Project Questions and Needs Analysis

“I’ve never seen two of the same room” is a phrase I’ve often used when it comes to audio-visual designs and requirements. That was true until just the other day, when I had five small Huddle rooms in one project, each seating three people and averaging 70 sq. feet. A display and a videoconferencing bar and you’re done.

But, until that project with the Huddle rooms, that phrase has been true for the almost four decades that I’ve been in this industry. While there are some commonalities to almost all spaces, such as sharing computer images, software-based conferencing, microphones, and loudspeakers, each room is a little different in size, furniture layout, and participant positions.

An audio-visual design begins with information. Architectural drawings, dimensions, pictures, and expected room layouts are always needed to assess the room you’re working with. Photos and finish schedules in the architectural drawings will list the materials used in the room (ceiling, walls, floors, furnishings) and that will help reveal if there may be acoustical or installation challenges. However, you can only “guess” some possible aspects of the room. Realistically, nothing beats a proper site visit for assessing the environment. The firm responsible for integration will need to visit the site to document and/or confirm certain assumptions that may have been made about the suitability of the space. Site visits require measurement (not just the physical measurements of L x W x H, but also background noise level and ambient light measurements) and getting your head above the drop tile ceiling to determine clearances and obstacles. If the site visit exposes some issues that hinder the effectiveness of an audiovisual system, recommending changes such as motorized shades or blinds, acoustical treatments, changes to the lighting, raising the drop tile ceiling at the front of the room, etc., may be required.

More critical information is gathered when you meet with the end users and other stakeholders to discover their processes and activities. This is part of Needs Analysis and the goal is to discover what the end users are trying to do. Questions are open-ended and focus on process. They do not focus on equipment. A non-technical Functional Description is written to describe how the system works and how it addresses the end users’ needs. While a Functional Description and a Scope of Work are often confused, they are two completely different documents. A Functional Scope describes the system’s capabilities and what the system will do. A Scope of Work describes what the integrator is responsible to do and a Scope is part of a contract and includes specific deliverables.

Equipment is determined only after you have arrived at a good understanding of their processes and needs.

Some of the questions would normally include:

  • What is the purpose of the space?
  • What are the typical furniture layouts and participant locations?
  • How many participants are there?
  • Where will the presenter(s) be located?
  • Will there be multiple presenters?
  • What are the materials being shown?
    • (PowerPoint, videos, graphics, art, medical images, hardcopy materials, satellite or TV, etc.)
  • What types of sources do those materials use?
    • (Laptops, resident room PC, CD/DVD, USB drives, SD cards, network sources, etc.)
  • Besides the presenter(s), will any of the participants need to share materials?
  • What types of sources will the participants be using?
  • How many sources need to be seen simultaneously?
  • Besides the above, are there any other audio sources?  (Bluetooth, etc.)
  • Depending on room size, will in-room voice reinforcement (“voice-lift”) of the presenter(s) be needed?
  • If wireless microphones are requested, a location may be required in order to select an appropriate frequency range.
  • Who is actually using the system?
    • (The participants or is there technical assistance?)
  • Will there be web-based conferencing with remote participants?
  • Will the remote participants need to interact with the in-person participants?
  • Is streaming required?

Additional questions:

  • Is there a system currently in the space?
  • If so, what do you like about the current system?
  • What do you dislike about the current system?
  • Is there something you wish you could do, but the current system won’t allow it?
  • Who are the people involved in the project?
    • (Owner, committee, facility manager, IT, end users, etc.)

 Infrastructure issues can include:

  • Electrical (circuits and wiring pathways), IT, acoustical, structural, lighting, mechanical (equipment cooling and maximum background noise).

 Very important:

  • Has the budget been established for this project?
    • If the budget appears woefully inadequate, it’s possible that the project is not feasible.

There are as many ways to design a system as there are equipment manufacturers. Even two skilled designers sitting next to each other may come up with two different ways to approach the same room. In the end, it’s a collaborative effort between audiovisual designers, end users, Information Technology, management, architects, and other building design professionals, all working together for a successful outcome.

Want to know more?
Attend the 2023 E4Experience in a city near you, and take one or both of Tom’s courses on “Conducting a Needs Analysis” and “Conducting a Proper Site Survey” to earn up to 2 AVIXA CTS RUs.

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Tom Kehr

About the Author

Tom Kehr

CTS-D, CTS-I, Network+, LEED Green Associate, ISF-C, ATD Master Trainer

In-House System Designer and Trainer

Supported Applications: System Design

Sound System Engineering: an interview with Pat & Brenda Brown

Tom Kehr, Systems Designer and Trainer at Exertis Almo and host of the “Tech Tips” video series, leads and in-depth discussion with Pat and Brenda Brown of Synergetic Audio Concepts, regarding the Pro AV industry’s “identity crisis” and the importance of Synergetic Audio Concepts in audio-visual training.

Covering the various types of SAC educational courses, the history of audio engineering and training, recruiting new talent in the audio industry, and more, the video interview provides important insight into one of the most valuable training resources.

Tom Kehr
About the Author

Tom Kehr  

CTS-D, CTS-I, Network+, LEED Green Associate, ISF-C, ATD Master Trainer
In-House System Designer and Trainer
Supported Applications: System Design

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The Dreaded Gymacafatorium: 3 Keys to successful multi-use audio design

What is a Gyma-cafa-torium?

The “multipurpose space.” It’s the room that’s intended for everything but does not do any one thing well, and it’s the bane of audio system designers around the globe.

Your client has come to you asking for a sound reinforcement system in one of these “gymacafatoriums.” But first, let’s start with an etymology lesson:

auditorium

💡 auditorium (n.):

“part of a public building where people gather to hear speeches, etc.,” 1727, from Latin auditorium “a lecture-room,” literally “place where something is heard,” in Medieval Latin, especially “a reception room in a monastery,” noun use of neuter of auditorius (adj.) “of or for hearing,” from auditus, past participle of audire “to hear.”

From this lengthy definition, it seems that being able to hear is pretty important.

Normally, we think of an auditorium as some sort of rectangular box with fixed seating and a stage or platform at one end, but if it’s a “place where something is heard,” the infamous gymacafatorium is really an auditorium, regardless of the sign placed above the entrance.

If people need to be able to communicate in a space, doesn’t that really make every space an auditorium, by definition? If you can’t hear the audio content, you’re not communicating.

3 Keys to Auditorium Audio Design

There are three components when making an auditorium function as a place where something is heard:

These are the physical and acoustical properties of the space. This involves the size, shape, and the absorptive, reflective, and transmissive properties of the floor, walls, ceiling, and any other materials in the space. Think of absorption, reflection, and transmission as a triangle. The sum of the degrees of a triangle always equals 180, and it is the same principle with sound energy in a space. If it’s not absorbed, it’s reflected. What’s not absorbed or reflected is transmitted into an adjoining space.

The shape of the space is also a consideration. Avoid domes and curved walls, as these will focus sound energy in undesirable ways.

If the space also functions as a gym, it’s typically a bigger room with a high ceiling. Normally, it will have hardwood floors, painted CMU (concrete masonry units or “cinder block”), and some sort of steel ceiling. The result is little in the way of energy absorption, thus providing for lots of reflective energy.  Even if they have wall pads, they aren’t of much help for absorption.

If it’s just a cafatorium, your ceilings may be 10 feet or so. These rooms typically have tile floors, painted CMU or gypsum walls, perhaps large windows, hopefully with acoustical drop tiles. Even with acoustically absorptive drop tiles, that’s absorption on only one of the six sides of the box, so these are typically noisy spaces as well. The low ceiling may limit you to using ceiling loudspeakers.

As the late John Murray still reminds us with Don Davis before him, “the only thing you can EQ is the loudspeaker.”  In other words, the electronic adjustments performed during the equalization process can only affect the response of the loudspeaker.  Once the sound leaves the loudspeaker, it’s out in the wild.  The room itself, the room acoustics, will imprint its signature on the sound before it arrives to the listener.  You can’t do anything about what happens to the sound between the loudspeaker and the listener unless you change the acoustical characteristics of the space.

Engaging a qualified acoustician at the beginning of any project of significance can help you design great sounding spaces. Many years ago, there were some commercials related to car maintenance that used the line, “Pay me now or pay me later.”  It’s also true of the acoustician.  The trouble here is that hiring the acoustician after everything has been built usually comes after a number of equipment upgrades that were intended to “fix the sound.”  Additionally, implementing acoustic treatments after building completion tends to be a whole lot more expensive.  Including the acoustician as part of the initial building design team can be a very economical decision.

All too often in the gymacafatorium, the HVAC system is way too noisy.  After all, it was designed to be a gym, right?  Reducing background noise levels to acceptable limits can be costly if the HVAC system requires a major refit or replacement to something that’s acceptable.  There are easy ways to measure the current background noise levels for an initial assessment.

ASHRAE, the American Society of Heating, Refrigeration, and Air-Conditioning Engineers, has a chapter in their reference works entitled Sound & Vibration.  It’s a great little chapter and includes Design Guidelines for HVAC-Related Background Sound in Rooms, and it provides RC (Room Criterion) numbers for various types of spaces.  If these guidelines were followed, a lot of spaces would be much more pleasing.

If you’re working in schools, a recommended resource is the ANSI/ASA S12.60 American National Standard Acoustical Performance Criteria, Design Requirements, and Guidelines for Schools.  While I might prefer using RC or NC (Noise Criterion) numbers, it uses dB SPL.

hvac background noise

Loudspeaker selection and placement are critical here.  The methods range from modeling to well-educated estimates to some Homer employing a LAR (Looks About Right) approach.  Skilled sound practitioners typically have a pretty good handle on what works in a space, and they know it is not a one-size-fits-all world.

In a perfect world, large spaces should be modeled using various loudspeakers to see what make, model, and location directs the sound energy only where it’s needed and keeping it off of all unnecessary surfaces.  The outcome of modeling is that “this” particular loudspeaker(s) needs to be in “this location” and aimed in “this” direction.  Modeling is a prediction which leads to a more assured outcome.

If ceiling loudspeakers are the choice, various manufacturers have simple calculation programs that allow you to enter the space’s dimensions, loudspeaker model, tap wattage, and overlap pattern desired. The result is the number of loudspeakers, loudspeaker spacings, dB SPL level at the listener position, and even the total power amplifier wattage required for the space.

JBL ceiling mounted loudspeakers

Prioritize the Process and Get Support

Acoustics, background noise, and the loudspeakers. Note that I left the loudspeakers until last. All too often the thought process is all backwards, when number one priority should be getting the room right.

Regardless of where you are in the process as an integrator and working with your client, we have the support staff necessary that can assist with the best approach to meet your client’s needs.

Contact us today.

Tom Kehr

About the Author

Tom Kehr

CTS-D, CTS-I, Network+, LEED Green Associate, ISF-C, ATD Master Trainer

In-House System Designer and Trainer

Supported Applications: System Design

Did you find this blog post helpful? Engage with us over on LinkedIn.

Tech Tips with Tom Kehr | LG pt 2 – The Quick Differences

In part 2 of the Exertis Almo Tech Tips with LG video, Tom Kehr, Systems Designer & Trainer at Exertis Almo, and Dan Baker, Technical Business Development Manager at LG discuss savvy solutions for conference rooms, education, and work spaces.

43″ 3840 x 2160 One Quick Series LED Backlit LCD Large Format Monitors

43HT3WJ-B

LG’s 43HT3WJ-B is the all-in-one display for simple and quick video calls. With LG One:Quick Flex’s 43-inch all-in-one display complete with built-in camera, microphones and speakers, there’s no need to stress over online meetings and calls and no more inconvenience of connecting to and setting up video conferencing. Simplicity meets effective collaboration with touch and drawing. Equipped with In-Cell touch technology, the One:Quick Flex turns ideas into reality. With a dedicated touch pen, taking notes and drawing is easy. Work can be saved as files, and easily shared via mobile phone. On the move? This monitor is easy to transport with a movable stand. The One:Quick Flex can be used anywhere indoors where it can be moved by wheels.

Tom Kehr

Tom Kehr

CTS-D, CTS-I, Network+, LEED Green Associate, ISF-C, ATD Master Trainer

In-House System Designer and Trainer

Supported Applications: System Design

Tech Tips with Tom Kehr | LG pt 1 – How Quick? One:Quick

In Part 1 of Exertis Almo Tech Tips with LG video, Tom Kehr, Systems Designer & Trainer at Exertis Almo, and Dan Baker, Technical Business Development Manager at LG discuss how to achieve less hassles with all-in-one video conferencing solutions.

Less hassles with all-in-one video conferencing solutions from LG.

55″ 3840 x 2160 One Quick Series LED Backlit LCD Large Format Monitors

55CT5WJ-B

Video conferencing setup doesn’t need to be stressful. This all-in-one solution features a built-in Windows PC, crisp 4K UHD camera, microphone, speaker and a digital whiteboard. Experience clear video and sound qualities in your meetings.

Tom Kehr

Tom Kehr

CTS-D, CTS-I, Network+, LEED Green Associate, ISF-C, ATD Master Trainer

In-House System Designer and Trainer

Supported Applications: System Design

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