a barrier that at a minimum breaks line of sight may not be practical, although a plexi barrier or plexi used to extend a barrier may be possible.
So, add a pit or don't use the first six rows of seating or get the orchestra to play softer. The latter may be most practical. As noted, some things like enclosures around certain instruments or diffusion instead of absorption toward the performers, creating better ensemble among the performers so they can hear each other and themselves, may permit some members of the orchestra to play softer.
tjrobb
Well-Known Member
If you go with temporary walls of wood and they end up in place for more than X number of days (check with your Fire Marshall), they will need to be be rendered fire-resistant. Be aware, carpeting may also mean the walls need to be fire-resistant. Whatever the case may be, check with your FM if the walls are going to be there for any significant length of time. If nothing else, you'll get points for being proactive.
Any one instrument that is the problem, say like the brass section? They do make little Plexi stands that are the size of a music stand just for the brass section. Mostly they are used to protect who ever is sitting directly in front of a trumpet player.
I often hear complaints that the orchestra is too loud and we should turn them down so that we can hear the guest pops singer. It's hard to explain that the singer is the only one with a microphone.
Kenneth Pogin
Production / Tour Manager
Minnesota Ballet
and.....
Lighting Director
Duluth-Superior Symphony Orchestra
Pops series
