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For projects in Los Angeles
HVAC, plant and machine noise control in Los Angeles
Noise with a source. Almost every honest fix is at the machine, the duct or the plant room, and almost nothing useful happens by lining the far wall of the occupied space. 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.
- At source
- Enclosure, barrier or anti vibration mounts at the machine.
- In the path
- Duct lining, attenuators and lagging on the first run out of the plant.
- At the receiver
- Only after the first two, and only for what is left.
- Quote
- From a plan and a section, within 48 hours
01 / The material
What this material is and where it earns its place in Los Angeles
Noise with a source. Almost every honest fix is at the machine, the duct or the plant room, and almost nothing useful happens by lining the far wall of the occupied space.
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.
Work reaching us from Los Angeles is mostly post production and mix rooms, stages, offices, light frame housing, restaurants, schools.
- Production rooms have no tolerance A mix room or ADR stage either isolates or it does not. There is no partial credit, which is why the shell gets designed before any fabric is chosen.
- Light frame and stucco Housing here is gypsum on studs behind stucco, which passes low frequency far more easily than masonry. Mass and decoupling do the work.
- Designed to move Seismic detailing means junctions that must stay flexible. An acoustic build-up has to respect that rather than bridge it rigidly.
- At source Enclosure, barrier or anti vibration mounts at the machine.
Full specification
Thickness, density, NRC by frequency, fire class, standard sizes and build-up detail for HVAC and plant noise control are on the main product page. This page covers what that means for a project in Los Angeles.
02 / The build-up
What goes where, from the structure in
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Layer 1
SoundBlanket mass loaded vinyl
A limp, high density sheet that adds mass to a partition, floor or duct without adding depth. In Los Angeles, 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.
Wall, decoupled. Independent stud, membrane between the boards, cavity absorption, two boards. The membrane is one part of a system, never the whole answer.
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Layer 2
Acoustic foam and BassBloc
Open cell foam shapes for high frequency control, and BassBloc, a high density absorber built for the low mid range where ordinary foam does nothing. In Los Angeles, churches, school gyms and multipurpose halls double as performance spaces, which means a room designed for neither speech nor music has to carry both.
Behind a fabric frame. Where the room has to look finished, absorber inside a frame rather than foam on show.
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Layer 3
Ceiling baffles and clouds
PET felt suspended from the soffit, vertically as baffles or horizontally as clouds. In Los Angeles, 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.
Horizontal clouds. Flat rafts over the occupied zone, which also reflect early speech energy back down where it helps.
Architects working in Los Angeles usually need the build-up before the product. We will draw the section and mark what does the work. See how we support architects.
03 / Local conditions
The Los Angeles conditions that change the answer
- Production rooms have no tolerance
A mix room or ADR stage either isolates or it does not. There is no partial credit, which is why the shell gets designed before any fabric is chosen.
- Light frame and stucco
Housing here is gypsum on studs behind stucco, which passes low frequency far more easily than masonry. Mass and decoupling do the work.
- Designed to move
Seismic detailing means junctions that must stay flexible. An acoustic build-up has to respect that rather than bridge it rigidly.
- The port is right here
Direct sea into Long Beach means no cross-country leg, which keeps both the landed cost and the date predictable.
- Plant and HVAC
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.
04 / Room by room
Where the money goes on a Los Angeles project
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At source
Enclosure, barrier or anti vibration mounts at the machine. A mix room or ADR stage either isolates or it does not. There is no partial credit, which is why the shell gets designed before any fabric is chosen.
- 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
- Acoustic foam and BassBloc, 100 kg per cubic metre
-
In the path
Duct lining, attenuators and lagging on the first run out of the plant. Housing here is gypsum on studs behind stucco, which passes low frequency far more easily than masonry. Mass and decoupling do the work.
- SoundBlanket mass loaded vinyl, STC 30, 5.25 kg per sq m
- Soundproofing materials, Mass, then decoupling, then cavity absorption, then sealing
- Acoustic foam and BassBloc, 100 to 500 Hz
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At the receiver
Only after the first two, and only for what is left. Seismic detailing means junctions that must stay flexible. An acoustic build-up has to respect that rather than bridge it rigidly.
- SoundBlanket mass loaded vinyl, STC 34, 8.4 kg per sq m
- Soundproofing materials, ASTM E90 for the barrier, ASTM C423 for the absorber
- Acoustic foam and BassBloc, 0.85
Designers get colour, pattern and CNC options with the absorption figure attached to each. See how we work with interior designers.
04 / Durability
What the Los Angeles climate rules in and rules out
Los Angeles 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.
Consultants get the raw data, not a sales sheet. That is the whole of our side of the job, and it is set out under working with acoustic consultants.
06 / Read this first
Where this kind of project usually fails
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Absorption on the office wall for a plant room problem
Plant noise treated as a room problem is the most reliable way to spend a budget and change nothing anyone can hear.
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Lagging a duct that is carrying the noise as breakout from the fan
Enclose the machine, break the vibration path, then deal with what is left. Doing it in the other order costs more and achieves less.
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Ignoring structure borne vibration through the mounts
It sounds like a small detail until the room is finished and the complaint arrives.
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Treating it as a generic Los Angeles job
A mix room or ADR stage either isolates or it does not. There is no partial credit, which is why the shell gets designed before any fabric is chosen.
05 / Supply
What the route into Los Angeles actually looks like
| Ships from | Palwal, Haryana, India |
|---|---|
| Arrives at | Long Beach or Los Angeles, then a short road run |
| Dispatch | 4 to 7 working days |
| Freight | Sea via Long Beach |
| Support | Drawings, build-ups, BOQ and material that arrives complete |
Standard items dispatch in 4 to 7 working days. The sea leg from India is long, so plan the full door to door window into the programme. We give real dates, not optimistic ones.
Sea freight into Long Beach or Los Angeles, then a short road run to site. Air freight for samples and urgent quantities.
Questions from Los Angeles projects
What makes HVAC, plant and machine noise control different in Los Angeles?
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. A mix room or ADR stage either isolates or it does not. There is no partial credit, which is why the shell gets designed before any fabric is chosen.
Where should the budget go first on a Los Angeles project?
At source. Enclosure, barrier or anti vibration mounts at the machine. In the path. Duct lining, attenuators and lagging on the first run out of the plant.
Do you have an office or installation team in Los Angeles?
No. We manufacture in India and supply into Los Angeles. 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 Los Angeles site?
ships from: Palwal, Haryana, India, arrives at: Long Beach or Los Angeles, then a short road run, dispatch: 4 to 7 working days. Standard items dispatch in 4 to 7 working days. The sea leg from India is long, so plan the full door to door window into the programme. We give real dates, not optimistic ones.
What goes wrong most often on this kind of project?
Absorption on the office wall for a plant room problem. Lagging a duct that is carrying the noise as breakout from the fan.
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
A plan and a section is enough. We will come back with a build-up, a BOQ and a delivered date, and we will say so if what you are asking for will not work.