Within hours of Schauvliege's statement that "we want to help prevent hearing impairment by implementing a number of measures to protect the public," media personalities and sound experts were issuing statements and devising tests to illustrate, measure and debate the relevance of 100dB(A).

The most vocal of the propsed law is not, surprisingly, Herman Schueremans, organiser of Belgium's biggest musical festival: Rock Werchter. A strong believer in a self-regulating industry, Schueremans stated on VRT's talk show Reyers Laat that the industry had already committed itself to a self-imposed charter recommending a maximum of 103dB(A) and that the Flemish government should not transfer its "regulitis illness" to the music sector.

A concert in Antwerp's Sportpaleis? 113dB(A). The movie Inception in booming surround sound? 118dB(A). A retirement home dining hall at full volume? 103dB(A). Schauvliege, though, is adamant that the suggested maximum of 100dB(A), when compared to noise regulations of surrounding countries, puts Flanders squarely in the middle of the pack. Switzerland, Austria and Sweden also cap maximum noise levels at 100dB(A). France puts its cap at 104dB(A). Germany comes in lowest at 99dB(A).

"One also has to remember," says Schauvliege, "that the measurement takes place over 15 minutes, which means we still allow peaks above 100dB(A), but that the average noise level over those 15 minutes should not exceed 100dB(A). And we're not even capping the peaks to certain levels, which some countries are doing."

Why are noise levels suddenly so high on the agenda? We only need look back to the summer of 2009 to find the answers. During that fateful period, two things happened: a Flemish man of 29 committed suicide, leaving behind a letter stating that he could no longer live with the effects of the hearing damage he had sustained as a student. Also that summer, a Pukkelpop performance by the heavy metal band My Bloody Valentine reached such high volumes that it evoked a public outcry.

Audiologists were quick to confirm the worst: one in four people attending a festival leave with hearing damage and will eventually seek the help of a specialist.

No policy in Belgium
To date, no region in Belgium has regulations stipulating noise levels at music events. Historically, only the noise levels on the peripheries of such events, focusing mainly on the disruption caused to surrounding residents and businesses, were measured and regulated.

After the first round-table discussions of 2009 with all key players, Schauvliege issued a statement, saying: "there is an urgent need for a co-ordinated and uniform policy. A few points remain topics of discussion: what is an acceptable norm for festivals and concerts, how long should measurement last, should earplugs be made compulsory or not, etc."

Schauvliege is not alone. The World Health Organization (WHO) leads the call for a noise regulated music industry, stating a world-wide concern surrounding the effects of loud music on young people, who regularly visit concerts, clubs and other loud events. According to the WHO, as the exposure of employees to high noise levels has been regulated to protect them from hearing damage, so music events should be subject to regulations that protect visitors against possible hearing damage.

"Frequent visitors should not be exposed to noise levels higher than 100dB(A) for a period of more than four hours, and no more than four times per year," states the organisation. "To prevent acute hearing loss, noise levels must stay below 110dB(A)".

Three sound levels proposed
Schauvliege's office proposes a staggered system for Flanders, which is "based on lengthy collaboration with industry experts" (audiologists, audio technicians, event organizers and representatives of the youth sector) and suggests different maximum noise levels for different types of events. Each category carries its own set of rules and regulations. "Research in our workgroups has shown that not all activities need to reach the same high noise levels," explains Schauvliege.

Her proposal recommends a three-tiered system. The first tier is for activities with a maximum noise level of 90dB, including events at which music is played at background levels that make "a normal conversation possible". All events aimed at children under the age of 16 would fall into this category.

The second category is for events and activities with noise levels between 90dB and 95dB. Parties and dance clubs are listed as venues at which 95dB(A) is high enough "to ensure a pleasant and qualitative evening for the public". Organisers of events that fall within this category will be required to develop a floor and noise plan, post a publically visible notice informing the audience of the impact of hearing impairment and make earplugs available by, for example, installing a vending machine.

The third category in Schauvliege's proposal would pertain to "large public events" that reach levels of between 95dB(A) and 100dB(A). Here, organisers would be required to develop a floor- and noise plan prior to the happening, post texts warning of the impact of hearing damage and make earplugs available to all attendees free of charge.

"Over the past few years, society has become increasingly aware of the problems surrounding noise levels at music events and the increase in cases of hearing damage," the minister states. "All parties concerned - also organisers of festivals - demanded a clear and explicit policy. This proposal is attainable and allows people a full experience of music in a safe, responsible manner. Moreover, the same standards are applicable in many other European countries."

What is a dB anyway?
From Schueremans' self-imposed 103dB(A) to Schauvliege's suggested 100dB(A) seems like an insignificant tap to the dial, but it's not. And it is exactly in this misunderstanding of the difference between 103dB(A) and 100dB(A) that the media finds its current debating playground.

In Reyers Laat, Schueremans, also a member of the Flemish parliament, was taken to task over his minimisation of the difference between 103dB(A) and 100dB(A) with an arresting sound bite: 100dB(A) equals the sound of one angle grinder at full power. 103dB(A)? Two angle grinders simultaneously. Schueremans commented that angle grinders are a poor representation of noise levels at a music performance.

Last week, the industry, under the auspices of Brussels' Ancienne Belgique, issued an official statement in reply to minister Schauvliege's proposal, stating that it views "the self-imposed Charter of June 2010 as a carefully considered first step of all players in the music industry" - from the major festivals and the local music clubs to professional sound mixers - toward a realistic, workable policy.

The industry says that it is a Charter that "already avoids harmful noise levels, which artists, their entourage and their technicians fully support" and one that it had hoped the Flemish authorities would help "elaborate and support". Schauvliege's proposal is "anything but supportive," they conclude, stating that "by isolating and spotlighting the music sector in the debate surrounding hearing damage, the sector is in effect being made Public Enemy Nr 1," while many other types of activities (sporting events, carnival processions, a visit to the cinema) may easily reach similar dB(A) levels.

The industry does admit, though, that, while a society without noise is impossible, people do need to protect themselves against excessive loud noise. Their reaction states that the live music sector is prepared to act as "a pilot project in helping the Flemish administration define and develop a workable, realistic proposal".

The industry calls it "an outstretched hand: one that could be used over the coming months to measure, research and experiment - without the threat of sanctions or fines" - and in which the Charter would act as a starting point and as a maximum cap.

By combining efforts, the industry concludes, "the music industry and government can shape a framework that addresses a wider societal problem efficiently - one in which the efforts, creativity and experience of events across the entire sector are not curtailed."