A thought piece by Peter Hunt
In any modern building, the proliferation of technology throughout the development has accelerated at an exponential rate. The game-changer was COVID, where businesses need to break the rules to remain functional whilst the world around them changed. That appetite for a very high dependency on technology has fostered a wave of ‘plug and play’ solutions that has shown no abatement in the post-COVID world – indeed it is now the case that the no U-Turn approach to using technology extensively means entire projects are designed virtually.
However in the quest to be leading edge and affordable, simultaneously reducing the multiple barriers from procurement to delivery, then implementation on the client’s network, more and more traditional AV technology is mimicking IT and has substantial dependency on IT.
And to achieve this, products are slick, functional and increasingly engaging through apps, booking systems and AI. The levels of audio signal processing that are achieved now are substantial and highly effective, but there are limitations, and step outside those boundaries at your peril.
But often ignored is the environment – the built form that these devices operate in, and one area that is usually low on the appreciation list is acoustics. Often glossed over because not getting the right advice and the subsequent cost isn’t always visible in the marketplace. An experienced interior designer and builder will always advise their clients of the importance of acoustics, and that usually comes from their ‘once bitten, twice shy’ history. They know too well that good acoustics is now critical in spaces that are littered with communications technology such as the ever-popular ‘all in one’ video conference systems from a range of global suppliers.
Unfortunately most clients don’t appreciate good acoustics, but they really notice bad acoustics, and by the time they notice it, they’re in and it’s expensive and disruptive to fix up after occupation.
Acoustics can be both over, and under-done, and in the built-form centres around three fundamental areas that a user will experience – background noise, reverberation and privacy. All three of these are, in the right proportions, essential ingredients for any workplace. Too quiet and it creates different problems to being too noisy. Hearing the meeting next door is irritating, but is it disturbing, and can you hear what is being said? Why do some VC calls sound like they’re in a bathroom whilst others sound fine?
The overlap that now exists between the mass implementation of technology and ‘fit for purpose’ acoustics has never been more important. Controlling excessive room reverberation means VC systems are operating within their design window. They function with a more natural sound – words are not cut off, two-way conversations happen without clipping the sound in both directions and people feel as if they are in the same room. The difference between a full and empty room (acoustically) is catered for within the VC system’s technical capabilities if the room’s acoustic design is right.
Using VC systems means volumes are louder, both incoming sound through speakers but also people talking louder. This then challenges the inter-room privacy rating, which is another factor to be considered when planning VC meeting rooms.
And add into the mix the background noise – there are benefits to increased background noise in office spaces, but having too much is disturbing, but too little also creates problems with confidentiality.
Further afield, in larger public buildings and spaces, acoustics has a completely different dimension and purpose, as does the technology. Far from a cookie cutter or ‘one size fits all’ approach, these spaces are complex, different and bespoke from both an acoustic and design perspective. The careful design of a space from an acoustic perspective is tailored to the form and function of the space, and understanding this from the outset is critical.
Ironically, there is still some separation between technology and acoustics in large performance venues. Well-designed concert halls rely on natural sound and natural acoustics, but in an era where a venue can’t be left empty waiting for the next Philharmonic orchestra to turn up, these spaces are now multi-functional – Heavy Metal one day, Chamber music the next and a corporate AGM thrown in for good measure – the space has to cater for multiple uses.
The acceleration of video and audio communications technology has created products and solutions that can operate in more forgiving spaces, but the moment the criteria is exceeded, the cracks start to show. Operating a piece of technology at the edge of its capacity on a continuous basis is asking for trouble and it’s always the tech that gets the blame when something as simple and effective as good acoustic treatment will do the trick.