Page 21 - spaces4learning, Fall 2020

private or sensitive financial information, and the Health Insurance Portability and Accountability Act (HIPAA) of 1996, which estab- lished national standards for the safety of protected health infor- mation (PHI) — “individually identifiable health information” — transmitted in any form or media whether printed, digital or spoken.
Trying to share sensitive and personal information verbally in Scott Hall means always being within earshot of others. Both GLBA and HIPAA laws come with hefty financial penalties to both individuals and institutions that break them, making the need for sound control even more important.
How Sound Masking Works
Sound comes in what is known as a “power spectrum.” Col- or terms are used to explain the differences in power between types of noise. The most commonly discussed and used in sound control are “white” and “pink.”
White Noise: White noise is sound energy that contains ev- ery frequency. Similar to how white light contains all the wave- lengths or colors of the visible spectrum, white noise holds a flat frequency in any bandwidth. This neatly compares to “black noise,” which holds zero frequencies in a bandwidth — in other words, “silence.” Because of its flat, all-encompassing frequency, white noise is often perceived as “staticky.”
Pink Noise: Pink noise is sound energy containing every octave. It has power in wide bandwidths and each octave has an equal amount of noise energy. As a frequency increases, the power per hertz in pink noise decreases (whereas in white noise
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it stays equal).
Because of this, lower frequencies in pink noise are louder,
creating the perception of even and flat sound, which is often thought of as tonally lower and more soothing. In fact, some research suggests pink noise can even have a positive effect on memory and sleep.
Both white and pink noise are used to apply a constant volume of sound in order to disguise unwanted noise. They each create an audible background of “shhhhh”— the universal “be quiet” and natural defense against sound supremacy. However, sound gener- ators can’t simply be plugged in and turned on. Designing a sound masking system properly means controlling the artificial noise in a way that does its job without causing its own distraction.
Sound Control Technology in Scott Hall
To address its problematic sound issues, Scott Hall was retrofit- ted with planar loudspeakers, which can make use of the solid surfaces already available in the space.
These loudspeakers use an immersive audio sound control system that harnesses planar wave physics similar to that of the soundboard of a piano or the body of a stringed instrument. The speakers turn any rigid, flat surfaces in a room — such as drywall, ceiling tiles, windows, or counters (all the hallmarks of modern and popular industrial office design) — into acoustic wave amplifiers that radiate evenly, providing a constant sound pressure level (SPL) across an entire listening space.
Because these products can equally radiate all frequencies across existing, rigid surfaces, they also help any intentional sound to diminish at a shorter distance. For example: Patients waiting in line to check in at a medical clinic can be standing closer to each other and not hear the personal information being shared at registration because the planar loudspeakers reduce the sound much more dramatically over shorter space. The ex- perience for others, then, is of hearing muffled sounds — they know that someone is speaking but are not able to tell what they’re saying.
Because the frequencies are radiated equally across all rigid surfaces, only four planar loudspeakers were needed to cover the total affected floor space in Scott Hall. Hung from the high ceiling, these speakers look like Wi-Fi boosters, are very unob- trusive, and don’t take anything away from the magnificence of the historic design.
Once the decision to use sound masking was made, the biggest challenge in retrofitting Scott Hall wasn’t even technology based — it was simply reaching the ceiling. A maintenance lift made that easy. The office staff were already working from home due to COVID-19, so the entire installation took only five hours to com- plete. Five hours to counteract nearly a century of acoustic power.
As most faculty, staff and students continue to work and learn remotely, this time is a unique opportunity for facilities to take on important construction and upgrade projects. And sound masking is a perfect candidate: a simple installation that can pro- vide magnitudes of quiet effectiveness for decades to come.
Jeff Johnson is Director of Commercial AV at BLM Technologies. FALL 2020 15
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