Two Truths About Sound Bleed

In the competition for Most-Worried-About Technical Aspect of Exhibitions, there can only be one Greatest Of All Time: 

Sound bleed.

If I had a dollar for every time I have been asked if the exhibition we’re designing will have sound bleed problems, I’d have ... er … maybe $520. Huh. I thought it would be more.

Simply put, sound bleed happens when a visitor hears two or more different sound sources at once and finds it distracting.

Concerned parties usually envision the worst, like a cineplex with thin walls or dueling boomboxes. Happily, most exhibitions aren't like that, sound-wise. Not to say that sound bleed isn’t an important planning issue. Just that there are ways to address it.

First, the two most fundamental truths about sound bleed:

Truth #1: Sound bleed is very subjective. 
Sensitivity to sound bleed varies widely. Not only by age. The most worried folks are the most sensitive ones. But many people are less sensitive (unless you point it out).

Truth #2: Sound bleed can’t be eliminated.
The total elimination of overlapping sounds is impossible. Nor is it actually desirable (more on that next time). Save yourself much grief; don't try.

Next, we’ll discuss six practical ways to handle it:

- Allowing overlaps
- Protecting silence
- Isolating loudness
- Separating narratives
- Focusing sounds
- Individualizing sounds

Warmly,
Jonathan