“The second unique element to HAA is the experience itself. The classes are intentionally kept small with no more than six students in a theater for the Level II [training]. The problem solving aspect puts the onus on the team to develop solutions based upon their Level I training. Mistakes are good things that we learn from. In many cases, team members retain communication with each other and often connect with other HAA calibrators.”
Reinforcing Wright’s earlier comments, Lemay emphasizes the proliferation of automatic room EQ tools are falsely providing a sense of improved audio performance. Lemay explains these solutions can be used in conjunction with proven acoustical methods to deliver a quality listening experience, but as stand alone solutions they are not up to the task.
“I think the biggest challenge toward promoting the reliance of the performance on the home theater contractor has been the explosion of automated calibration tools,” he notes. “HAA does not discourage the use of automated systems. We note that they can be highly useful, but understand, you can’t truly calibrate a poorly designed system. The design, proper function, and final tuning of the system are best done by experienced hands and ears, with the automation as a tool not a total solution.”
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Lemay says students that participate in the HAA’s Level I and Level II programs will have the ability to calibrate systems. He adds that as much as these programs provide a solid foundation of understanding, there is also no substitute for real-world experience.
“The best way to understand how to use this knowledge is the school of hard knocks,” he admits. “Therefore, the best prerequisite for HAA is to have installed, tuned and listened to a theater beforehand. The students that do best are those that have agonized about acoustical problems and having recognized the system isn’t performing correctly despite using automated tools.”
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Picking up with industry training leaves off, Wright says that companies like Primacoustic support dealers in every conceivable situation where they need help. He points out that his company provides technical support and design assistance in all areas of acoustics, and it has years of experience designing projects that range from large arenas and gymnasiums, to boardrooms and recordings, to residential home theater and home studio spaces.
Wright emphasizes a key thing for dealers to remember when specifying designs for residential clients, that positive results can be achieved without a major financial investment by the client. He says that for well less than the cost of an exotic audiophile transmitter that transforms air molecules or stands that lift speaker cables off the floor, which are products that bring no verifiable results, dealers can offer clients a documentable solution.
“An investment of $800 will get you well on your way in a home application,” he notes.
Don’t Forget Commercial
With the lines between residential and the pro A/V market continuing to blur, Wright reminds dealers not to look past the impact of acoustics in commercial environments such as bars, restaurants and boardrooms.
He says that in these types of environments, just like in a home or studio application, acoustically treating a space will make the installed technology perform to its full capabilities. Wright recommends that dealers can validate their services to clients in many cases for just offering suggestions to solve common acoustical problems.
“Putting a name to the issue and showing the customer how affordable and effective it is to fix the problem is a great place to start,” he advises. “In many cases acoustical designs can breath new life into pieces [of equipment] that seem antiquated. When compared to the expense of new equipment, as well as the pain of an end user learning to manage new technology, acoustic treatment is extremely cost effective and has zero failure rate.”
Regardless of whether the space is a living room, dedicated home theater, boardroom or locations such as Blackbird Studios and Sunset Sound, having a good listening environment can do nothing but make the client happy.
“Installing acoustic panels is no more difficult than putting ceiling speakers in a room. The first time is new, but after a couple of installations you get the hang of it and the process becomes second nature,” emphasizes Wright. “Most think of concert halls and recording studios when think of acoustics, but the fact is that communication and enjoyment in any space can benefit from improving the acoustical performance.”
