The fundamental role for any teaching and learning space or meeting room is to facilitate communication of ideas and information to an audience. The design of our spaces and the systems within them must support this by providing an environment within which appropriately prepared materials can be heard and assimilated easily.
Room acoustic design which supports intelligible communication with all participants is paramount to successful teaching. “Technology alone cannot solve the problems of reverberation, background noise and echo, which detrimentally affect so many cognitive functions. It is therefore important to ensure that the technology investment is complimented by sympathetic building and space preparation. The best technology in the world cannot deliver on its potential without appropriate support from the built environment.”
Additionally, whilst AV technology is refreshed frequently, the acoustic qualities of an individual space usually remain consistent until the entire space is rebuilt. It is important to build new spaces that support speech intelligibility throughout their design life, and to evaluate spaces to determine when their acoustics require adaptation to meet new ways of working and learning.
Well-designed acoustics are critical to the assimilation and retention of information delivered as spoken word or from recorded media in learning spaces. Designers should aim to provide an acoustic environment which enhances the listener’s experience, reducing the impacts of internal and external factors on the listening to or enjoyment of audio content. Technical managers should take an active role in the development of an organisation’s design standards and help other stakeholders appreciate the importance of good acoustics in space design.
In most teaching and meeting spaces, the discussion of acoustics has two complementary elements:
Physical acoustics deal with the properties of the room (and is described in this chapter)
Physical acoustics are important regardless of whether there is any AV technology in a space. The architect and acoustic consultant must work together to deliver appropriate outcomes for each space.
The acoustic consultant on a project is generally commissioned for their advice on the physical acoustics of the space, the control of noise from adjacent spaces, mechanical and other systems and sometimes to provide guidance on the management of construction noise and vibration impacts. Their scope will generally include calculations, modelling and advice on construction methods in order to achieve compliance with Australian/New Zealand standards, applicable educational design guidelines, and the organisation’s targets. It is vital that these considerations and appropriate standards are achieved whether or not an acoustic consultant is engaged.
Technical managers should engage with their facilities management teams to ensure the specific audiovisual performance criteria, appropriate standards and any organisation-specific requirements are included in their design and construction standards. It is these documents which are used to brief the design team, and information provided later may not be regarded as authoritative.
Technical managers should also engage with their teaching, learning and other key stakeholders to emphasise the importance of creating a suitable acoustic environment within which to communicate and share knowledge.
Electroacoustics concerns the electro-mechanical reproduction of sound (and is described in the next chapter - audio replay and PA systems)
The electroacoustic design requires close collaboration between the AV designer, AV consultant, the architect and usually an experienced acoustic consultant.
The solution will often be led by the designer of the room sound reinforcement systems, as it involves first-principles calculations and selection of active system components to achieve the target result. Scope may include electroacoustic modelling at key stages of the design, using the architectural design, accurate dimensions and surface properties.
Electroacoustic modelling is rarely briefed when appointing project consultants. If desired, the scope of service should be clearly described to allow selection of an appropriately experienced team.
This chapter provides an understanding of acoustics to assist readers in understanding why some rooms work better than others, and to provide valuable input to the development of briefs for capital projects and refurbishments.
Please refer to the glossary at the end of this chapter for definitions of terms related to acoustics.
Acoustics - Recommended design sound levels and reverberation times for building interiors
AS/NZS ISO 717.1:2004
Rating of sound insulation in buildings and of building elements. Part 1: Airborne sound insulation
Acoustics – Aircraft noise intrusion – building siting and construction.
Sound System Equipment part 16: Objective rating of speech intelligibility by speech transmission index
The AETM recommend professional advice from an Acoustic Consultant should be sought to design and detail the acoustic treatment required to achieve the required acoustic performance of teaching venues. The information in this chapter is provided only as guide to the design considerations needed.
The stakeholders commonly involved in physical acoustics on any construction project are:
The audience and the presenters are the primary reason for any acoustic design
Facilities management and capital projects teams
require finished spaces which are fit-for-purpose,
meet the appropriate national or international standards,
fit within each organisation’s targets for capital and maintenance costs
Architect and services designers
all members of the design team require a clear brief
acoustic consultants are generally the experts providing the acoustic report
AV/electro-acoustic designers provide feedback to design team to support the audio system to meet performance criteria
Organisational AV technical and project managers
Need guidance on required minimum standards and best practices
Should be prominent in helping to brief specific acoustic performance requirements of each space type
Need to budget appropriately for the design and installation of electroacoustic systems
Any good facility design starts with a clear design brief which will inform stakeholders from initial concept design and budgeting through to facility commissioning and handover. The brief will often be tested and may be modified throughout the project. An ill-conceived brief rarely delivers acceptable outcomes.
Many spaces are required to support multiple modes of learning as well as non-standard activities, and the criteria for these may heavily influence the physical design. Designers should strive to understand the intended use cases for each space, and brief criteria that support the most critical uses.
For example, AS/NZS2107 is the acoustic standard typically used to define background noise levels within space from building services plant and external noise ingress. This standard provides criteria based on typical uses. Where multipurpose spaces are proposed it is important that the design requirements for all modes are considered when finalising criteria for the space.
Some typical examples of the types of spaces found in education are summarised below.
Meeting and group study rooms
may also support audio/video conferencing
Typical flat floor spaces have a flexible layout and may have voice amplification
Some small flat floor spaces may have no voice amplification
Collaborative/interactive group work spaces may have microphones at each group table as well as a wandering academic
Lecture theatres and auditoria are usually tiered or raked and almost always include voice amplification
Specialist spaces will have unique requirements, for example:
Discursive (Socratic or Harvard-style) are built to encourage discussion and debate
Superlabs may have multiple teaching stations with group benches flexibly assigned to each – more than one lab session may be conducted simultaneously
Multiple-use spaces, for example a teaching space may have a secondary role supporting
organisational events; and/or
Social learning areas
will usually be briefed on a project-by-project basis
Once you’ve identified the roles each space must satisfy, you need to consider the performance criteria required to provide an appropriate user experience. Where the acoustics required for a secondary use are more critical than the general case, the tighter criteria should be applied.
For most organisations, a reasonably standardised set of criteria will be applied equally to all rooms of any type. These standardised criteria can also be applied to many specialist spaces with modification, but some use cases will necessitate departures, for example:
Teaching and meeting spaces fit-out with audience microphones may benefit from the application of more-stringent acoustic criteria where mix-minus systems are used
General acoustic criteria may apply broadly to a superlab, but must be evolved to allow the use of multiple discrete PA systems. Effective acoustic strategies that fit within the laboratory construction standards must be considered in the space design.
Acoustics in a lecture theatre with cinema style screening capability may need to meet SMPTE standards for playback in addition to those employed for typical lecture theatre. The specific standard required should be clearly defined during the briefing phase dependant on the needs of the cinema space or function.
For the most common space types, it is desirable to employ a range of standard construction approaches to achieve the desired acoustic performance.
Typical advice formulated by the acoustic consultant might include:
Stud size and spacing
Thickness/density of plasterboard
Internal acoustic treatments
Extent of glass vs. solid walls
Type of ceiling (mineral tile, set plasterboard, perforated ply etc)
Appropriate treatment of slab in open/semi-open ceilings
Additional materials under roofs or plant floors
A standardised approach at any organisation helps control both capital and maintenance costs, but this must be evaluated against the unique character of each new construction project.
More complex issues or spaces will usually require multiple discrete approaches to the physical acoustics; in addition to the typical construction approaches above, including treatments such as:
acoustic treatments to limit noise from hydraulic or mechanical systems or other troublesome sources
diffusers, traps or other applied elements to control troublesome frequencies/bands
additional internal acoustic treatments to address problematic reflections
variable acoustics may be required for performance spaces to allow the room to change character to suit different types of performance
What we hear comprises:
direct sound; that which arrives directly to our ears from the source
late-arriving sound; that which is reflected from various room surfaces before arriving at our ears
Reflected sound can either support or detract from the listener’s understanding of speech. One of the key factors in designing rooms to support speech is how long the reflections take to reach the listener. It is important to be aware that:
early reflections (<30 milliseconds) of sound largely assist with understanding
late arriving sound or reflections that arrive as an echo can detract from our ability to comprehend speech
Learning spaces designed in consultation with an acoustic consultant will often contain specific areas designed to reflect sound (to support speech) and areas which primarily absorb sound to control reverberation.
For critical listening spaces such as tiered lecture theatres or performance spaces the geometry of the space also plays a critical role in the acoustic performance of the space. Therefore early input from the project acoustic consultant is advisable when planning these spaces.
The ultimate utility and function of teaching areas is highly dependent on the control of both external and internal noise.
The following sources can be present and can increase background noise levels such that intelligibility is impacted:
Mechanical and hydraulic services (eg. air conditioning, plumbing, fire)
Noise emanating from equipment racks, projectors and other active equipment
Structure-borne noise and vibration from other locations in the building
Noise ingress from adjacent spaces, corridors, road traffic or outdoor activities (including rain, sports, events, etc.)
Rooms and buildings can be designed to reduce the ingress of noise into learning spaces, and specialist advice should be sought from an acoustic consultant to ensure that correct mitigation strategies form part of the design.
Space planners will need to consider a number of competing factors, including the relative sensitivities of each space to noise, adjacencies (the requirements areas surrounding each space) and logical ‘blocking and stacking’ of groups of spaces.
The choice of layout, construction methods, materials and finish should then be carefully guided by the space planning and the need to provide spaces with acceptable acoustic performance for the required use.
Particular care should be given to selection and detailing of walls, windows, doors and ceilings. Special treatment may be required in the vicinity of high noise zones such as plant rooms.
The acoustic consultant will need to provide a written recommendation of appropriate strategies to the architect (and other services teams) to achieve a level of ambient noise that is neither so high as to affect planned activities nor so low that users feel unnerved by the quiet.
Noise from mechanical services is a common cause of degraded experience in presentation and learning spaces.
Lecture Theatres require high capacity air handling systems, which should typically operate at low velocity to minimise noise. Low velocity air handling systems invariably require larger and longer diffusers and larger ducts. This can present an acoustic and architectural challenge if not carefully planned at an early stage.
Air handling systems with local fan coil units (FCUs) mounted within the room or in the ceiling space are a potential risk to achieving the required internal noise criterion. Where practical, such units may be best relocated to outside the room envelope, or may otherwise need to be enclosed in an acoustically rated compartment designed to achieve a reduction in FCU noise.
Project engineers should take all steps to eliminate low frequency noise from mechanical plant, and to minimise the wide band noise generated by faster air flow in ducts and through diffusers. Vibration transmitted into the building from Fan Coil Units (FCUs) and other installed mechanical equipment must not cause sound levels to exceed the requirements for project-defined background noise levels or detract from the functional requirements of the space (e.g. generate projector or camera shake due to vibration).
Air handling systems with local (FCU) mounted within the room ceiling space are a potential risk to achieving the required Noise Rating (NR). Such units are best relocated if practical to outside the room envelope or otherwise fully enclosed in an acoustically rated compartment designed to achieve a reduction in FCU noise to below the room Noise Rating.
Project engineers need to take all steps to eliminate low frequency noise from mechanical plant compressors, and to minimise the wide band noise generated by faster air flow in ducts and through diffusers. Vibration transmitted into the building from FCUs and other installed mechanical equipment must not cause sound levels to exceed the requirements for Lecture Theatres NR 30 and Seminar Rooms NR30 within the band (63 to 8000 Hz).
It is important to know what constitutes acceptable acoustics for learning spaces. A range of standards are available to designers which provide definitions and measurements to ensure that spaces are acceptable.
Reverberation and Background Noise
AS/NZS2107 is the local standard which clearly defines design sound levels (LAeq) and reverberation times (RT60) for a comprehensive range of spaces in Australian and New Zealand buildings.
For most spaces there is a balance to be struck for background noise levels. Where background noise levels are too high there is potential for speech intelligibility to be impacted. However, background noise is also important for noise masking, which is an important factor in speech privacy.
Where background levels are too low, speech privacy could be impacted meaning either additional treatment is required to building partitions, or a noise masking system may be required to increase background levels. This would normally only be a consideration in a teaching environment where students are likely to be breaking into smaller project groups or in general workplace settings.
Similarly, the reverberation criteria is aiming to strike a balance between spaces being too reverberant (or lively) and too dead (or dry). A space with a higher reverberation time typically promotes higher noise levels during activity, which can impact on speech communication. Spaces which are used for dedicated audio or video conferencing may benefit from a lower reverberation time to support their functionality. Spaces with activities which result in high levels of noise may also benefit from a lower reverberation time to assist with noise control and reduce the effects of fatigue on users.
The table below from standard AS/NZS2107 summarises a range of spaces typically encountered in educational organisations. This list is not exhaustive, please refer to AS/NZS2107 for additional spaces.
Type of occupancy/ activity
Design LAeq Range (dB(A))
Design RT60 (s)
Audio visual areas
Engineering workshops (Teaching)
Lecture rooms up to 50 seats
Manual arts workshops
Music practice rooms
Board and conference rooms
Meeting room (small)
Video/audio conference rooms
Concert and recital halls
Video interview rooms
# Notes (from AS2107):
Reverberation time should be minimized for noise control.
Certain learning spaces, including those intended for students with learning difficulties and students with English as a second language, should have reverberation times at the lower end of the range.
Specialist advice should be sought for these spaces.
*Curves: Refer AS/NZS2107 Appendix A for a guide to reverberation times in these spaces.
The signal (amplified or unamplified speech) to noise (all other sound) ratios at the listener position should be better than 25 dB to optimise intelligibility.
In some environments where high levels of background noise are present, this is still a good target to aim for but may not be practical (eg. 75dB background noise plus 25dB of signal would be 100dB overall, which is too loud to be comfortable for the users of the space). In these situations other alternatives such as closed-ear hearing augmentation could be considered.
It is worth noting that SNR is a generic ratio, applied to a wide range of acoustic and electrical system measurements. Therefore care must be taken to design to the correct SNR for each application.
The audience is identified as the most important stakeholder. So it follows that unless a typical listener can clearly discern the transmitted audio and assimilate the communicated information then the acoustics may not be successful.
To be able to define the design target and to subsequently measure compliance we require a clear technical definition of intelligibility and a means of evaluating it. Intelligibility is defined in IEC60268:16 Objective rating of speech intelligibility by speech transmission.
According to the Standard,
“the Speech Transmission Index (STI) is an objective measure to predict the intelligibility of speech transmitted from talker to listener by a transmission channel.”
The standard describes intelligibility on a scale of 0 (unintelligible) to 1.0 (perfect), and plain-language labels are applied to describe performance to clients. As a general rule;
AETM recommends an STI design target in the ‘excellent’ band (0.75+) for all installed audio systems; however
an ‘excellent’ STI (0.75+) may not always be achievable in a large, tiered venue and so a minimum requirement of ‘good’ STI (0.6+) can be deemed acceptable in this category of building.
When briefing a design, technical managers should take care to ensure appropriate language is used to describe the required performance such that it is appropriate for the use cases and remains affordable by the organisation.
Testing ‘proper’ STI can be quite onerous, and the most commonly adopted implementation of IEC60268:16 is STIPA (Speech Transmission Index for Public Address Systems) which requires a far simpler test sequence and shorter testing time. The inexpensive test equipment typically found in contractor toolkits is often capable of STIPA testing.
Early engagement with an acoustic consultant can be invaluable in helping avoid or minimise acoustic anomalies.
There are other potential acoustic performance issues that should be reviewed and addressed by the project’s acoustic consultant. The consultant will consider room size, shape and location of fixtures as aspects of the design that may give rise to issues of:
echoes or late arriving reflections
standing waves with resultant nodes and antinodes in the lower frequencies; and
focussed reflections, e.g. from curved rear walls
In addition to their general advice, the consultant may be requested to pay special attention to the geometry and proposed finishes of more critical spaces including:
theatres and large teaching spaces with raked or tiered seating
performance and function spaces
meeting rooms where a primary use case is video conferencing or unified communications
In some rooms, a detailed electroacoustic model may be commissioned to predict the coverage (SPL and uniformity) of amplified systems and unamplified speech in the space, as well as the STI that can be expected.
These models may be prepared in an acoustic simulation program designed to allow detailed acoustic analysis (e.g. Odeon) or in a proprietary environment (e.g. Bose Modeler). It is more common to use AFMG’s Electro Acoustic Simulation for Engineers (EASE) due to its wide user base and extensive library of speaker types. EASE also allows modelling of some infra-red assistive listening systems to test for predicted compliance with standards.
It is important to remember that modelling is a tool to validate the design. First principles calculations and the designer’s experience must still inform the type, location and power requirements of speakers. The level of detail in the model and the accuracy of surface material parameters directly affect the accuracy of the prediction, and the designer and modeller should agree the appropriate level of detail for each project.
Modelling is labour intensive and will be expensive in complex spaces. As discussed previously it cannot be assumed to be included in a standard AV or acoustics consultant’s commission. Ensure that it is documented in any scope of works that requires this specialist service.
An acoustic consultant should always be included in the design team for new higher education buildings.
Acoustic design reports and/or specifications should be provided by the consultant at various design stages, with the design criteria for reverberation and noise control clearly articulated for each space type. In certain circumstances models may be developed to predict reverberation and investigate if acoustic anomalies are likely to be present.
The acoustic consultant should:
review the design and ‘for construction’ drawings of the mechanical services at the shop drawing stage, and prior to installation on site
advise the architect on required acoustic performance, as well as possible surface finishes and construction methods
coordinate with the electroacoustic consultant or AV designer to determine the impacts of likely sound systems on physical design
Prior to completion of the project, testing should occur to validate the acoustic performance of selected rooms against the design criteria. It is important to ensure that performance verification for background noise and reverb time is clearly defined in the scope of the acoustic consultant. Where electro-acoustic modelling is required, validation of performance criteria should also be included.
An acoustic consultant is equally valuable on refurbishment projects to assess both the existing conditions and the planned modifications to each of the spaces. Especially in heritage buildings, where a good acoustic consultant can help the architect to develop acoustic treatments that complement the existing architecture.
Where an architect is not used on minor refurbishments, a suitably experienced AV consultant could perform measurements in line with the organisation’s design criteria to ascertain if there are likely to be any issues which require rectification or amelioration prior to commencement of other works. These measurements will also be helpful in guiding the electroacoustic design.
The consultant should also pay particular attention to mechanical services and hydraulic noise when evaluating the space so the organisation can consider the need for any remedial work.
The standards applied to the design of sound reinforcement systems in cinemas are generally defined in SMPTE or manufacturer-specific standards (e.g. THX, Dolby) and will impose more detailed requirements than would typically apply for a presentation space.
Where a larger space is to be enhanced to provide a good quality screening environment, designers should consider both:
the physical acoustics of the space, aiming for cinema-like performance, and
designing electroacoustic systems which reflect the intent of the cinema-specific requirements to the extent possible
Also refer to: INTERNATIONAL STANDARD ISO 22234:2005 Cinematography - Relative and absolute sound pressure levels for motion-picture multi-channel sound systems - Measurement methods and levels applicable to analog photographic film audio, digital photographic film audio and D-cinema audio.
Superlabs are large laboratory environments where multiple simultaneous classes can occur for a large number of students. They provide a challenging acoustic environment as there are no physical walls between each of the classes and extensive use of hard, reflective surfaces.
Addressing the acoustic and audio distribution challenges early in design is of paramount importance to the success of these spaces and it is essential that specialist acoustic and electroacoustic advice is sought where electro-acoustic systems are required in these less typical spaces.
Discursive spaces and Council/Senate chambers
Many new facilities will include one or more spaces intended for discussion and debate; typically
Discursive (a.k.a Harvard or case study rooms) are traditionally horseshoe-shaped or in-the-round; these spaces encourage cross-chamber discussion and interaction.
Council and Senate chambers are generally designed to support meetings of the organisation’s governing body with attendant advisors and a local audience.
Both of these space types should be designed to allow everyone to be heard clearly at conversational levels. This is best understood as peer-to-peer communication rather than just didactic (presenter-to-audience).
Whilst some form of distributed audio system is typically employed, the physical acoustics of the space must respond to the discursive/debate brief and aim to achieve high STI between each source and receiver position. Typical audio systems in these applications will target even voice lift and may comprise of:
individual or shared desktop microphones with local speakers
an array of ceiling-mounted microphones and distributed loudspeakers in flexible spaces.
These will often be augmented by lectern or wireless microphones for presenters, processed through complex mix-minus or congress system processors. In the case of multiple ceiling microphones, the physical acoustic design must account for the often large number of microphones which must be automatically processed. This is best achieved by reducing ambient and services noise as far as feasible. In learning spaces, the most critical criteria should be applied e.g. conference room rather than flat floor classroom.
Spaces with video conferencing and unified communications
With the increasing reliance on ‘soft codec’ Unified Communication (UC) systems, video conferencing technology is becoming ubiquitous. This requirement should trigger a discussion about which spaces are appropriate to be equipped, and should shift an organisation’s design criterion higher e.g. from meeting room (small) to video/audio conference room.
The following is a guide towards achieving the most appropriate acoustics in an educational project.
The need for a new building may be identified some years before construction begins, and a detailed planning phase typically defines the desired number and type of learning and meeting spaces to be included.
Detailed acoustic input is unlikely at this stage, but members should work with their Facilities Management team to ensure general design standards always reflect the requirements of contemporary learning and meeting spaces.
Design and Construction
Once the project commences, the space planning will recommence and decisions affecting spaces will be made. This includes their location within the building and adjacency to plant, the façade, and other sensitive spaces.
Space planning is an iterative process, and the number and type of learning and meeting spaces will likely change several times before construction. The acoustic consultant will begin providing advice from concept design, and technical managers should take a prominent role by:
helping to ensure the organisation’s acoustic design criteria are defined clearly in the design standards
reinforcing the message to designers that an electroacoustic system is not a substitute for appropriate, optimised physical acoustics in each space
reviewing use cases for all proposed learning and meeting spaces, ensuring space-specific acoustic criteria have been agreed with facilities management (and clearly communicated to the project team)
reviewing advice and early designs to check criteria are being adopted, and to understand what performance is likely from each space. Where the performance appears unrealistic or unachievable, clarification should be sought from the design team and amendments agreed with all key stakeholders
reviewing testing and acceptance criteria, where appropriate, to ensure more critical spaces are verified to perform as required
during design and construction, several spaces will change function; and technical managers should check whether the applied criteria remain appropriate or need to change
technical managers should understand any as-built measurements or other testing being conducted at various stages of the project in order to identify any perceived issues as early as possible – when deficiencies can be remedied with the lowest possible cost and impact on the construction programme.
The decibel is a relative unit of measurement used widely in acoustics. It is a logarithmic unit describing the ratio between a measured level and a reference value.
One common ratio to AV people is Sound Pressure Level (SPL).
Weightings are applied to sound pressure scales to reflect the performance of the human ear under certain conditions. Most typically encountered are:
Professional with specialist skills and experience in acoustics, usually commissioned to advise on the physical acoustics within a space/building and the noise and vibration issues associated with the construction process.
The professional or technical specialist with responsibility for designing the electronic and electroacoustic (PA) systems and coordinating with other members of the design team. May be employed by the organisation or an external consultant.
AV designer may also have responsibility for leading electroacoustic scope, where briefed.
Speech intelligibility is a rating of how comprehensible speech is in a given environment.
An electro-acoustic system that is zoned and routed in such a way to allow microphones from one user to be routed to the speakers of other users for local voice lift functionality
Reverberation Time (RT60)
The reverberation time of an enclosure, for a sound of a given frequency or frequency band, is the time that would be required for the reverberantly decaying sound pressure level in the enclosure to decrease by 60 decibels
Signal to noise ratio
The difference between the measured sound level and the noise floor (all other sources). Expressed in dB
The Speech Transmission Index (STI) is an objective metric ranging between 0 and 1 representing the transmission quality of speech with respect to intelligibility by a speech transmission channel
& Amendment No. 1 (January 2008)
Audio, video and similar electronic apparatus - Safety requirements
Audio Coverage Uniformity in Enclosed Listener Areas
AS 60118.4-2007 Hearing aids
Magnetic field strength in audio-frequency induction loops for hearing aid purposes.
In Australia, requirements for the fitment of Hearing Augmentation systems are covered by the Disability (Access to Premises — Buildings) Standards 2010.
A purpose designed audio system for teaching spaces should be installed to provide the following functionality:
Voice reinforcement (as a guideline the UK LTSMG Report suggests any rooms above 50 seating capacity should be considered)
High fidelity replay of program sources
Assistive listening / hearing augmentation
Recording (where required)
Audio system components for a teaching room of 50+ students will, as a minimum, comprise of the following:
One or more high quality speakers installed so as to provide uniform sound coverage of the listener area;
Lectern microphone and provision for additional microphones to be connected;
Radio microphone (where specified);
Audio mixer to enable signal routing, level control, limiting/compression and equalisation of signals from microphones and line level audio replay equipment. The audio mixer will provide phantom power to microphones, interface to the lecture theatre control system and provide sufficient outputs for power amplifiers and recording devices;
High quality audio power amplifiers with overload protection;
Fit for purpose induction loop amplifier and room coil (AS 60118.4-2007) or other suitable assistive hearing technology: consistent with the practices/policies of the University’s special needs program. Other hearing augmentation technologies include infrared and RF systems
Large (>150 seats) or special purpose venues will have additional requirements, particularly where the venue is used for cinema studies, remote lecture telecasts/webcasts, or other theatrical activities. audiovisual representatives of the University are to be consulted on special purpose requirements as well as the general classroom requirements.
The audio design shall ensure an electro acoustical system that is capable of producing adequate sound level with high intelligibility at the listener position, is stable under normal operating conditions, and is free from noise and distortion.
Effective design of the audio system and its components will require an understanding of the expected behaviour of sound in the room (refer Acoustics in Teaching Spaces). Acoustic modelling of the proposed space should be considered at an early stage of the project to provide valuable data for determining speaker type and quantity, placement, amplifier power, and expected performance against the guidelines. Computer modelling may be arranged through the Architectural Design Team, independent Acoustic Consultants, or Sound System Designers associated with major suppliers of professional speaker systems.
Speaker system options for teaching venues include, but are not limited to:
Single source Line Array
Front of House (FOH) Left-Right stereo pair
Distributed system (ceiling or wall)
Combination of FOH and distributed
Dolby/THX Surround system
Loudspeaker type and position shall be based on achieving an effective coverage of the listening area while optimising the ‘gain before feedback’ of the microphone / loudspeaker system for the nominated presentation area. A practical electro-acoustical system design for teaching spaces should be capable of delivering an SPL of 65dBA-Slow at any listener position for amplified voice and an SPL of 85dBA-Slow for program material.
The uniformity of audio coverage shall be determined by measurement and validation standard ANSI/INFOCOMM 1M-2009: Audio Coverage Uniformity in Enclosed Listener Areas to “ensure that every listener perceives approximately the same direct sound from the sound system, no matter where the listener is positioned within the specified listening area of the sound system” . A conforming system shall achieve a tolerance window of 6dB within each of six ISO octave bands 250 Hz to 8 kHz when measured at the required test locations.
A combination of FOH and distributed speakers should be considered for medium to large venues to ensure all areas receive voice reinforcement which is direct, uniform in level and has high intelligibility. Electronic delay and speaker zoning should be considered where the delay between the sound arriving at the listener from the primary source and distributed speakers interact to significantly affect the intelligibility (STI) or spatial image of the sound source.
Smaller venues will require a minimum of two ‘front of house’ (FOH) speakers configured as a Left-Right pair for stereo imaging of program material in the primary listening area. Alternatively, a distributed ceiling speakers array may be used to provide a uniform coverage for both voice reinforcement and program content, albeit mono. Factors such as ceiling height and structure will determine the choice of speaker system.
Consideration should be given to using DSP technology for audio mixing and processing due to its inherent flexibility, cost/performance benefit and ease of external control.
The mixer shall accommodate a combination of microphone and line level sources, either as balanced or unbalanced connections. The increased use of domestic digital equipment in teaching venues requires review of practicality of connecting digital audio to audio mixers using HDMI, optical (TOSLINK) or coaxial (S/PDIF) for transfer of multichannel signals as an alternative to multiple analogue inputs.
Mixer size shall be determined by the specific requirements for microphones and replay equipment related to the use of the venue, but at least two additional inputs and outputs should be considered to enable future expansion during the operational life of the system.
Auxiliary input for Laptop Computers
CD / DVD players
HD/SD ‘Set top box’
Video conference CODECs
Program audio LEFT/RIGHT
Speech reinforcement delay channel/s*
* Larger venues may require multiple channels of delay for distributed speakers to achieve uniform coverage, particular where balconies are present.
Where audio recording is possible under the lecture recording system in use by the organisation, a line level output containing a post fader mix of all microphone and line sources should be available under the audio switching and mixing specification. This output shall be capable of supplying a balanced feed at +4dbm. If requested, an unbalanced output at -10dBm may be supplied for direct connection to the recording appliance.
System design and gain settings should provide for a nominal operating level such that:
Peak or Maximum operating level (headroom) is 10 dB above nominal operating level
System Noise (S/N) with all inputs assigned is at least -65 dB unweighted below nominal operating level
Total Harmonic Distortion < 0.5% at peak operating level
System frequency response 50Hz – 18kHz +/- 2dB at nominal operating level
Nominal operating level of the electronic chain should be +4 dBm
High quality power amplifiers, matched to the power requirements of the loudspeakers, are required to achieve appropriate sound level to listener positions. Power rating should be such that at least 10dB headroom is available to handle peaks over the level required to achieve target SPL for program content. Consideration should be given to the location of the amplifier in relation to the heat generated and ventilation requirements as well as the likelihood of temperature impact on surrounding equipment. Speaker cabling should be run well clear of low level signal cabling to minimise the risk of interference and crosstalk.
In Australia, hearing augmentation/assistive listening systems are a requirement in all Class 9b buildings including (but not limited to) all spaces where a public address system is fitted.
The requirements are summarised in the Disability (Access to Premises — Buildings) Standards 2010 which form part of subsection 31 (1) of the Disability Discrimination Act 1992.
Other relevant standards and codes include:
BCA - SECTION D - Part D3 - Access for People with Disabilities
AS1428.5-2010 Design for access and mobility – Communication for people who are deaf or hearing impaired
AS60118-4. – performance requirements for hearing loops
In general, a “safe” assumption is that hearing augmentation systems are required in any University space which includes an audio reproduction system.
While a number of systems are permissible under the act, including Induction Loop, IR and RF systems, individual University Audio/Visual staff and Student Disability support staff should be consulted to determine local policies before determining the appropriate technology for particular spaces.
In University situations, classrooms are often closely adjacent and special care must be taken to ensure that the coverage fields of hearing augmentation systems do not overlap.
Emergency evacuations systems may require room sound systems to be muted in the event of an alarm. Advice should be sought from a Fire/Electrical Engineer as to what is required of the sound system in relation to evacuation alarms/announcements.
Audio systems shall be installed in accordance with sections 2.9, 2.10, current industry best practice models (refer Infocomm AV Installation Handbook ‘The Best Practices for Quality Audiovisual Systems’) and related Australian Standards.
Audio system noise performance may be compromised by poor management of equipment earthing. A single phase, star power earthing arrangement to the AV equipment rack or technical earth for all AV equipment within the room should be explored with the Electrical Consultant. Appropriate consultation and earthing design will minimise the potential for issues from ground loops and multiple phase connection of AV equipment. Balanced audio systems with high common mode rejection ratio (CMRR) provide maximum protection against ground loops and other sources of interference and are the preferred audio design.