As the live events industry continues to grow post-pandemic, delivering a world-class sound experience has never been more important. But how do you do that safely and responsibly while still providing punchy, clear sound across a wide range of venues?
Well, that’s where HELA steps in. Their core mission is to transform the live music and events industry by promoting safe, healthy and sustainable sound practices through education, research and collaboration. That’s why they created the world’s first safe listening certification.
The initiative was borne out of some heavy figures from the Audio Engineering Society (AES) and the World Health Organisation (WHO); they estimate that over one billion young people are currently at risk of hearing loss due to unsafe recreational sound exposure.
To combat these issues, HELA provides the vital education needed to safeguard audiences, touring personnel, venue staff, and local communities, proving that acoustic safety and uncompromising sound quality are not mutually exclusive. Becoming a founding member was a natural progression for us at Cosmic Ears. We are deeply committed to hearing health, which is the driving force behind our in-ear monitors: allowing artists to experience crystal-clear stage sound while actively protecting their ears.
To mark the HELA’s first birthday, I sat down with the architects behind the sound vision: Dr Adam Hill (Associate Professor of Electroacoustics at the University of Derby) and veteran live sound engineer Jon Burton.
Mike Bufton: Jon, Adam – happy first anniversary to HELA! Looking back at the inception of the Healthy Ears, Limited Annoyance certification, what was the catalyst that made you both realise the live music industry needed this?
Dr Adam Hill: “The motivation behind the HELA Initiative was frustration from live sound engineers with inconsistent sound level limits across the globe, often with ambiguous measurement and monitoring details (such as sound level weighting, time averaging and measurement location). This led to a wide-reaching survey of live sound engineers during the pandemic, reaching over 2,000 engineers in more than 80 countries. It became clear that fundamental knowledge is inconsistent across the sector and that there is a strong desire for an education and research platform to address these shortcomings.”
Mike Bufton: A major focus of your research is the “democracy of sound,” ensuring everyone gets a great mix without risking hearing damage or annoying the local community. How do you balance the modern demand for massive, immersive live sound with strict safety standards?
Jon Burton: “One of the key takeaways is the distinction between high sound pressure levels (SPL) and loudness. Loudness is subjective; my loudness is not the same as yours. SPL, however, can be measured, and high SPL is the greatest threat to hearing health. By combining high-quality, well-distributed sound systems, deployed in acoustically appropriate spaces, with an awareness that dynamics are crucial to making a show sound powerful, you can have shown that are perceived as ‘loud’ but at lower SPLs. What is important is to take a holistic viewpoint, think of all the factors that contribute to the audience experience.”
Mike Bufton: Since launching, what has the initiative achieved? How have different sectors of the live music industry – from venue owners to sound engineers – responded to the HELA Certification programme?
Dr Adam Hill: “Overall, we’ve had an overwhelmingly positive response to HELA since launching last year. Sound engineers see it as something to make their working lives easier while venue owners see it as an easy way to raise the bar across the board, leading to happier audiences, neighbours and staff.”
Mike Bufton: Technology has evolved so much – phones can be used as decibel meters, and iPhones will alert you if you’re in a loud area for too long. Are there limits to how useful these apps can be, or should those in the live music scene embrace them?
Jon Burton: “A decibel is just a way of describing a relationship between two values. Without a reference, it is meaningless. Without understanding the differences in weighting, measurement times and measurement locations, you cannot make accurate judgments. HELA is about understanding what the numbers are telling you. There are some great tools out there, but you must understand their limitations. A Class 1 sound level meter costs just over a grand for a reason. They are accurate, calibrated, and designed for a purpose.”
Mike Bufton: In January 2026, Biffy Clyro’s Futique tour made history as the first international tour to achieve HELA Tour Certification. How significant is this milestone for the initiative, and what did that certification look like (sound like?) on the road?
Jon Burton: “I think it was significant as it started a conversation. We can now say that a powerful rock band can go on a sold-out arena tour, be staffed by certified crew who take that knowledge gained and put it into practice without feeling they are compromising either the artist or the audience. We just need everyone who said it was a great idea to sign up and complete the certification!”
Mike Bufton: At the other end of the sonic spectrum, how do you feel about bands that pride themselves on their noise output? Are they running responsible productions? Should disposable earplugs be on sale at all their venues?
Dr Adam Hill: “I’ve worked with many of these bands over the years. What’s interesting is that some of these bands are the most responsible when it comes to hearing health. They know that their unique selling point is a so-called sonic onslaught at their shows. Because of this, many bands give out hearing protection to audience members at the door and often put up written warnings ahead of time. In many ways, these bands are already aligned with what HELA promotes.”
Mike Bufton: Looking ahead to the rest of 2026 and beyond, what is next for the HELA Research Cooperative? How can grassroots venues, independent promoters and touring artists get involved?
Dr Adam Hill: “The first step is to understand that all of these groups can absolutely get involved. The HELA Research Cooperative aims to fix this by creating meaningful and sustainable links between academics, manufacturers and live event stakeholders. To me, the most exciting and worthwhile research projects are those driven by a real need from industry. You don’t need a PhD to do research, and I’ve found that often the most impactful research projects are driven from outside of academia!”
Words: Mike Bufton
