Theatre Design & Technology - Fall 1979 - 32

located on the theatre's roof. Too much noise is almost assured in this case. Another bad situation is the location of a
major mechanical room directly above or beside the theatre,
with the room containing equipment serving many other areas
in addition to the theatre. Buffer zones, such as corridors,
storage areas, lobbies, etc., can be very helpful in such situations if correctly located between the mechanical rooms and
the theatre proper. Without such buffer zones, quiet can be
achieved only by complex, heavy, and costly construction, extensive use of duct silencers, and more extensive vibrationisolation measures, including the building of structural isolation breaks. Such measures have been planned more often
than implemented. Cost-cutting occurs frequently at the end
of projects, and the quiet of the mechanical system is often
the first building quality to suffer. Once again, noise is assured. Even if the fans cannot be located at a distance from
the theatre, the effort should be made to at least remote the
pumps and compressors associated with the chillers and the
systems delivering tempered water to the fans' heating and
cooling coils.
Heavy materials will usually be needed for mechanical
equipment room airborne sound isolation. Structurally discontinuous double construction may be required, depending on
the room's location and the noise level inside. As a general
rule, hollow cinder block and drywall partitions should be
avoided at mechanical equipment rooms, as should be metal
decks with lightweight topping for floors and ceilings.
Penetrations of mechanical room boundaries by ducts and
pipes may easily spoil the sound isolation inherent in the basic
construction. Such penetrations should be provided with W'
to 1" clearances, and the clearances packed full-depth with
glass fiber and then calked with a non-hardening material.
Commercial pipe isolation sleeves are available and can better assure proper installation during construction. In double
construction, two sleeves should be used, one in each wythe
(layer of construction), so that the two wythes will not be tied
together by a single sleeve.
The degree of vibration isolation required for individual
items of equipment is dependent on both the specific equipment characteristics and the supporting structure. On-grade
and below-grade locations usually require the least complex
springing, while above-ground locations require more. In preliminary design and during the establishment of a budget, one
should assume that all vibrating equipment, all ductwork, and
all major piping in the equipment room will require vibration
isolation. A few of the better isolation equipment manufacturers have published excellent design tables and engineering
specifications that can serve as guides to selecting isolation
types and spring deflections, as well as providing good
sample specification paragraphs. Tabulations should appear
in the contract documents, giving the type of mounting required and the minimum static deflection required for each
item of equipment.
Electrical connections to all vibration-isolated equipment
should employ several feet of flexible conduit, installed with a
great deal of slack, so the equipment remains free to move.
Similarly, flexible connections should be used at duct connections to fan inlets and discharges. More costly and controversial are flexible connections in piping connected to
pumps and compressors. The newer spherical neoprene elbows seem to be sufficiently effective and long-lasting to justify their use.
As with all acoustical aspects of a theatre project, vibration
isolation measures and equipment must be carefully specified
to insure effective isolation. There are ample cut-rate products
and installers ready to come on the job if not excluded by
good design and careful specification.

Noise Control in Ductwork
Theatre air delivery and return systems must be low velocity, exclusively, and both supply and return systems should be

fully-ducted from the fan room to the theatre. Remember that
moving air can create background noise throughout the frequency range; thus, low velocities are imperative. Turbulent
air is noisy, and turbulence increases dramatically as the velocity of airflow increases.
Since ductwork in critical systems is lined internally (or
should be) with glass fiber sound-absorbing material, noise
will be attenuated along the duct. Therefore, the lowest velocities must exist at theatre supply and return openings, and air
velocities may gradually increase along the duct back towards
the supply or return fan. Recommended air velocities corresponding to the three NC criteria curves discussed earlier are
tabulated in Table 1.
For an airstream to be nonturbulent, the flow must be
smooth and unrestricted. Sharp bends, rapid cross-sectional
changes, damper devices, and terminal devices are all potential sources of turbulent noise. Therefore, smooth bends and
gradual duct size changes are important. Volume dampers
must be kept well away from outlets-no less than ten feet
upstream-and duct liner must be continued to the outlet to
absorb damper noise.
Because the desired velocities for a quiet system are so low
that diffusers really won't function well as air-diffusing devices, they may best be omitted entirely if the architecture will
permit. Sometimes diffusers will be required for the sake of
clean architectural detailing. They must then be carefully considered for noise output, along with the return grilles or mushrooms. Dampering devices and pattern deflectors must be removed, and manufacturers' tables of noise-output vs. airflow
must be examined. Caution is urged: Since the tables do not
consider the effect of multiple outlets, they may not incorporate the room factor appropriate to a "live" theatre, they may
be based on a diffuser configuration different than desired by
the engineer, and they may simply be in error. The safest
course, again, is to eliminate diffusers entirely and simply
"dump" air from large ducts, at low velocities, into the
theatre. A distributed return system will then also be required,
rather than just picking up all return air at one grille.
Supply and return fan noise will largely be controlled by 1"
internal acoustic duct liner in both supply and return ducts if
the fans are remotely located. Additional silencing is often required at low frequencies, however, since fans are noisiest at
low frequencies and duct liner is least effective in that region.
Commercial duct silencers of four standard lengths are available to provide supplementary fan-noise attenuation. These
should usually be inserted into the supply and return ducts
feeding the theatre at the point where these ducts penetrate
the equipment room boundaries since they will also serve to
reduce equipment noise transmission through the duct penetrations themselves when placed at that location. In some

Slot Speed
at Terminal

10' of duct
before
opening

Next
20'

Next
20'

NC-15 Supply: 250 feet/min. 300
350
NC-15 Return: 300

350
400

400
450

NC-20 Supply: 300
NC-20 Return: 350

350
400

425
500

500
650

NC-25 Supply: 350
NC-25 Return: 425

425
500

550
650

700
800

TABLE I: MAXIMUM DUCT VELOCITIES TO MEET
NOISE CRITERIA APPLICABLE TO THEATRES
Adapted from several sources, including Chapter 34, .. Acoustics," by
Andrew Harris, in Mechanical and Electrical Equipment in Buildings,
Fifth Edition, by William J. McGuinness and Benjamin Stein. (New
York: Wilev. 1971).



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1979

Contents
Theatre Design & Technology - Fall 1979 - 1
Theatre Design & Technology - Fall 1979 - 2
Theatre Design & Technology - Fall 1979 - 3
Theatre Design & Technology - Fall 1979 - Contents
Theatre Design & Technology - Fall 1979 - 5
Theatre Design & Technology - Fall 1979 - 6
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