ROUND TABLE
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What are the best first steps to take when approached with a new project? Scott Lau When approached with a new project, it’s essential to fully understand what the client’s vision is and what they are trying to achieve. Beyond technical details, we must first understand what this project aspires to achieve for those understood, we can begin to work with our technical team to determine exactly how we’re going to accomplish this, given factors like budget, time frame and building needs. From day one until the end of the project, clear, consistent communication with the client is key. This allows us to grow and foster the relationship, position ourselves to be responsive, prepare for anything that could impact the project, and maintain harmony across teams (very important!). who attend and experience it. Once the client’s vision is fully Fabio Kaiser The best first step in any new project is always to deeply understand the client’s vision and the specific utilisation scenarios of the space. We begin by defining what the room will be used for; whether it will be classical concerts, symphonic performances, chamber music, lectures, spoken theatre, or even electroacoustic performances. This ‘initial needs analysis’ is critical, as it directly influences the specific acoustic requirements and the goals of the system design. For us at Amadeus Acoustics, this also means understanding the existing acoustic signature of the room, which is characterised by its reflection patterns and natural reverberation. Our aim is not to superimpose a new, artificial room, but to actively change and complement the existing acoustic properties to achieve the desired sound impression. This requires detailed information on
architectural and acoustic parameters such as floor area, volume, average reverberation times and background noise levels. As we’re brand agnostic, we support the design team by providing guidelines for loudspeaker and microphone choice (leaving the choice up to the client), placement, as well as seamless integration into the existing architecture. The ultimate goal from the outset is to design a system that is exceptionally stable, doesn’t colour the sound, avoids noise disturbances or feedback and preserves the natural spatial localisation of sound sources. Only by clearly and collaboratively defining these aspects can we lay a robust foundation for a successful and artistically resonant AV set-up. Christopher Weatherford As a manufacturer, we’re in continuous contact with consultants and integrators. When approached by an integrator for an install, asking questions is key. Is this the right project for our products? What is the venue looking for: the highest quality possible for critical listening or a solution with strict budget-constraints? If any financial restraints result in a compromise that wouldn’t represent what an Adamson system is supposed to sound like, we’re not the right party. We also ask questions like what is the time planning? What is the total scope and goal of the install? Which other brands are considered for this project? We have a highly-skilled team of application engineers based at our headquarters and around the globe, who will work together with the customer by reviewing designs and suggesting solutions, as well as commissioning the system upon install, working together with the integrator.
Fabio Kaiser Planning an AV installation, especially for active acoustics and immersive audio, presents several common challenges. One significant hurdle is seamless architectural integration and aesthetic constraints. We often encounter historical venues with complex architectural features, varying reflective and absorptive surfaces and low-ceilinged balconies, all of which demand tailored solutions without compromising visual integrity. Another challenge lies in dealing with existing acoustic anomalies, such as excessive natural reverberation or disturbing echoes and flutters, as active acoustic systems cannot reduce reverberation or cancel out these fundamental flaws; they can only mask them by increasing reflection density. Ensuring that the system maintains natural sound and localisation without superimposing an artificial sound or causing instability, noise or feedback is paramount. Achieving uniform sound coverage and sufficient speaker and microphone density across diverse audience zones, including acoustically different areas like under-balconies and boxes, can also be complex, as too few speakers can severely limit system tuning capabilities. Finally, avoiding microphone noise amplification from other technical installations like projectors or ventilation systems is crucial for sound quality. To avoid these challenges, a thorough and collaborative initial planning phase is essential. We advocate for designing the passive room acoustics to be as dry and balanced as possible from the start, ensuring low background noise and no inherent acoustic defects. Our geometric approach, which utilises a 3D model of What are the most common challenges presented when planning an installation, and how can they be avoided?
The best first step in
any new project is always to deeply understand the client’s vision and the space’s specific utilisation scenarios
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