They now keep a computer log of any show where there might be a concern about SPLs. I'm told they decided to buy a logging meter because, in the past, they've had complaints from the public (usually in the form of 'letters to the editor' of the local rag) about excessive levels on touring shows. One of the reasons this unit was chosen is that is allows remote placement of the microphone and the readings I was seeing were from more or less the loudest part of the auditorium, in this case the front of the first balcony. It runs down a standard analogue audio return line. My contact thinks it’s something like 100db is 1 volt so he bought a cheap digital LED voltage meter and calibrated it to the Cesva output.

The Cesva meter has a real-time voltage output that allows for an external display. It WAS a remote display from a fairly high quality integrating/averaging meter ( THIS ONE) and it WAS set to 'A' weighting, fast response. The good news is that most of my guesses were right. Knowing that (for example) you and the director set the crescendo at the end of Act 1 to 90dB(SPL) on the meter lets you keep hitting the same level.even though your tired ears are saying 'hmmm.I'm sure this could be louder'.Įdited to add: I've just heard back from the theatre and I have good news and bad news. However, the other thing with theatre is the repetitive nature of the work, doing exactly the same show over and over in quick succession which DOES give you a tendency to creep things louder as the run continues. I imagine that, for a rock show, the sound op would be given some sort of level not to exceed but the world I move in is theatre so we never came close to any problems. It was just giving a simple, easy to read display of the SPL at any given time. Just to be clear, in the situation I described the SPL meter wasn't controlling a limiter or 'cut off' device.

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