Adventures In Audio
Three ways sound engineering could literally kill you

David Mellor

David Mellor is CEO and Course Director of Audio Masterclass. David has designed courses in audio education and training since 1986 and is the publisher and principal writer of Adventures In Audio.

Thursday November 30, 2006
FREE EBOOK DOWNLOAD ►

Sound engineering is not generally known as a dangerous occupation. But there are hazards that need careful management to reduce risk to life and limb.

You would never see sound engineering or recording on a list of dangerous occupations. But there are certain hazards that need careful management so that you don't put yourself, your work colleagues, your clients or the public at risk.

First of these is electrical safety. Three points are well known to be hazards...

Equipment should always be inspected visually. A cut or worn mains cable is a hazard. Equipment that shows signs of liquid infiltration is a hazard too.

In years gone by it was common practice to cure hum loops by disconnecting the earth on certain pieces of equipment. This practice is now strongly deprecated. There are safe ways of curing hum loops that should be employed instead.

It should go without saying that electrical installation should be done by a qualified electrician. This is the responsibility of the venue management. Users of a venue should be on the lookout for anything that implies poor installation and maintenance - cracked electrical sockets, anything patched with insulating tape, for example.

It is worth also noting that the voltage that comes out of a power amplifier is potentially lethal. Treat this with as much respect as you pay to mains electricity.

The second major hazard of sound engineering is the physical installation, particularly in live sound. Loudspeakers are large and heavy and are frequently moved, and therefore represent a hazard. The same applies to mixing consoles and amplifier racks. Loudspeakers that are flown clearly present a greater hazard than loudspeakers that stand at stage level.

The third hazard is perhaps surprising, but it is real and frequently presents a risk to people working in and around sound engineering.

And that hazard is alcohol and drugs. It's no secret that car insurance companies charge higher premiums to people who work in the entertainment industry. They know from their actuarial records that people who perform 'late night' work are more accident-prone than people who work 9 to 5 in an office. And you don't have to be an alcohol user yourself to die in a drink-related car crash.

You might wonder about the difference in meaning between the words 'hazard' and 'risk'...

A hazard is something intrinsic. A kitchen knife is a hazard because it has a sharp blade. It is always a hazard.

Risk varies according to how the hazard is managed. If the person who is cooking always keeps their fingers behind the blade, for example, then the risk from the knife is reduced.

In general, the risks posed by a hazard can be reduced in five ways...

We would love to hear your comments and advice on health and safety in connection with sound engineering. In particular, any real-life stories would be very welcome.

Like, follow, and comment on this article at Facebook, Twitter, Reddit, Instagram or the social network of your choice.

Come on the Audio Masterclass Pro Home Studio MiniCourse - 60 great hints and tips to get your home recording studio MOVING

It's FREE!

Get It Now >>

Electric guitar - compress before the amp, or after?

How to choose the best key for your song

What is comb filtering? What does it sound like?

NEW: Audio crossfades come to Final Cut Pro X 10.4.9!

What is the difference between EQ and filters? *With Audio*

What difference will a preamp make to your recording?

Watch our video on linear phase filters and frequency response with the FabFilter Pro Q 2

Read our post on linear phase filters and frequency response with the Fabfilter Pro Q 2

Harmonic distortion with the Soundtoys Decapitator

What's the best height for studio monitors? Answer - Not too low!

What is the Red Book standard? Do I need to use it? Why?

Will floating point change the way we record?

Mixing: What is the 'Pedalboard Exception'?

The difference between mic level and line level

The problem with parallel compression that you didn't know you had. What it sounds like and how to fix it.

Compressing a snare drum to even out the level

What does parallel compression on vocals sound like?

How to automate tracks that have parallel compression

Why mono is better than stereo for recording vocals and dialogue

Clipping and compressing a drum recording to achieve an exciting sound texture

What can we learn about room acoustics from this image?

Can you hear the subtle effect of the knee control of the compressor? (With audio and video demonstrations)

What is the best studio microphone?

What is the Neve sound? (Using the Slate Digital FG-73)