For projects in Atlanta
Cinema and multiplex soundproofing in Atlanta
Screens stacked beside and above each other, each running full range at high level. Bleed between auditoria is the failure everyone hears, and it is decided by the shell, not the finishes. Churches, school gyms and multipurpose halls double as performance spaces, which means a room designed for neither speech nor music has to carry both.
- Screen to screen
- Independent construction between auditoria, with services broken at the line.
- In room response
- Heavy absorption on side and rear walls so the mix is heard as intended.
- Plant and projection
- Equipment noise into the auditorium, treated at source.
- Quote
- From a plan and a section, within 48 hours
01 / What it is
The product, described honestly, for a Atlanta brief
Screens stacked beside and above each other, each running full range at high level. Bleed between auditoria is the failure everyone hears, and it is decided by the shell, not the finishes.
Churches, school gyms and multipurpose halls double as performance spaces, which means a room designed for neither speech nor music has to carry both.
Work reaching us from Atlanta is mostly production stages, edit and mix rooms, offices, schools, clinics, restaurants, home theatres.
- Production rooms have no tolerance A mix room or a stage either isolates or it does not. There is no partial credit, which is why we design the shell before anyone chooses a fabric colour.
- Warehouse conversions Big metal and concrete shells make superb volume and terrible acoustics. Rain on a metal deck and traffic outside both get in, and the inside is completely live.
- Light frame residential Homes and apartments here are gypsum on studs, which passes low frequency far more easily than masonry. Added mass and a decoupled layer do the work, not absorption.
- Screen to screen Independent construction between auditoria, with services broken at the line.
Full specification
Thickness, density, NRC by frequency, fire class, standard sizes and build-up detail for cinema soundproofing are on the main product page. This page covers what that means for a project in Atlanta.
02 / The build-up
What goes where, from the structure in
-
Layer 1
Soundproofing materials
The blocking side of the range taken together: mass loaded vinyl, resilient layers, cavity absorption and the build-ups they belong in. In Atlanta, packaged rooftop units and ducted forced air are standard, so noise arrives through the duct rather than through the wall. Lining the first three metres of duct and treating the return path is usually the whole job.
Independent leaf. A second wall that does not touch the first. Nothing else comes close for the money.
-
Layer 2
Acoustic carpet and rugs
A tile carpet with a dense polyester face on a felt backing. In Atlanta, churches, school gyms and multipurpose halls double as performance spaces, which means a room designed for neither speech nor music has to carry both.
Over a resilient underlay. Where impact noise to the floor below is the actual complaint, the underlay does that work, not the carpet.
-
Layer 3
PET felt acoustic panels
A rigid non-woven panel pressed from 100% polyester fibre, a large part of it recycled. In Atlanta, public school buildings run long corridors with hard floors and lay-in tile ceilings that were chosen for cost, not for speech. Classroom reverberation and corridor spill are the two complaints, and both respond to ceiling area rather than wall panels.
On a 25 to 50 mm air gap. The same panel on battens. The air gap moves absorption down in frequency at no extra material cost, and is the cheapest improvement available.
We would rather argue about the build-up at design stage than on site. See how we support architects.
03 / In this market
What decides the build-up in Atlanta
- Production rooms have no tolerance
A mix room or a stage either isolates or it does not. There is no partial credit, which is why we design the shell before anyone chooses a fabric colour.
- Warehouse conversions
Big metal and concrete shells make superb volume and terrible acoustics. Rain on a metal deck and traffic outside both get in, and the inside is completely live.
- Light frame residential
Homes and apartments here are gypsum on studs, which passes low frequency far more easily than masonry. Added mass and a decoupled layer do the work, not absorption.
- Savannah, then the road
The container lands at the coast and drives in. We quote the sea leg and the road leg separately so the programme is built on real dates.
- Assembly and performance rooms
Churches, school gyms and multipurpose halls double as performance spaces, which means a room designed for neither speech nor music has to carry both.
04 / Room by room
Space by space, for Atlanta briefs
-
Screen to screen
Independent construction between auditoria, with services broken at the line. A mix room or a stage either isolates or it does not. There is no partial credit, which is why we design the shell before anyone chooses a fabric colour.
- SoundBlanket mass loaded vinyl, 2100 kg per cubic metre
- Soundproofing materials, 1800 x 900 x 20 mm, 100 kg per cubic metre, NRC 0.85
- PET felt acoustic panels, 4 to 24 mm
-
In room response
Heavy absorption on side and rear walls so the mix is heard as intended. Big metal and concrete shells make superb volume and terrible acoustics. Rain on a metal deck and traffic outside both get in, and the inside is completely live.
- SoundBlanket mass loaded vinyl, STC 30, 5.25 kg per sq m
- Soundproofing materials, Mass, then decoupling, then cavity absorption, then sealing
- PET felt acoustic panels, 1220 x 2440 mm standard, 4 x 8 ft
-
Plant and projection
Equipment noise into the auditorium, treated at source. Homes and apartments here are gypsum on studs, which passes low frequency far more easily than masonry. Added mass and a decoupled layer do the work, not absorption.
- SoundBlanket mass loaded vinyl, STC 34, 8.4 kg per sq m
- Soundproofing materials, ASTM E90 for the barrier, ASTM C423 for the absorber
- PET felt acoustic panels, 2440 x 4270 mm, 2.44 x 4.27 m, 8 x 14 ft
If the visual is fixed and the room still has to perform, that is a solvable problem and a conversation worth having early. See how we work with interior designers.
04 / Durability
The Atlanta climate decides the material list
Atlanta is hot dry summers and mild wet winters, and that narrows the material list before acoustics is discussed.
The swing between a dry summer and a wet winter moves timber. PET felt is dimensionally stable across that swing; slat panels want a stable substrate and a ventilated fixing.
The failure we design against here is seasonal movement in timber and winter damp in unheated stock.
Where a consultant is already engaged on a Atlanta project, we supply to their specification and send the test reports rather than describing them. More on working with acoustic consultants.
06 / Read this first
The six errors that cost the most
-
A shared service void running across the wall line
A treated wall under a bare hard ceiling gives you a fraction of the reduction you paid for, and the room still sounds wrong.
-
Treating the auditorium to fix bleed from the next screen
It sounds like a small detail until the room is finished and the complaint arrives.
-
Doors and lobbies specified late and undersized
A gap undoes the partition it sits in. Sealing is the cheapest line on the quote and the first one to get cut.
-
Treating it as a generic Atlanta job
A mix room or a stage either isolates or it does not. There is no partial credit, which is why we design the shell before anyone chooses a fabric colour.
05 / Supply
What the route into Atlanta actually looks like
| Ships from | Palwal, Haryana, India |
|---|---|
| Arrives at | Savannah, then road to Atlanta |
| Dispatch | 4 to 7 working days |
| Freight | Sea via Savannah |
| Support | Drawings, build-ups, BOQ and material that arrives complete |
Standard items dispatch in 4 to 7 working days. The sea leg to the US East Coast is long, so plan the full door to door window. We give real dates rather than optimistic ones.
Sea freight into Savannah, then road to Atlanta. Air freight for samples, colour approvals and genuinely urgent quantities.
Questions from Atlanta projects
What makes cinema and multiplex soundproofing different in Atlanta?
Churches, school gyms and multipurpose halls double as performance spaces, which means a room designed for neither speech nor music has to carry both. A mix room or a stage either isolates or it does not. There is no partial credit, which is why we design the shell before anyone chooses a fabric colour.
Where should the budget go first on a Atlanta project?
Screen to screen. Independent construction between auditoria, with services broken at the line. In room response. Heavy absorption on side and rear walls so the mix is heard as intended.
Do you have an office or installation team in Atlanta?
No. We manufacture in India and supply into Atlanta. We give you drawings, build-ups, a BOQ and material that arrives complete, and we will tell you plainly when a job needs a local contractor we cannot be.
How does material get to a Atlanta site?
ships from: Palwal, Haryana, India, arrives at: Savannah, then road to Atlanta, dispatch: 4 to 7 working days. Standard items dispatch in 4 to 7 working days. The sea leg to the US East Coast is long, so plan the full door to door window. We give real dates rather than optimistic ones.
What goes wrong most often on this kind of project?
A shared service void running across the wall line. Treating the auditorium to fix bleed from the next screen.
What do you need from us to quote?
A plan, a section through the critical partition or ceiling, and what the room is for. From that we can give a build-up and a BOQ rather than a price per square foot.
Next step
Tell us the room, we will tell you the build-up
Send what you have. We will give you a layer by layer build-up, a bill of quantities and a date material lands, and we will flag anything in the brief that will not achieve what you want.