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Leading with the conference theme and chairing the session Peter Rogers sets out a framework for acoustics to create healthy spaces for all - People & Planet. The Rogers Lexicon is launched and acousticians encouraged to make the paradigm shift needed for a sustainable future. Read more in the coverage by Ecophon here.

As part of our pillar 4 efforts to influence others Peter Rogers and Seb Woodhams have been working with the Institute of Acoustics to create Continued Professions Development on the two topics : Acoustics and Sustainability and the new guidance on Gyms. Filming is now complete, and the modules should be available to members soon. Thanks to Andrew @ comsvideo.

We are looking forward to the international conference hosted by the Institute of Acoustics this year: Inter-noise 2022 to be held in Glasgow. We have built a partnership with Scottish Wildlife Trust to deliver the Scottish Soundscape Prize 2022, and is providing a Sustainability & Social Responsibility presence at Conference. Managing Director, Peter Rogers, is Chairing of the Main Topic, 'Noise Control in a More Sustainable Future', and presenting 3 papers including his crucial emerging sustainability and acoustic intersections. Acoustic Consultants Jim Smith, Sebastian Woodhams and Diego Cordes are presenting their pivotal papers in Soundscape Design, Gym Acoustics and emerging London Transport Communication Systems. We lead the step to benchmark the carbon footprint with of the conference for the first time. We made efforts to reduce and minimise business travel. Come and meet us at Stand 4, the Inter-noise 22 Sustainability Stand, and join the Survey Network, designed to cut costs, time and reduce emissions of business travel. A report on the legacy of this work for future Inter-noise conferences will be published soon.

Sustainable Acoustics has moved to a new office outside Alresford. As part of our investment in our new local community we are delighted to announce Sustainable Acoustics are sponsoring Perins School production of Hunchback of Notre Dame as a silver sponsor. Perins School has a renowned creative arts department. Perins School Theatre has produced highly professional shows including Beauty in the Beast staged in a big top and West Side Story, performed at The Grange. During the pandemic, like most schoolchildren, Perins pupils suffered a lengthy period of restrictions and an absence of musical and creative arts productions. So when they reached out to local businesses for support to stage the incredible Hunchback of Notredame production, Sustainable Acoustics was quick to offer our support. We are sponsoring the production as a Silver Sponsor. Perins School Theatre has now released the promo filmed in two locations – Winchester College Chapel and onsite at Perins School in New Alresford. For acousticians amongst us we are sure you will agree the cast has fully immersed themselves in Ecclesiastical acoustics. We are very much looking forward to watching the production on Monday 11th – Saturday 16th July 2022. For anyone local to us in Hampshire, we would love to see you there.

In recognition of our work to run an ethical business and reduce our emissions, Sustainable Acoustics strategy and commitment has been verified by Business Declares a Climate Emergency. We are pleased to collaborate as part of this group. Our commitment as business leaders Sustainable Acoustics is proud join Business Declares and the fast-growing network of businesses who acknowledge the Climate and Ecological Emergency. Recognising that climate warming poses a threat to the economy, nature and society-at-large, we commit to act immediately to reduce our own emissions and those in our value chain: · Halve our greenhouse gas emissions before 2025 (Scopes 1,2 and 3) · Achieve net zero emissions before 2030 (Scopes 1,2 and 3) · Disclose our progress on a yearly basis In making this commitment, we are proud to be recognised by Business Declares and the United Nations Race to Zero campaign, as a signatory of the SME Climate Commitment. Setting a 4-Pillar Climate Strategy Sustainable Acoustics places climate strategy at the heart of our company strategy, to mobilize our entire business model for the 1.5°C ambition, remain competitive and true to our vision. Pillars 1 and 2 of our strategy focus on reducing our own emissions and that of our value chain, including emissions from company pensions. Pillar 3 integrates climate into our business strategy and includes our aim to provide the best acoustic solution advice for the climate to our market by benchmarking our recommended materials against sustainability indicators and enabling our consultants to recommend products which empower customers to make positive decisions for the climate. Pilar 4 describes how we will contribute to the 1.5°C ambition beyond our own business. This means, for example, influencing government policy, supporting industry initiatives, and making sure organisations our company belongs to do not counteract our company’s own actions. Specifically, we work across our industry as members of a sustainability strategy working group, and are creators of a nationwide acoustic survey network aimed at reducing emissions associated with business travel. We welcome conscious collaborations across the built environment. We are not claiming to be perfect, and we enjoy learning and collaborating with others. Through our membership of Business Declare, we aim to locate more contacts and customers we can work with and for to enable us to fulfil our company purpose of enhancing wellbeing, sustainability and the 1.5°C ambition across the built environment with our acoustic consultancy service mix. Ultimately, we are guided by the principal of abundance, our aim being to join with others to create more opportunities for decarbonisation, innovation, and business growth by giving our focus, energy, and financial investment to generate a flourishing human society in balance with nature. To work with us please contact Katherine Howlett, Sustainability Manager khowlett@sustainableacoustics.co.uk

Diego has come to the UK to break into acoustics, after his degree in Argentina in Music Technology and a stint working in sound engineering. After completing his MSc at London South Bank, including a dissertation on low energy voice announcement systems in the London Underground, Diego now begins his career in Acoustics. We are very pleased to welcome him to the Sustainable Acoustics team as our new Graduate Consultant. Diego Cordes says, “I’m very excited to be part of such an amazing team of professionals, and look forward to develop my skills as I contribute to the company, the industry and the community.” Peter Rogers says, “We welcome Diego to our ranks and are excited to help him develop his skills in the workplace during this crucial time for humanity. His training has already begun in earnest with a wide variety of project work, with us showing him how to deliver excellent acoustics which makes a big difference to our clients and wherever possible, acoustics that enhance the planet.”

Sustainable Acoustics has offset DOUBLE its carbon footprint for two years, April 2020 to April 2022, offsetting a collective total of 68.10 tonnes CO2e We chose to do this for financial years 2020/21 and 2021/22 to provide the best ‘safety net’ possible and best ensure our emissions are removed safely from the atmosphere by the Climate Care projects we support, following current industry best-practice. Our emissions figures are: 16.5 tonnes CO2 e for Financial Year 2020/21 17.5 tonnes CO2 e for Financial Year 2021/22 34 tonnes CO2e in total for both years 68.10 tonnes CO2e for DOUBLE both years WITH CLIMATE CARE WE TURN OUR CLIMATE RESPONSIBILITIES INTO POSITIVE ACTION FOR PLANET AND PEOPLE. Thank you @climate.care Offsetting is the first part of our journey, and Sustainable Acoustics commits to Net-Zero by 2030 and to halve our emissions by 2025.

Over 250 delegates from across the licensing industry met at Stratford-upon-Avon in November 2021 as part of the Institute of Licensing's National Training Conference. A major topic for discussion is how we operate in a world changed by the pandemic. Sustainable Acoustics MD, Peter Rogers spoke about the noise and vibrancy and its impact on health and well-being. In his session Peter looked at the implications of returning vibrancy to our streets post-covid and the implications of street licensing, whilst considering the impact on residents in relation to the World Health Organisation (WHO) Night Noise targets and implications for wellbeing for those living in urban centres. The WHO in 2009 concluded that “noise is amongst the top environmental risks to health, second only to air pollution.” As a result, the WHO have set noise targets to help protect the health and wellbeing of populations at night. In many areas of UK towns and cities noise levels already exceed the thresholds defined by WHO. In the UK the street licensing regulations have been initially temporarily relaxed, with the legacy of Covid being that long term outside space utilisation needs to be rethought. But this changes the status quo for residents. As vibrancy returns to our streets post-lockdown and noise levels increase once more, changes to the soundscape have implications for the health and well-being of local residents. We know there is a growing problem on our streets managing the impacts from vibrancy. Peter said “we urgently need to conduct sound heath risk assessments in vibrant night-time areas to establish baselines and monitor the problem in the same way as we conduct air pollution monitoring. This is vital to protect residents’ health from long term noise exposure and degraded quality of sleep”. Peter pointed out to the Licensing industry there is an opportunity to consider the issue of night-time noise as part of sustainable city planning and licensing. The challenge will be planning the cities of the future so occupants can fulfil all their basic needs within a short distance, whilst managing vibrancy and protecting well-being, including residents’ ability to sleep. As part of the drive to build back better we must think about creating urban soundscapes that help enrich people’s health. Peter says, “Given its impact on human health the urban soundscape in our ‘cities of the future’ must not be left to chance.” Peter goes on to say, “in the past it was surprising how often acoustics was not considered until much later in the s a result of this, the licensing industry have been landed with the consequences, such as dealing with noise complaints from residents and nuisance.” In terms of next steps, Peter says; “The question we need to ask ourselves now is, what do we want sustainable cities to sound like and what do each of us need to do now and tomorrow, to help deliver this vision for future generations”. The Institute of Licensing is the professional body that represents those who work within the field of Licensing. The Institute responds to the needs of its members to develop professional skills through training and communication as well as by representing members’ views in the framing, reviewing and enforcement of laws and regulations.

Having weathered the storms of Covid 19, Sustainable Acoustics chose sail power and a day at sea for our first company away day since the pandemic began. On 16th November 2021 the team took to the waters of the Solent under the supervision of Skipper Hillary sailed a 38 foot yacht called Sazerac, owned by First Class Sailing. On a chilly November morning, Sustainable Acoustics team arrived at Shamrock Quay in Southampton ready for a day’s team building on the water. After studying the charts and learning the boating basics from our Skipper, we set off toward the Isle of Wight. Although the wind had taken the day off, we still managed to get some hours under sail tacking along the Solent. On our sedentary maritime jaunt, we sailed up and down the south coast channel on smooth waters, had lunch anchored off Netley, Southampton, before heading back home into the sunset.

Getty Images Whilst we are keen to see mass adoption of more sustainable sources of energy we also don't want noise not to present an obstacle to decarbonisation. We are already seeing complaints from the early adopters of Air Source Heat Pumps (ASHP), so here are some issues to consider before diving into a switch away from boilers. So what's the problem ? You do not need planning permission to install a ASHP, and under permitted development rights there is an absolute noise limit for units, which is 42dB(A) LAeq,5mins at 1m from residential. The problem is that one size does not fit all. Because units are often cited close to homes and boundaries, the noise generated by the unit can be particularly intrusive when the background sound levels are low (ie. at night). The requirements are that installers do a basic check, but of course they are not acoustics specialists. Nuisance Even if you meet the noise limits imposed you may still be held accountable for causing material interference to a neighbours reasonable use of their property. This falls into the category of nuisance, which is not permitted under Section 79(1)(g) of the Environmental Protection Act 1990. Allowing noise emissions from the unit to affect your neighbours in a way which means that they can not enjoy their garden, or are disturbed from sleep, may trigger official action. So for many people, this will not be a welcome introduction to an alternative energy source and would be counter-productive for communities. To be truly sustainable any new technology must also work for people as well as the environment. What should I do ? Luckily things can be done: 1) A proper acoustics assessment should be completed by a competent acoustics professional (see Institute of Acoustics or Association of Noise Consultants) or just get in contact with us. 2) An objective assessment in line with British Standard 4142 will take into account the background sound in the area, and sound character of the unit. This may affect which unit you may be able to have and how far it needs to be from the house. For example, in tranquil soundscapes there is an expectation to protect the tranquility. 3) Where you need to reduce the impact then noise control measures, such as barriers or acoustic enclosures may be needed. It is our strongest recommendation that if you are considering switching to an Air Source Heat Pump that you get good acoustic design advice from the beginning. We are working with the Institute of Acoustics to raise awareness of this challenge to Government and to consumers. To help mitigate any noise conflicts we want to work with government and the industry so that new energy sources such as Air Source Heat Pumps can be sustainable for those using them and also for the wider communities. If you would like to know more, get help, or resolve existing problems get in touch with us at sa@sustainableacoustics.co.uk

Acoustics expert Peter Rogers and Charles Holland (Barrister, Francis Taylor Building, Inner Temple and Trinity Chambers, Newcastle) get their heads together on why an emergency amendment to the law, which came into force on the 28th September 2020, is legally unenforceable and technically ill informed and threatens businesses with £10,000 fines and criminal prosecution. The legal and acoustic challenges associated with this are explored in the following article, also available in full in the pdf downloadable from here. Article text is also below: Mandatory decibel limits in hospitality venues A regulatory amendment published on 28 September 2020, has imposed with immediate effect further obligations the hospitality sector as the government seeks by regulation to reduce the spread of COVID-19. One new requirement is that: A person responsible for carrying on a business of a public house, café, restaurant or bar (including a bar in a hotel or members’ club) must, during the emergency period, ensure that no music is played on the premises which exceeds 85db(A) when measured at the source of the music This requirement does not apply to any performance of live music. In this jointly authored article: · Charles Holland MIOL (Barrister, Francis Taylor Building, Inner Temple and Trinity Chambers, Newcastle) sets out the legislative background to this new music level requirement; · Peter Rogers BSc(Hons), MSc CEng FIOA FRSA MIOL (Managing Director, Sustainable Acoustics Ltd ) reviews its effectiveness and enforceability in terms of an acoustic test; · Charles and Peter give their joint conclusions. THE LEGISLATIVE BACKGROUND (Charles Holland) The Health and Safety at Work etc. Act 1974 and associated guidance When the hospitality sector (or more accurately, parts of it) reopened after the lockdown on 4 July 2020, the government’s approach was that existing legislation, in terms of the Health and Safety at Work etc Act 1974 and the Management of Health and Safety at Work Regulations 1999 already provided underlying duties to provide safe environments on the basis of risk assessment, and what was required was a COVID-specific risk assessment. Substantial guidance was provided as to how this might be done, both by government and the Health and Safety Executive. Loud music was identified as a feature that may encourage shouting, and through that increased risk of transmission of the virus. This risk was addressed in guidance from the outset. The 3 July 2020 edition of BEIS’s “Keeping workers and customers safe during COVID-19 in restaurants, pubs, bars and takeaway services” provided in relation to “Entertainment” at paragraph 4.5: Objective: To maintain social distancing when providing entertainment within or outside restaurants, pubs, bars and similar venues that serve food or drink. · For many restaurants, pubs and bars, providing entertainment such as recorded music, live sports broadcasts, quizzes, live musicians or comedians are an important part of their business. · At this time, venues should not permit live performances, including drama, comedy and music, to take place in front of a live audience. This is important to mitigate the risks of aerosol transmission - from either the performer(s) or their audience. There will be further guidance setting out how performing arts activity can be managed safely in other settings, for instance rehearsing or broadcast without an audience. · All venues should ensure that steps are taken to avoid people needing to unduly raise their voices to each other. This includes, but is not limited to, refraining from playing music or broadcasts that may encourage shouting, including if played at a volume that makes normal conversation difficult. This is because of the potential for increased risk of transmission, particularly from aerosol transmission. We will develop further guidance, based on scientific evidence, to enable these activities as soon as possible. You should take similar steps to prevent other close contact activities, such as communal dancing. This has become refined over time, the latest (24 September 2020) guidance providing: Objective: To maintain social distancing when providing entertainment within or outside restaurants, pubs, bars and similar venues that serve food or drink. For many restaurants, pubs and bars, providing entertainment such as recorded music, live sports broadcasts, quizzes, live musicians or comedians are an important part of their business. From 15 August, venues may host socially distanced indoor and outdoor performances, though we encourage performances to continue to take place outdoors wherever possible. Venues should take account of the performing arts guidance in organising performances. All venues should ensure that steps are taken to mitigate the increased risk of virus transmission associated with aerosol production from raised voices, such as when speaking loudly or singing loudly, particularly in confined and poorly ventilated spaces. This includes, but is not limited to, lowering the volume of background music, and refraining from playing music or broadcasts that may encourage shouting, particularly if played at a volume that makes normal conversation difficult. Evidence on the most effective steps that can be taken to limit the transmission of the virus continues to be regularly reviewed. This guidance may be updated in the future in response to changing scientific understanding. Steps that will usually be needed 1. Determining the viability of entertainment and maximum audience numbers consistent with social distancing outside and within venues and other safety considerations. 2. Preventing entertainment, such as broadcasts, that is likely to encourage audience behaviours increasing transmission risk. For example, loud background music, communal dancing, group singing or chanting. 3. Reconfiguring indoor entertainment spaces to ensure customers are seated rather than standing. For example, repurposing dance floors for customer seating. 4. Encouraging use of online ticketing and online or contactless payments for entertainment where possible. 5. Communicating clearly to customers the arrangements for entertainment and clearly supervising with additional staff if appropriate. The Obligations of Hospitality Undertakings Regulations Despite these refinements, as the lockdown has eased, and with the corresponding increase in transmission rates, the government has increasingly had recourse to regulation, currently being produced at a seemingly relentless pace. Selected guidance became regulatory obligation for the entire sector with the publication of the Health Protection (Coronavirus, Restrictions) (Obligations of Hospitality Undertakings) (England) (Regulations) 2020 (S.I. 2020 No 1008) (“the Regulations”). The Regulations were made in the afternoon of 17 September 2020 and came into force on 18 September 2020. This is typical of the short notice being given of new regulations, although - as shall be seen - As is now par for the course, the Regulations were made by the Secretary of State without prior Parliamentary debate or scrutiny, using the emergency powers under the Public Health (Control of Disease) Act 1984. The purpose of the Regulations - according to the accompanying Explanatory Memorandum - was “to support an effective response to reduce public health risks posed by the incidence and spread of SARS-CoV-2”, and, in particular “to provide greater enforcement of safety measures at hospitality venues”. The Regulations as initially introduced required public houses, cafes, restaurants and other businesses that provided food or drink for consumption on its premises to take all reasonable measures to ensure that: · no bookings for a table for a group of more than six (unless an exemption to the “rule of six” (found in regulation 5 of the Health Protection (Coranavirus, Restrictions) (No. 2) (England) Regulations 2020 (as amended) (“the Principal Regulations”) applied; · no groups of more than 6 are admitted to the premises (unless a rule of six exception applied); · no person in one group “mingles” with any person in another group where not permitted under the Principal Regulations; · an appropriate distance is maintained between tables occupied by different groups. The Obligations of Undertakings Regulations The Regulations were amended with effect from Monday 28 September 2020. Although the amending regulations were made on Saturday 26 September, publication did not take place until part way through the morning of 28 September (so after the regulations came into force). “Hospitality” is now struck out of the title of the Regulations, because by virtue of the amendments they are extended to include all premises to which The Health Protection (Coronavirus, Collection of Contact Details etc and Related Requirements) Regulations 2020. This covers not just public houses, cafes, restaurants and other businesses that provided food or drink for consumption on its premises, but leisure and tourism services, close physical contact services and services provided for social, cultural and recreational purposes. What used to apply to the hospitality sector in terms of bookings, mingling (now re-badged “joins another group”) and tabling spacing now applies to this much wider sector. The amendments also place further obligations on the hospitality sector. Firstly, a person responsible for carrying on a business of a public house, café, restaurant or bar (including a bar in a hotel or members’ club) must, during the emergency period, take all reasonable measures to stop (a) singing on the premises by customers in groups of more than six; or (b) dancing on the premises by customers. This provision does not apply to dancing at wedding ceremony or wedding reception by the couple to whom the wedding relates (ditto at a civil partnership ceremony). Secondly, there is the prohibition dealt with at the outset of this article, the music level requirement. The music level requirement The music level requirement is found in regulation 2(1C)-(1E): (1C) A person responsible for carrying on a business of a public house, café, restaurant or bar (including a bar in a hotel or members’ club) must, during the emergency period, ensure that no music is played on the premises which exceeds 85db(A) when measured at the source of the music. (1D) Paragraph (1C) does not apply to any performance of live music. (1E) In paragraph (1C), “db(A)” means A-weighted decibels.”. Breach of this prohibition is a criminal offence punishable on summary conviction by an (unlimited) fine. There are provisions for the service of fixed penalty notices. Music and the live music exemption “Live music” is a familiar concept to licensing practitioners, the provisions of the Licensing Act 2003 setting out various categories of regulated entertainment including “a performance of life music” and “any playing of recorded music”. Live music within this context can be either amplified or unamplified (as confirmed by the deregulatory provisions of the Live Music Act 2012). The Licensing Act 2003 exempts music (whether live or recorded) from regulation if incidental to some other activity (not being a regulated entertainment). “Background” music is not considered to be licensable. None of these nice distinctions apply to the Regulations. Any recorded music, whether background or not, is bitten by the music level requirement. No performance of live music, whether background or not, is affected. There may be some difficult and hitherto not-legally relevant distinctions between what is live and what is recorded music? Is a concert by a DJ who mixes tracks live in response to an audience really not a performance of live music? Is a live performer who plays using samples of recorded music truly live? What of lip-synching bands? Legally fascinating (or not) those questions might be, they are outside the scope of this article - which now goes on look at the issues of acoustic science the music level requirement raises. ACOUSTIC COMMENTARY (Peter Rogers) The scientific discipline of acoustics Acoustics is the interdisciplinary science that deals with the study of all mechanical waves in gases, liquids and solids including vibration, sound, ultrasound and infrasound. It is a technical subject which requires qualified understanding for the undertaking of robust and technically justifiable (i.e. objective) investigations and measurements. Suitably qualified persons include members of the Institute of Acoustics and the Association of Noise Consultants, or those certified as competent on a suitably accredited course for noise measurement. Unfortunately, the manner in which the new music level requirement has been drafted appears to betray a failure to draw upon suitability qualified expertise and understanding. First, I start with the units employed, A-weighted decibels or, to use the correct abbreviation, dB(A) (and not db(A) as the Regulations incorrectly provide). The A-weighting is a correction made in each frequency octave band to approximate human hearing response. The overall value is then a ratio in decibels which has been A-weighted. Whilst the selection of the dB(A) unit is appropriate given that the music level requirement is aimed at governing the impact of sound on humans, it means nothing without an idea of the parameter being measured. This is crucially important, as the result could be widely different depending on the parameter used. Sound measurements are generally expressed as an average (LAeq) over time, but also as maximums (LAMax), which are absolute maximums at any instant (no matter how short) during the period that measurements are taken. The music level requirement gives no indication as to which parameter applies to it, and specifically whether it is an average or maximum. If it is a maximum, then this would cause particular difficulties in terms of compliance, as it could be breached at any one instant. Extraneous noise sources other than music in a premises could quite easily exceed 85dB(A) (LAMax), and cause a measurement that is ostensibly in breach of the music level requirement. For this reason, average parameters are typically used in noise limits contained in licensing conditions, but these parameters need to be explicitly defined in terms of time: there is no “industry standard” - it is matter of what is appropriate for the premises in question. Measuring periods typically range from 1 to 5 minutes: the shorter the period the more stringent the condition, the longer the period the harder it is to get a clean sample (i.e. unaffected by extraneous noise). Contaminated samples undermine enforceability. Secondly, “at the source of the music” is open to interpretation. Presumably (but it is not specified) by the source of the music, the regulation refers to speakers rather than the noise generating component of the system or any amplifier thereafter. From a scientific basis, precision would have been preferable to presumption. If the source of music is indeed speakers, then the music level requirement does not specify whether 85dB(A) is a sound power level or a sound pressure level at some distance. Noise measurements may only be undertaken at a distance from a noise generating source, so the microphone can measure the pressure change. What a noise meter measures is the sound pressure level at the point where the microphone in that meter is situated. If the music level requirement is a sound power level, it would then be necessary to calculate that value from a sound pressure measured at a distance. Typically, noise limits imposed by way of licensing and planning conditions are sound pressure levels measured at a defined location, because those are enforceable and precise. The issue with the music level requirement is that if (which is unknown) this is a sound pressure level, there is no indication of where the measurement should be taken. A sound pressure level taken at 5mm from a speaker at 85dB(A) (the closest that a noise meter could sensibly be put to the source) will reduce through propagation over distance, so by 3m away it would be nearer to 50dB(A), which is well below levels of speech at 60dB(A) at 1m away. If the aim is not to have patrons not to raise their voices, then a 5mm level would result in music being masked by normal speech: so low as to be ineffective as ambient music. So if the music level requirement is to be interpreted as requiring a sound pressure level measurement as close as possible to the speakers, the effect would be to limit music levels to a disproportionately low level. A more realistic distance would be 1m. Thirdly, these measures affect many tens of thousands of venues. Determining compliance requires properly calibrated equipment and professional expertise. Measurements taken with anything of lesser standard than a Type 2 instrument, or by an unqualified person, are most unlikely to be reliable. The microphones on smart phones are simply not good enough and cannot provide accurate results, and should not be used even in an indicative capacity. Given that the purpose of the music level requirement is to mitigate the increased risk of virus transmission associated with aerosol production from raised voices, it would have been more appropriate to focus a test not at the source of the music but at the customer areas where the music could be heard. A level not higher than LAeq,1min 70dB(A) is the upper level where speech would generally become raised, and this could be quite easily estimated by a subjective test, with two people socially distanced at 2m. Increased vocal effort shows itself by exaggerated lip movements and gesturing as well as increased projection. These are the things that I understand cause aerosol spread, and are the things that, in my opinion, premises should be focusing on. The Healthy and Safety Executive test for workplace noise is similar to the test I suggest above. Where the test indicates the music is too loud then a measurement or assessment is undertaken, or levels should be reduced until no raised vocal effort is noticeable. For a competent and robust approach that would be defensible I would suggest the following: 1. The subjective test I propose should be regularly carried out. If indicative of levels being too high then measurements should be taken. 2. Measurements should be taken by a calibrated sound level meter that is at least a type 2 instrument, by a suitably qualified person (as defined above). 3. The measurement should be made at the closest position where a member of the public or staff could be to a speaker, over a period of not less than 5 minutes with no other sound interfering with the measurement. 4. The LAeq levels should be used to give the value to be compared with the limit 85dB(A) over a duration of at least a minute with a section of music reflective of the type of music being played and worst case part of the track. CONCLUSIONS (Charles Holland and Peter Rogers) It is important that regulatory requirements are effective to promote the objective of the regulation. Given that the government’s intention is to convert what was guidance into regulations, breaches of which give rise to criminal sanctions, it important that they are clear and easily enforceable, as well as being effective. In our joint opinion, the music level requirement fails all three requirements. Firstly, it is not clear. The music level requirement does not specify: · the parameter to be used (average or maximum); · the duration of measurement (if an average); · whether the level s a sound power level or a sound pressure level; · the distance from the music source (if a sound pressure level). Secondly, it is not easily enforceable. Breach of the requirement can only be made out with expert evidence based on scientific measurements. There is significant scope for debate as to what sound would be the music level requirement. Thirdly and finally, it is not effective. It would have been more appropriate to focus on customer areas, not music sources, and to provide a test which did not require significant expert input to see if an offence was being committed. Charles Holland MIOL (Barrister, Francis Taylor Building, Inner Temple and Trinity Chambers, Newcastle) www.cholland.com Peter Rogers BSc(Hons), MSc CEng FIOA FRSA MIOL (Managing Director, Sustainable Acoustics Ltd ) www.sustainableacoustics.co.uk

Sustainable Acoustics have acted as an acoustic curator of sound during the new look and fabulous sounding cathedral of science. It opened this weekend to the public, and the large pyramid of the Winchester Science Centre, located at the gateway to the South Downs National Park, Hampshire, has been transformed. Improving the acoustics of the space is a part of the design to improve the visitor experience, which has been redesigned around accessibility and a high quality experience. Added to this are the exhibits which all have a sound focus, with 6 main themed areas that will give children and adults the chance to have fun whilst learning and to be inspired by the engaging with the amazing science of sound that affects everyone. Visual representation of the new exhibits HKD Ltd@copyright 2020 followed by a slideshow from pre-opening moments. More news here ... What you will find is a enormous working guitar you can climb inside, a sonic rocket that explores acoustics of space(s), the acoustic submarine and sound in nature zone, an ear you can climb through and understand the magic of the hearing science and what happens if it goes wrong. To top it off is the engineering zone where you can try and build a skyscraper in lego that will withstand regular tremors. What you will notice if you've visited before is that the noise level will be much reduced, from a cacophony to a buzz, enabling you to journey round the interactives, finding ares of respite and reflection amongst the areas, including the cafe whilst the children learn through play. Initial feedback from users has been heart warming: “The attention to detail for Deaf people is unmeasurable. To find somewhere that will bring so much visual representation to Science and has thought of the needs of my family, you have made my shoulders relax. I can take a deep breathe without having to worry about asking for things to be adjusted.” Karen, Founder CSSEF, www.cssef.org.uk Ben (CEO of Science Centre) added “Karen highlighted a few of the things she really liked about Winchester Science Centre’s redevelopment, as follows: round tables to eat in the cafe downstairs - perfect for Deaf people to communicate; the chill out area downstairs when things get overwhelming. People often overlook that sound can be overwhelming and deaf people just need 5-10 minutes quite to chill to then go back into sound”. Peter Rogers, Managing Director of Sustainable Acoustics and Acoustic Champion of the project says: "It has been an honour to be part of this project, but it was a joy to take my children to this newly re-imagined experience, and watch them love the hundreds of different ways that sound is so exciting, and why I decided to make it my career. I'm delighted to have been a part of giving the public the chance to get to know the area of science I know and love so, why it can make such a different to our well-being. It's fitting that accessibility is at the heart of this refurbishment, and that acoustics was able to help achieve this so everyone can enjoy it ! We have included a citizen science experiment called Euphony - so I look forward to you taking part" Peter is a Fellow of the Institute of Acoustics Book now to experience the new sounding Winchester Science Centre and discover why acoustics is so cool and essential to us building a sustainable future. https://www.winchestersciencecentre.org/your-visit/whats-on/ Other Links We worked closely with the Gold sponsors Ecophon UK who provided the acoustic treatments to our design (find out more), Also we work with The Woolly Shepherd, who provided sheep's wool clouds through which the Airbus Zephyr floats (see it here).