Ufc 4-171-04an Band Training Facilities (01 March 2005)

UFC 4-171-04AN
01 March 2005
UNIFIED FACILITIES CRITERIA (UFC)
BAND TRAINING FACILITIES
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UFC 4-171-04AN
01 March 2005
UNIFIED FACILITIES CRITERIA (UFC)
BAND TRAINING FACILITIES
Any copyrighted material included in this UFC is identified at its point of use.
Use of the copyrighted material apart from this UFC must have the permission of the
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U.S. ARMY CORPS OF ENGINEERS (Preparing Activity)
NAVAL FACILITIES ENGINEERING COMMAND
AIR FORCE CIVIL ENGINEER SUPPORT AGENCY
Record of Changes (changes are indicated by \1\ ... /1/)
Change No. Date Location
This UFC supersedes DG 1110-3-119, dated March 1983. The format of this UFC does not conform
to UFC 1-300-01; however, the format will be adjusted to conform at the next revision. The body of
this UFC is the previous DG 1110-3-119, dated March 1983.
1
UFC 4-171-04AN
01 March 2005
FOREWORD
\1\
The Unified Facilities Criteria (UFC) system is prescribed by MIL-STD 3007 and provides
planning, design, construction, sustainment, restoration, and modernization criteria, and applies
to the Military Departments, the Defense Agencies, and the DoD Field Activities in accordance
with USD(AT&L) Memorandum dated 29 May 2002. UFC will be used for all DoD projects and
work for other customers where appropriate. All construction outside of the United States is
also governed by Status of forces Agreements (SOFA), Host Nation Funded Construction
Agreements (HNFA), and in some instances, Bilateral Infrastructure Agreements (BIA.)
Therefore, the acquisition team must ensure compliance with the more stringent of the UFC, the
SOFA, the HNFA, and the BIA, as applicable.
UFC are living documents and will be periodically reviewed, updated, and made available to
users as part of the Services’ responsibility for providing technical criteria for military
construction. Headquarters, U.S. Army Corps of Engineers (HQUSACE), Naval Facilities
Engineering Command (NAVFAC), and Air Force Civil Engineer Support Agency (AFCESA) are
responsible for administration of the UFC system. Defense agencies should contact the
preparing service for document interpretation and improvements. Technical content of UFC is
the responsibility of the cognizant DoD working group. Recommended changes with supporting
rationale should be sent to the respective service proponent office by the following electronic
form: Criteria Change Request (CCR). The form is also accessible from the Internet sites listed
below.
UFC are effective upon issuance and are distributed only in electronic media from the following
source:
• Whole Building Design Guide web site http://dod.wbdg.org/.
Hard copies of UFC printed from electronic media should be checked against the current
electronic version prior to use to ensure that they are current.
AUTHORIZED BY:
______________________________________ ______________________________________
DONALD L. BASHAM, P.E. DR. JAMES W WRIGHT, P.E.
Chief, Engineering and Construction Chief Engineer
U.S. Army Corps of Engineers Naval Facilities Engineering Command
______________________________________ ______________________________________
KATHLEEN I. FERGUSON, P.E. Dr. GET W. MOY, P.E.
The Deputy Civil Engineer Director, Installations Requirements and
DCS/Installations & Logistics Management
Department of the Air Force Office of the Deputy Under Secretary of Defense
(Installations and Environment)
2
DG-1110-3-119 Design Guide: Band Training Facilities
March 1983 TABLE OF CONTENTS
Table of Contents page
Chapter 1: Introduction
1-1 Using This Chapter 1-1
1-2 Purpose 1-1
1-3 Scope 1-2
1-4 Organization 1-2
1-5 Responsibilities 1-2
A. Project Planning and Programming 1-3
B. Design 1-4
1-6 References 1-5
1-7 Glossary 1-5
Chapter 2: Architectural Programming
2-2 Programming Process 2-1
2-3 Functions Program 2-3
A. Overall Functions 2-3
B. Specific Functions 2-3
2-4 Space Program 2-6
2-5 Site and Building Selection 2-6
A. Site Evaluation Criteria 2-7
B. Building Suitability Criteria 2-10
Chapter 3: General Design Considerations
3-2 Site Design 3-1
3-3 Overall Building Design 3-3
3-4 Space Relationships 3-5
3-5 Acoustical Considerations 3-10
A. Sound Isolation 3-10
B. Noise Control 3-13
C. Room Acoustics 3-13
3-6 Environmental Systems Design 3-15
Chapter 4: Space Criteria
4-2 Main Rehearsal Room 4-2
4-3 Group Practice Rooms 4-4
4-4 Individual Practice Rooms 4-5
4-5 Recording/Audio Control Booth 4-8
4-6 Library 4-9
4-7 Offices 4-9
4-8 Individual Instrument Lockers/
Instrument Cleaning 4-10
4-9 Day Area 4-14
4-10 Toilets/Lockers/Showers 4-14
4-11 Unit Supply/Storage/Instrument Repair 4-16
4-12 Lobby and Circulation 4-17
4-13 Maintenance and Mechanical Spaces 4-19
4-14 Arms Room 4-19
4-15 Mail Room 4-19
4-16 Outdoor Spaces 4-20
Design Guide: Band Training Facilities DG-1110-3-119
TABLE OF CONTENTS March 1983
Chapter 5: Practical Approaches For Acoustic

Construction
5-2 Sound Isolation 5-1
A. Individual Practice Rooms 5-2
B. Small Group Practice Rooms 5-9
C. Main Rehearsal Room,
Large Group Practice Room and
Control/Recording Booth 5-12
D. Doors 5-14
E. Windows 5-19
F. Lighting and Electrical Systems 5-20
5-3 Noise Control and Mechanical
Systems 5-20
5-4 Room Acoustics 5-22
A. Absorptive Finishes 5-22
B. Room Shape 5-24
C. Main Rehearsal Room 5-24
D. Group Practice Rooms 5-25
E. Individual Practice Rooms 5-25
Chapter 6: Illustrative Designs
6-2 New 45 Person Band Facility 6-2
6-4 Renovation of 6,150 SF Battalion
Headquarters, with Additions 6-10
6-5 Renovation of 12,700 SF Enlisted
Men’s Service Club 6-14
March 1983 LIST OF FIGURES
List of Figures page
Chapter 1: Introduction
1-1 Band Training Facilities Project
Development Process 1-3
1-2 Recently Constructed Army Band
Facility 1-4
2-1 Space Programming Process 2-2
2-2 Band Rehearsal (The U.S. Army
Band and Chorus; Brucker Hall,
Ft. Myer, Va.) 2-4
2-3 Small Group Practice 2-5
2-4 Audio Control and Recording 2-5
2-5 Music Library (Brucker Hall) 2-5
2-6 Band Administration 2-5
2-7 Individual Instrument Storage 2-6
2-8 Large Instrument Storage 2-6
2-9 Outdoor Performance 2-7
2-10 Spaces and Relationships for Army
Band Training Facilities 2-9
2-11 Site Evaluation Criteria 2-10
2-12 Band Training Facility within
Renovated Existing Building 2-11
2-13 Band Training Facility in Renovated
Existing Building plus Additions 2-11
3-1 Site Zoning 3-2
3-2 Outdoor Performance Area 3-2
3-3 Access Separation 3-3
3-4 Band Image 3-4
3-5 Ample and Clear Circulation 3-5
3-6 Example Renovation Design 3-6
3-7 Single Story Facility 3-7
3-8 Public and Private Zones 3-8
3-9 Use Sequences and Building
Relationships 3-9
3-10 Supervision Relationships 3-10
3-11 Space-to-Space Relationships 3-11
3-12 Independent Construction for Sound
Isolation 3-12
3-13 Manufactured Sound Module 3-13
3-14 Ductwork Design to Reduce Sound
Transmission 3-13
3-15 Treatment of Echoes 3-14
3-16 Elimination of Flutter with a Splayed
Wall 3-15
4-1 Illustrative Main Rehearsal Rooms 4-2
4-2 Illustrative Large Group Practice
Rooms 4-5
4-3 Illustrative Small Group Practice
Rooms 4-6
4-4 Illustrative Individual Practice Rooms 4-6
4-5 Illustrative Recording/Audio Control
Booth 4-8
4-6 Illustrative Library Plan 4-9
LIST OF FIGURES March 1983
4-7 Illustrative Office Plans 4-10

4-8 Illustrative Individual Instrument
Locker System 4-12
4-9 Illustrative Modular Individual
Instrument Locker System 4-13
4-10 Illustrative Day Area Plan 4-14
4-11 Illustrative Toilet/Lockers/Shower Plan 4-15
4-12 Illustrative Unit Supply/Storage/
Instrument Repair Plan 4-17
4-13 Illustrative Circulation System Plans 4-18
4-14 Illustrative Loading Dock/Performance
Area 4-20
4-15 Illustrative Entry Court 4-21
4-16 Illustrative Patio 4-21
Construction
5-1 Section Through Typical Individual
Practice Rooms 5-3
5-2 Minimum Wall Construction Required
Between Individual Practice Rooms 5-4
5-3 Gypsum Wallboard Construction
Between Two Individual Practice
Rooms (not recommended) 5-4
5-4 Party Wall and Corridor Wall Meeting 5-5
5-5 Masonry Wall and Concrete Plank
Roof 5-5
5-6 Joints Between Masonry Walls and
Metal Roof Decks 5-6
5-7 Isolating Music Rooms Under A Metal
Roof Deck Without Concrete Topping 5-7
5-8 Resiliently Attached Gypsum Wallboard
Skins to Improve Performance of Single
Masonry Walls 5-9
5-9 Resiliently Furred Construction 5-10
5-10 Tieless Double Masonry Wall 5-12
5-11 Section Through a Typical Large
Group Practice, Recording and Main
Rehearsal Room Complex 5-13
5-12 Sound Lock-Overhead Plan View 5-14
5-13 Plan of Music Room Double Doors 5-15
5-14 Double Doors Meeting at Astragal 5-16
5-15 Acoustical Door Frames and Seals 5-17
5-16 Acoustical Door Bottom Seals 5-18
5-17 Window Frame Details-Alternative
Methods of Constructing Double
Glazed Windows for Sound Isolation 5-19
5-18 Light Fixture Hanger Rod Passing
Through a Resilient Ceiling 5-20
5-19 Duct Penetrations in Sound-Isolating
Construction 5-21
5-20 Diagonal Corner Construction for Low-
Frequency Absorption 5-22
5-21 Room Acoustics in Main Rehearsal
Room 5-24
5-22 Absorption and Room Shape to Treat
Acoustical Problems 5-25
TABLES March 1983
List of Tables page

2-1 Recommended Space Allocations for
Army Band Training Facilities 2-8
3-1 Recommended Sound Isolation
Criteria for Band Training Facilities 3-12
4-1 Typical Modular Instrument Storage
System for 45 Person Band 4-13
4-2 Recommended Toilet/Shower Fixture
Counts 4-16
Construction
5-1 Typical Performance Ranges of Sound
Isolating Constructions 5-2
5-2 Suggested Minimum Wall Separation
Constructions 5-8
5-3 Recommended Ceiling Treatment 5-11
5-4 Approximate Acoustical Absorptivity of
Room Finishes and Treatments 5-23
6-1 Space Allocations: New 45 Person
Band Training Facility 6-2
6-2 Space Allocations: New 65 Person
Band Training Facility 6-6
6-3 Space Allocations: Renovation of
6150 SF Battalion Headquarters for
45 Person Band Training Facility 6-12
6-4 Space Allocations: Renovation of
12,700 SF EM Service Club for
45 Person Band Training Facility 6-15
March 1983 LIST OF FIGURES

6-1 New 45 Person Band Facility-
Perspective Sketch 6-3
Building Plan 6-3
Site Plan 6-4
Perspective Sketch 6-7
Building Plan 6-7
Site Plan 6-8
6-7 Existing 6,150 SF Battalion
Headquarters-Plan 6-10
Headquarters-Perspective Sketch 6-11
Headquarters-Proposed Plan 6-11
Headquarters-Site Plan 6-11
6-11 Existing 12,700 SF Enlisted Men’s
Service Club-Plan 6-14
6-12 Renovation of 12,700 SF EM Service
Club-Proposed Plan 6-15
6-13 Renovation of 12,700 SF EM Service
Club-Site Plan 6-16
March 1983 FORWARD
Foreword
The Design Guide (DG) series is issued by the Engineer-
ing Division, Engineering and Construction Directorate,
Office of the Chief of Engineers, U.S. Department of the
Army.
This Design Guide has been prepared to assist in the
planning, programming, and design of the Army Band
Training Facilities. The goal of these facilities is to provide
spaces appropriate to the specific needs of Army Bands
for practice, rehearsal and other functions in support of their
military mission. The guide not only states basic design
criteria, but also provides means by which the user can apply
the criteria in individual ways to respond to local
requirements.
Guidance contained in this document is applicable to all
new construction and to projects involving additions,
modernization, renovations, or improvements to existing
facilities. It is intended for use by Facility Engineers, Dis-
trict Engineers, Army Band Officers and personnel, and
architects and engineers designing Army Band Training
Facilities.
Development of this guide was under the direction of the
Building Technology Section, Architectural and Building
Systems Branch, of the Engineering Division. Preparation
of the Design Guide was the result of Contract No.
DACA87-81-C-0127 for planning and design services by
Arrowstreet Inc., of Cambridge, Massachusetts, and their
acoustics consultants, Bolt Beranek and Newman, of
Cambridge, Massachusetts. The functional requirements
have been developed in conjunction with, and approved
by, the Army Bands Office, of the U.S. Adjutant General
Center, Washington, D.C.
This Guide is for sale by the Superintendent of Documents,
U.S. Government Printing Office. Additional copies are
available from the USACE Publications Depot, 890 South
Pickett Street, Alexandria, Virginia, 22304. Users are
invited to send comments and suggested improvements to
CDR USACE (DAEN-ECE-A), Wash, D.C. 20314.
FOR THE COMMANDER
WILLIAM N. McCORMICK, JR.

Chief, Engineering Division
Directorate of Engineering and Construction
March 1983 Illustrative Designs
Chapter 6:
Illustrative
Designs
Contents page
6-1 Using this Chapter 6-1
Headquarters, with Additions 6-10
6-5 Renovation of 12,700 SF Enlisted Men’s
Service Club 6-14
6-1 Using this Chapter

This chapter presents four Illustrative Designs of typical Band
Training Facilities, including:
● New Construction example for a 45 person Band;
● New Construction example for a 65 person Band;
● Renovation, with additions, of an existing 6,150 Square
Feet (SF) Battalion Headquarters and Classroom
Building, for a 45 person Band;
● Renovation of an existing 12,700 SF Enlisted Men’s Club,
for a 45 person Band.
These designs illustrate the programming, facility design,
space relationship and technical systems concepts pre-
sented in this Design Guide. They are not intended as
definitive designs and plans. They are schematics, not finally
developed designs; and they are located on abstract sites,
not specific posts. They are designed to meet the stan-
dard program criteria presented in the previous chapters
in the context of typical real-post design considerations. The
two renovation designs are based on real existing build-
ing plans and illustrate typical cases of existing structures
that posts find for renovation for Band Training Facilities.
For each Illustrative Design, this chapter presents a space
program, plans and drawings, design discussion and
analysis. These designs are intended to be used by Band
personnel, Facility Engineers and District Engineers, to
help them understand the guidance provided in this docu-
ment and its implications for their own facility require-
ments. Each installation should develop its own program
requirements and designs, responding to local programs,
although their designs may vary considerably from these
examples.
6-1
Figure 6-1. New 45 Person Band Facility - Perspective Sketch
-Main Rehearsal, Large and Small Group Practice - are kept The Main Rehearsal Room has direct access through a
separate from each other, for sound isolation. The individ- recessed double door from the Lobby, for band personnel
ual Instrument Locker area is central to the facility, very and visitors. Another double door is convenient to the
convenient to the Toilets/Lockers/Showers, Day Area, Storage Room and Loading Dock, to accommodate large
Individual Practice Rooms, and easily accessible to the instruments and equipment. The space provides the band
Library and all the large music rooms. Unit Supply/ Stor- leader with direct visual contact with the adjacent Record-
age area is immediately adjacent to the Main Rehearsal ing/Audio Control Booth. Glazing at the main room doors
Room, Large Practice Rooms and Loading Dock, for easy permits views in for visitors in the Lobby. Movable curtains
equipment movement. And the CQ desk has excellent over- and a mix of absorptive and reflective surfaces on the
view of the Main Entrance, Individual Instrument Lockers, ceiling provide appropriate sound diffusion and adjustable
Day Area, Service Entrance and doors to the Unit Supply/ “liveness” of sound for best room acoustics. Some or
Storage rooms. all of the wall treatments could be fixed.
1. Main Rehearsal Room. This most important space in 2. Group Practice Rooms. One Group Practice Room
the Band Training Facility is large enough to accommod- is designed to accommodate a second Stage Band prac-
ate the entire band at once, plus visitors and the large ticing simultaneously with another in the Main Rehearsal
instruments and equipment which often are left set up there, Room on the other side of the Audio Control Booth. The
and still permit movement to alternative configurations second Group Practice Room is large enough for 8-to-12-
for different rehearsal and recording situations. The walls member groups. As in the Main Rehearsal Room, the walls
are non-parallel, to avoid flutter and to help diffusion. The are non-parallel and the roofs tall (average 15 to 18 feet)
high ceiling, averaging at least 20 feet, relieves loudness for acoustic reasons. The Large Group Practice Room has
and generally helps room acoustics. The tall roof also adjustable curtains and mixed surface materials for vari-
presents a visible image for this focal space. able room acoustics, while the smaller room has fixed
6-3
Illustrative Designs March 1983
Figure 6-3. New 45 Person Band Facility - Site Plan
absorptive panels on two walls and across one right-angle building. Space for a trophy display case is included, fac-
corner. ing the entry.
3. Recording/Audio Control Booth. This room is 5. Library. Centrally located for convenient music
designed with ample space and counter area for exten- distribution, the Library is visible through glazed partitions
sive recording equipment and storage, even beyond the from the Lobby. It provides extensive music materials
furnishings and equipment listed in Chapter 4, to storage space, three desk work-stations, and long lay-out
accommodate projected growth in this area. Built with tables for music organization. Music sheets are distributed
acoustically isolating partitions and glazing (see Chapter through individual racks built into the wall between the Library
5), this room provides direct, eye-level contact with the Main and Lobby. An alternative is rolling carts with sorting
Rehearsal Room and Large Group Practice Room. shelves for music distribution to other spaces.
4. Lobby. This is designed as an attractive, skylit entry 6. Offices. The Office block is located immediately off
space at the heart of the Band Training Facility. It pro- the Lobby, just inside the entry. This permits access by
vides direct, convenient access into the spaces that gener- the Commander and visitors without intrusion into the
ate the large-volume traffic of band personnel - the Main “private” band personnel spaces. Separate offices for
Rehearsal Room, Group Practice Rooms, Library and the Commander, Enlisted Bandleader, and NCO/Perfor-
Unit Supply Room. It is also adjacent to the Administrative mance Group Leaders are provided. Administration and
Offices and the “private” zone of Individual Instrument Operations/ Transportation are in a sub-divided space
Lockers/Day Area, with close access to the Toilet Rooms. with two desks in each part. All offices have windows to
The Lobby space is large enough to accommodate the the outside, overlooking the front entrance to the facility.
traffic these functions generate, and provides easy visual The Charge-of-Quarters desk projects into the Lobby to pro-
orientation for access to all the major spaces of the vide optimal overveiw of the Main Entrance, Individual
6-4
Instrument Lockers/Day Area, Service Entrance/Storage lounge area and a noisier games and card table area. The
area, and access to all major activity spaces. This desk whole area has views out to the attractive landscape,
can be shut and locked with a metal grating for security. and direct access to an outdoor recreation Patio. The Day
. Area is located beyond the Instrument Lockers for privacy
7. Unit Supply/Storage/Instrument Repair. This area
is located just off the Lobby, adjacent to the Loading Dock from the “public” Lobby zone, while still allowing some over-
view by the CQ. The ring circulation system, through the
and with convenient access to the Main Rehearsal Room
Day Area, provides direct access to all building function-
and Group Practice Rooms for large instrument and equip-
spaces.
ment movement. A large area is provided at the Unit Sup-
ply counter, to accommodate a large number of people at 11. Toilets/Lockers/Showers. This area accommodates
once. A roll-up grill closes off the counter when not in 40 clothing lockers for men, and 11 for women, sized to
use. Included in the Unit Supply Room is the Instrument accommodate uniforms on hangers. Ample bench, dressing,
Repair space, with a large work table and sink, separated shower and toilet space is included. Uniform presses are
by a secure wire mesh partition. The Storage area is a sepa- also provided. The plumbing layout is such that, if the ratio
rate room, divided from Unit Supply with a wire-mesh of male and female personnel changes (assumed for this
partition, and with lockable double doors, to provide high design to be 80%/20%),the partition dividing the two areas
security for valuable instruments and equipment. can be relocated accordingly without major plumbing
reconstruction. The entrances are designed to permit access
8. Individual Practice Rooms. Nine Individual Practice
directly to the toilets, without passage through the
Rooms of different sizes provide varied accommodation of
dressing/shower areas.
1,2, 3 or 4 musicians practicing. These rooms are located
near the Individual Instrument Lockers, and their access 12. Outdoor Spaces and Site Design. The Loading
corridor is sized for large instrument movement. One Dock is located immediately outside the Storage Room
angled wall in each practice room offers acoustic advan- and Main Rehearsal Room. It is designed for truck-height
tages in reducing flutter. Absorptive surfaces are placed loading, and with ramp and stair access. It is also
on two walls and across one corner of each room. All the designed to double as an outdoor performance space, with
Individual Practice Rooms have outside windows, either the walls of the building providing a reflective back-drop,
eye-level or clerestory, to make the practice environment and with the paved service area and grassy slope behind
more pleasant, and to counteract the claustrophobia of serving as audience space (see Figures 6-2 and 6-3).
small spaces. Portable shells might be used to extend the reflective
backdrop.
9. Individual Instrument Lockers. This space includes
one locker for each musician, sized for the range of instru- A car and bus drop-off is located directly in front of the Main
. ments required. The locker modules are only 4 feet high, Entrance to the facility. A paved Entry Court outside the
providing space on top for setting down instruments and Main Entrance, and a paved recreation Patio outside the
their cases. This area is central to all the Practice and Day Area, are defined by low planting, benches, and speci-
Rehearsal spaces, and convenient to the clothing men trees (see Figure 6-1).
lockers/dressing area, which are the spaces band person- Parking is provided for all band personnel, with direct
nel will be moving to and from. The Instruments Lockers
access to the Main Entrance. The parking driveway extends
are clearly surveyed by the CQ desk for security purposes.
to the Mechanical Space access at the back of the
10. Day Area. The Day Area is designed as a relax- building. The Drill and outdoor practice area is just behind
ation and recreation space with two sub-areas, a quiet the Loading Dock, close to the building.
6-5
Figure 6-4. New 65 Person Band Facility - Perspective Sketch
Practice Rooms around two sides of the square Lobby, with for the rest of the building. Exterior walls are masonry,
a Unit Supply/ Storage/Mechanical wing extending and interior finishes and technical systems are as described
beyond; the Toilets/ Lockers/Showers, Library, Individual in Chapters 4 and 5 of this Guide.
Instrument Lockers and Day Area as a block on the third Most of the space design and relationships comments in
side of the Lobby; the Individual Practice Rooms as a wing the space-by-space description of the new 45 person facil-
adjacent to the Individual Instrument Lockers and Day ity apply also to this design and should be referred to. The
Area; and the Office block on the fourth side of the Lobby, following indicate the critical additional issues or differ-
next to the Main Entrance. ences concerning the 65 person design:
The space relationships of this design meet all the criteria 1. Main Rehearsal, Group Practice Rooms and Con-
discussed in Chapter 3. All spaces are on one level, for trol Booth. The Main Rehearsal Room is significantly larger,
best access and equipment movement. “Private” spaces to accommodate the larger band size, greater number
-
-Individual Instrument Lockers, Day Area, Lockers/ Showers, of visitors likely, and the increased sound volume produced.
Individual Practice Rooms - are clustered all on one side One Group Practice Room is sized for a second Stage
of the Lobby. The more “public” spaces surround the other Band (simultaneous with one in the Main Rehearsal Room).
three sides of the Lobby in a visible manner. The chang- And two smaller Group Practice Rooms are composed
ing and preparation sequence for band personnel is accom- as a single volume adjacent to the entrance (see Figure
modated in the close relationship between Instrument 6-5), with a sound-isolating partition separating them. The
Lockers and Toilets/Lockers/Showers and the easy access convenient relationships of all these rooms to the Lobby,
to all rehearsal/practice rooms. And the CQ desk, project- Audio Control Booth, Storage Room and Loading Dock
ing from the Administrative Offices into the Lobby, has direct are similar to those in the 45 person facility.
overview of the Instrument Lockers and through them
All the music spaces are rectangular, with tall sloped roofs.
the Day Area, and also of the Main Entrance, doors to the
To promote diffusion, the Main Rehearsal and Large Group
major practice spaces, and the access to the Unit
Practice Rooms have angled panels of plywood or gyp-
Supply/Storage and Service Entrance.
sum board, superimposed on about half of the otherwise
As the perspective sketch (Figure 6-4) shows, the high plain walls (see Figure 6-5). These are designed to form
pitched roofs of the Main Rehearsal, Group Practice and pockets into which the curtains can be drawn (this increases
Individual Practice Rooms emphasize these important acoustical variability in that the curtains can be completely
music spaces and visually define them as cohesive entities, “in” or “out” of the room). The Small Group Practice Rooms
in contrast to the flat roof of the rest of the building. The have fixed, absorptive wall treatments, much like in the
organization of the major masses of the building frames illustrative design for the 45 person facility.
an Entry Court, in the direction of access from the park- A sound lock, with double doors, provides a good
ing and drop-off to the main building entrance. acoustically-sealed entrance to the Main Rehearsal Room.
The basic constructional system of the building is like This also serves the Control Booth, which is otherwise
that for the new 45 person facility: slab-on-grade, with con- similar to that in the new 45 person facility. Another dou-
crete frame and masonry bearing walls. Masonry partitions ble door from the Main Rehearsal Room faces the Unit
and concrete roof covered with a metal roofing are used Supply/Storage doors and service corridor; and another leads
6-7
Figure 6-6. New 65 Person Band Facility - Site Plan
directly to the Loading Dock. Double-glazed windows pro- A kitchenette, with coffee machine, sink counter and sup-
vide views from the Lobby into the Main Rehearsal and one plies storage, subdivides the Day Area into two zones, which
Group Practice Room; but the other Group Practice can be used alternately for noisy and quiet functions, at
Rooms are designed without, for greater privacy. local option.
2. Individual Practice Rooms. These spaces aggregate 5. Toilets/Lockers/Showers. These are designed with
to form another pitched-roof block in the design composi- two entrances each to men’s and women’s, to provide sepa-
tion, with the continuously sloped roof higher over the larger rate access from the “public” and “private” zones, and
of the Individual Practice Rooms, and lower over the so visitor access to the toilets is possible without going
smaller spaces (see Figure 6-4). There are thirteen prac- through the dressing/shower areas. The men’s room
tice rooms of three different sizes, for diverse accommo- accommodates 66 lockers, and the women’s, 16. Show-
dation of one to six players. All the spaces are rectangular, ers and toilets for all band personnel are provided, enough
with acoustic surface treatments as in the Small Group even for rapid changes between performances. Plumbing
Practice Rooms. All have either eye-level or clerestory fixtures are located in such a manner that, by moving
windows. This block of rooms is immediately adjacent walls, the number of fixtures can be adjusted between mens
to the Individual Instrument Lockers and Instrument Cleaning, and womens rooms, as in the 45 person example. A sepa-
for convenient access. rate officers’ toilet, also designed for use by the handi-
capped, is provided next to the Offices, near the main
3. Lobby and Circulation. The Lobby is a central, skylit
building entrance.
entry area, adjacent to every major function-space. It is large
enough for the high-volume people and equipment move- 6. Offices. The offices comprise a distinct, flat-roofed
ment the function-spaces generate. The Lobby provides block overlooking the Entry Court. Four private offices have
good views into the Main Rehearsal, Group Practice and access off an open but sub-divided Administration and
Library spaces. The circulation system is highly efficient (the Operations/Transportation space. This office wing provides
figure listed in Table 6-2 represents less than 20% of undisturbed access for visitors, directly off the main build-
the net total). This is due partly to the immediate adja- ing entrance, without intrusion on the “private” parts of
cency of the Lobby to so many spaces, eliminating corri- the facility. The CQ desk juts out into the lobby to pro-
dor need. It is also achieved through shared-use, by vide surveillance of Individual Instrument Lockers and Day
circulation through use-spaces in the Offices, Instrument Area (through a glazed wall), and entrances to the Library,
Lockers and Day Area. Main Rehearsal and Group Practice Rooms, and Unit
Supply/Storage.
4. Individual Instrument Lockers/Day Area. This “private”
zone is similar to that in the 45 person design, though larger. 7. Unit Supply/Storage/Instrument Repair. These spaces
The skylit Instrument Locker area has an Instrument Clean- form a distinct low wing, together with the Mechanical Space,
ing counter adjacent, and leads directly to the Day Area. adjacent to the Main Rehearsal Room. They are conve-
The Day Area has direct access to an outdoor recreation nient to the Lobby and all Group Practice spaces for easy
terrace, with ample glazing providing views to green space. access to equipment by band personnel. Direct double-
6-8
door access through a six-foot opening is provided from noise. Audiences are accommodated in the paved serv-
Storage to the Main Rehearsal Room and the Loading ice yard and the grassy sloped area beyond. The Drill Area
Dock, where the heaviest large instrument and equipment is just behind this service yard, readily accessible from
movement takes place. As in the 45 person design, Instru- the Loading Dock.
ment Repair is accommodated at a long work table, with
Several other outdoor spaces are defined by the blocks
sink and storage, in a space separated by wire-mesh
of the building: The Entry Court between the Office block
from the Unit Supply Room. Storage is a separate, closed
and the Group Practice/Unit Supply wing provides an
room, designed for highest security, with a wire-mesh
attractive approach to the facility. The recreation terrace
partition for visibility from Unit Supply. outside the Day Area is framed partly by the Individual
8. Outdoor Spaces and Site Design (see Figure 6-6). Practice block and the landscaping. Parking for all band-
The Loading Dock is designed as an ample outdoor perfor- members is provided beyond the Storage/Mechanical wing
mance stage, with a reflective backdrop of the framing of the building, sharing a vehicular drive with the Loading
walls of the building, which also shield the area from street Dock and Mechanical Space service access.
6-9
6-4 Renovation of 6,150 SF

Battalion Headquarters, with
Additions
A. Situation and Program (15 feet minimum) for band use. Despite these limitations,
this building-type can still be a viable basis for a very good
This is a design for renovations of an existing building for renovated Band Training Facility.
use by a typical 45 person band as a Band Training Facil-
ity - a very common situation at many posts. The space B. Design Solution and Analysis
program requirements are the same as for the new con-
struction example for a 45 person band, as presented in The design solution for this facility is to renovate the exist-
Chapter 2 and Table 2-1. The Space Allocations program ing structure and construct additional space, as appropri-
for the renovation design is summarized in Table 6-3. ate to fulfill the desired program (see proposed plan,
The building selected for this renovation design is a one- Figure 6-9). The goal is to achieve the space program and
story, 6,150 square-foot Battalion Headquarters and Class- the desirable space design qualities and relationships
room Building (illustrated in Figure 6-7). This is a common as fully as possible. Inevitably, certain compromises in space
building type, that is often offered for band use at various size and design must be made in renovation projects,
because of the constraints of the existing structure. However,
posts. It has the advantage of being of permanent,
masonry construction, which is important for sound attenua- as the plans and the space allocations in Table 6-3 show,
tion between spaces in a band facility. It also has a large, this design meets the space requirements and the design
character and relationship goals quite successfully.
open classroom space, which can easily be adapted for
diverse functions. Its shortcomings, however, include the This plan reflects two of the primary considerations in renova-
inadequate overall square footage - 6,150 gross square feet tion design for Band Training Facilities: First, where space
as opposed to the 12,480 recommended in the program. additions must be made, the new construction added
Also, the 12-foot ceiling height in the classroom space is should be the acoustically sensitive music spaces. Con-
lower than the minimum recommended for the Main struction quality control limitations make it difficult to
Rehearsal Room (18 feet) and Large Group Practice Room achieve high acoustic performance standards in renova-
Figure 6-7. Existing 6,150 SF Battalion Headquarters-Plan
6-10
Figure 6-8. Renovation of 6,150 SF Battalion Headquarters - Perspective Sketch
tion work. Thus, in this design, the major spaces added, After application of these two primary renovation design
at the front of the existing structure, include the Main considerations, the remaining spaces required for the band
Rehearsal Room, Control Booth, and two Group Practice facility - the Library, Unit Supply/Storage Room, individ-
Rooms, clustered around a new entry and Lobby space (see ual Practice Rooms, Administrative Offices, Instrument Lock-
figure 6-9). ers and Day Area - are laid out in the balance of the
Second, the more expensive systems in the existing struc- existing structure. The resultant design succeeds in achiev-
ture should be retained and reused, wherever possible, for ing most of the space relationship and zoning criteria
cost savings benefits. In this design, the Toilet rooms, desired, as discussed in Chapter 3. Significant features of
with their plumbing and fixture locations, and the Mechani- this renovation design and its spaces are as follows:
cal Space are retained. Lockers/Showers are added 1. Main Rehearsal, Group Practice Rooms and Control
immediately behind the existing toilets, and a handi- Booth. These spaces - in size, character and relation
capped/visitors toilet immediately in front, to minimize the ship - are similar to those in the new 45 person design
length of plumbing connections, and for convenient func- example. The music spaces are all non-adjacent to each
tional relationships. Also, two existing offices and a private other, having buffer spaces between them for sound
toilet between them are reused for the Commander’s and isolation. The Recording/Audio Control Booth has good
NCO/Performance Group Leaders’ offices. equipment and counter space and eye-level visual con-
Figure 6-10. Renovation of 6,150 SF Battalion Headquarters - Site Plan
6-11
the existing classroom space (see Figures 6-7, 6-9). The tion corridor to the Day Area and private Offices, and to
spaces have access to the Loading Dock through the Stor- the Unit Supply and Individual Practice Room area. Though
age Room. Access to the Unit Supply desk is slightly not ideal for the locker function, this does place the instru-
less convenient than ideal, and movement of large instrument lockers convenient to all function-spaces where the
ments and equipment from the Storage Room must tra- instruments will be used, and is efficient use of the exist-
verse a circuitous path through circulation corridors and the ing space. Instrument Cleaning is just off this Locker space,
Lobby. As in the new design, Instrument Repair is adjacent to the Day Area.
included within the Unit Supply Room, with a metal-cage
8. Day Area. This area utilizes the balance of an
partition and outside window. Storage is a separate room existing open clerical space, plus a glazed addition to
for higher security.
the rear of the existing structure (see Figure 6-7,6-9). Access
5. Individual Practice Rooms. These are the only is off the Instrument Locker area. This plan provides a
acoustically sensitive spaces in the existing building, within place for game tables in the existing space, and lounge fur-
what had been the open classroom area. The solution nishings in the windowed addition, divided by a kitchen-
involves using prefabricated sound modules, which can ette counter. Outdoor views and direct access to an outdoor
be easily placed within the existing space without complex recreation Patio are also built into the added space.
renovation. Despite the high cost of these modules, this
9. Outdoor Space and Site Design. The siting of and
approach is often the best solution for band renovations, access to the existing structure determine much of the site
because the self-contained modules achieve sound isola-
layout and design (see Figure 6-10). A new Entry Court
tion and room acoustics qualities that would be hard to other-
is built in front of the new music spaces and Main Entrance,
wise guarantee. These modules may take up more
with benches and landscaping, and direct access from
building area relative to the usable practice room area,
the drop-off area (see Figure 6-8). The paved recreation
because of their spacing requirements. Eight modules, Patio off the Day Area is defined by the angle of the new
of varying sizes, are accommodated in this plan. addition at the back, and new trees and plantings. All the
6. Offices. The Administration and Operations/Trans- other outdoor function-spaces are to the right of the facility,
portation space and Enlisted Bandleader’s Office are as in the existing: The Loading Dock is expanded to also
located at the front of the existing structure, next to the con- serve as an Outdoor Performance space, facing a serv-
structed addition. This provides a good position for the ice yard and an audience area. Parking extends along the
CQ desk - on the boundary between the “public” and street frontage, in front of this service yard area. Mechani-
“private” zones, in view of the Main Entrance, large music cal Space access leads off this service yard, in back of the
spaces and Library, but also next to and surveying the indi- building. And the Drill Area is also found behind the Load-
vidual Instrument Lockers and Day Area. The Com- ing Dock and service yard.
mander’s and NCO/Performance Group Leaders’ offices
10. Construction. The construction of the new additions
reuse two existing office spaces. The circulation connec-
is designed to match the existing building: slab-on-grade,
tion between the offices, and especially the access to the
masonry walls and concrete roof structure. The new and
private offices, is more extended than would be desirable,
old parts are all on the same single level. New exterior walls
and passes through the Instrument Locker area.
are faced in brick to match the existing, and the new
7. Individual Instrument Lockers. Lockers are provided pitched roofs are asphalt-shingled (see Figure 6-8). The
for all the musicians’ instruments along a long corridor interior finishes and technical systems are similar to those
in the center of the building. Some are double-stacked mod- in the new design described in Paragraph 6-2, with the exist-
ules (as shown in Paragraph 4-8); some are single height, ing facility modified to match.
with set-down space on top. This area doubles as a circula-
6-13
6-5 Renovation of 12,700 SF

Enlisted Men’s Service Club
A. Situation and Program straints of fitting spaces into the existing building force
some compromises relative to the space program, as Table
This example is, like the previous case, a design for reno- 6-4 indicates. Some of the spaces are slightly smaller
vation of an existing building for use by a typical 45 per- or larger than the recommended square footage, although
son band. The space program requirements are the same all are functionally quite reasonable.
as for the other two 45 person band example designs, as
presented in Chapter 2 and Table 2-1. The Space Alloca- The primary factor in designing this renovation is the place-
tions program for this design is summarized in Table 6-4. ment of the Main Rehearsal Room, Large Group Prac-
tice Room and Control Booth in the existing Ballroom area
The building chosen for this renovation design is a one- (see Figures 6-11 and 6-12), because of their need for
story, 12,700 square-foot Enlisted Men’s Service Club high ceilings. The other critical factor is the retention of the
(illustrated in Figure 6-11). This is a Standard Design, existing Toilet Rooms and Mechanical Space, as in the
constructed at many posts, commonly of permanent masonry renovation design in Paragraph 6-4, to reuse the more
construction. This building is big enough to accommodate expensive existing systems. All the other required spaces
the full band program without any additions. The major are accommodated in the remaining areas of the existing
advantage it presents for band use is the Ballroom space structure, with the main entrance and most other exterior
with its 16-foot-high ceiling - high enough to be adaptable door locations also being retained.
for Rehearsal and Group Practice use, though lower than
ideal. The overall building area - 12,700 SF - is slightly larger The resulting design layout successfully achieves most
than the 12,480 recommended total; but this small differen- of the spatial qualities and relationships desired for a Band
tial is likely to be used up in the inevitable inefficiencies of Training Facility. Specific features of this design, on a
renovation layout planning. space-by-space basis are as follows:
1. Main Rehearsal, Group Practice Rooms and Con-
B. Design Solution and Analysis trol Booth. All the major music spaces (except for Small
Group Practice) are accommodated in the tall Ballroom
The design solution for this renovation fits the entire pro- space, along with part of the Library, Instrument Lockers
gram into the existing structure (see Figure 6-12). The con- and Unit Supply/Storage Room.
Figure 6-11. Existing 12,700 SF Enlisted Men’s Service Club - Plan
6-14
Figure 6-13. Renovation of 12,700 SF EM Service Club - Site Plan
lent overview of the Main Entrance, Library, corridor to Unit of the building, with outside windows and access to an
Supply/Storage and Loading Dock, Rehearsal/Practice outdoor Patio.
Rooms, and the Individual Instrument Lockers and Day Area. 7. Individual Practice Rooms. As in the renovation of
The three private Offices are beyond the Administration the Battalion Headquarters (see Paragraph 6-4), prefabri-
Offices, along the corridor to Unit Supply, and away from cated modules are used to reliably achieve sound-isolated,
the noisy, “private” area of Instrument Lockers and Day acoustically successful Individual Practice Rooms. As
Area. shown in the plan (see Figure 6-12), four large and five small
modules are placed in the former kitchen/cafeteria area
5. Unit Supply/Storage/Instrument Repair. These
of the Service Club. The location is conveniently accessi-
spaces occupy the former stage area of the old Ballroom,
ble to the Individual Instrument Lockers and is in the pro-
with direct doors to the Loading Dock. The access for band-
tected “private” zone of the building.
members and for movement of large instruments and
equipment to the main rehearsal/practice spaces is reason- 8. Outdoor Space and Site Design. While the Main
ably convenient. Instrument Repair and Storage are sep- Entrance and most exterior doors of the existing EM Serv-
arated from Unit Supply by wire-mesh, for security and ice Club have been retained, the site development has been
visibility. Double doors from Storage through Unit Supply thoroughly modified to accommodate band needs (see
to the service corridor provide for movement of large equip- Figure 6-13). A small Entry Court and drop-off area are
ment and instruments wherever they are needed. designed in front of the Main Entrance, and a paved rec-
reation Patio outside the Day Area, surrounded by new
6. Individual Instrument Lockers/Day Area. These spaces landscaping. A Loading Dock/Outdoor Performance Space
are behind the wall and trophy case to the left of the Lobby, has been added next to the Unit Supply/Storage at the right
-
which separates the “private" zone of the building from end of the building, with a good service yard for vehicu-
the “public”. The Instrument Lockers and Instrument Clean- lar access, and audience space framed by earth berms.
ing space are in the center of the structure, near the The Drill Area is behind the building near this Loading
Toilets/Lockers/Showers, Small group Practice and individ- Dock, for easy access. Parking for all band personnel is
ual Practice Rooms. The Day Area - one large space provided to the left of the building, including Mechanical
ample for lounging as well as noisy activities - is at the rear Space service access.
6-16
March 1983 Practical Approaches for Accoustic Construction
Chapter 5:
Practical
Approaches For
Acoustic Construction
Contents page

5-2 Sound Isolation 5-1
A. Individual Practice Rooms 5-2
B. Small Group Practice Rooms 5-9
C. Main Rehearsal Room, Large
Group Practice Room and
Control/Recording Booth 5-12
D. Doors 5-14
E. Windows 5-19
F. Lighting and Electrical Systems 5-20
5-3 Noise Control and Mechanical
Systems 5-20
5-4 Room Acoustics 5-22
A. Absorptive Finishes 5-22
B. Room Shape 5-24
C. Main Rehearsal Room 5-24
D. Group Practice Rooms 5-25
E. Individual Practice Rooms 5-25
5-1 Using This Chapter

This chapter contains discussions and illustrations of practi-
cal construction methods and typical details for achiev-
ing sound isolation, noise control, and good room acoustics.
The principles behind these techniques have been dis-
cussed in Paragraph 3-5, Acoustical Considerations. The
examples presented are not solutions to all problems,
but aids to understanding how to apply the principles to
achieve a Band Practice Facility that performs success-
fully. The illustrated methods should be useful to archi-
tects in developing Final Designs for band facilities, and
to band personnel and Facility Engineers doing minor
renovations and improvements to existing facilities.
5-2 Sound Isolation

Isolation depends on the design and execution of all barri-
ers that separate one room from another. That includes
floors, roofs and ceilings, walls, as well as door and win-
dow assemblies. Balanced performance is the goal. If a por-
tion of a barrier is weaker than the remainder (for example,
an STC 35 door in an STC 65 wall), the inferior portion con-
trols the isolation achieved. Even before these construc-
tion considerations, planning for appropriate adjacencies
and separations, as discussed in Sections 3-4 and 3-5,
should have been applied, as the most cost-effective means
to obtain isolation.
5-1
Practical Approaches for Accoustic Construction March 1983
This discussion presents approaches and details for sound- A. Individual Practice Rooms
isolating construction in the form of discussions of spe-
cific room types. But the methods described for a specific Individual Practice Rooms, from 65 to 125 square feet
space are applicable generally to isolation problems of in area, may have background noise up to NC-35 (see Para-
similar scope. Throughout this discussion, refer to Table graph 3-5.A), yet sound produced in the rooms may reach
5-1, which indicates the performance that can be expected 90dB. Thus, by first approximation, the barrier between adja-
of well-sealed barriers of the respective types. Also see cent practice rooms should reduce the sound by at least
Tables 5-2 and 5-3, which suggest constructions adequate 55 dB, or should be rated STC 55. This does not guaran-
for different room types and combinations of materials, dis- tee inaudibility, which would require an “overdesign” by
cussed in detail below. 10 to 15 dB, but it does represent a reasonable goal.
Table 5-1 Typical Performance Ranges of Sound Isolating Constructions

STC*
Floor-Ceiling** Constructions:
Wood joist floors without ceiling 20-30
Same with rigidly attached ceiling 30-40
Same with resiliently attached ceiling 45-55
Concrete slabs/decks without ceiling 35-55
Same with suspended ceiling 50-65
Double (floated) concrete slabs 55-70
Double concrete slabs with suspended ceiling 65-80
Wall Constructions:
Simple stud walls, with gypsum wallboard 30-40
Double stud walls, with gypsum wallboard 45-55
Demountable partitions, with gypsum wallboard 30-45
Simple masonry walls 35-55
Same with resiliently furred skins of gypsum wallboard 50-65
Double (tieless) masonry walls 60-75
Doors and Windows:
Hollow core door and wood frame 10
Solid core or hollow metal ungasketed doors 15-25
Fully gasketed (acoustical) doors 30-50
Tandem doors in common wall 35-55
Tandem doors in sound lock 40-70
Typical single glazing or thermal double glazing 25-35
Special laminated acoustical glazing 35-45
Well-separated double glazing 40-55
*Note the limits of Sound Transmission Class (STC) measurements as a guide to performance in
band facilities, as discussed in 3-5.A. See discussion of specific room types in this chapter for
recommended STC levels.
* *All ceilings solid plaster or gypsum board; not acoustic tile which is inherently porous.
5-2
Figure 5-1. Section Through Typical Individual Practice Rooms
Figure 5-1 illustrates a typical practice room configuration avoid a claustrophobic effect in the small rooms. Concrete
The building is concrete slab-on-grade to reduce sound plank spans from outside walls to corridor walls, so the
transmission. Walls to corridors may be hollow concrete walls between practice rooms are not loadbearing, and can
block, and walls between rooms should be solid or sand- have a resilient, flexible joint to the roof to reduce sound
filled. These party walls are shown splayed for sound transmission. An acoustic tile ceiling is required for
diffusion as discussed in the acoustics section to follow. absorption, not isolation. The door is gasketed, with a
Clerestories and windows allow natural light and help raised threshold.
5-3
March 1983
Figure 5-3. Gypsum Wallboard Construction Between

Figure 5-2. Minimum Wall Construction Required Two Individual Practice Rooms
Between Individual Practice Rooms (not recommended)
A recommended construction to achieve this noise reduc- Because of their light weight (see Paragraph 3-5.A), stud
tion between Individual Practice Rooms is shown in fig- walls, regardless of their STC ratings, generally are not
ure 5-2: 8" solid or sand-filled concrete masonry units with recommended. Figure 5-3 is included only to show the type
a resiliently filled joint to a concrete roof. The space of stud wall that must be provided if masonry absolutely
between the top of wall and roof, between the sealant beads, cannot be used. The wall shown has two separate rows of
is stuffed with fiberglass insulation. Similar units with resil- studs, multiple layers of gypsum board, and batt insulation.
iently furred gypsum board on one or both sides, are The roof illustrated is concrete, and sealant fills the joint
preferred. Tieless double masonry would be ideal. between gypsum and concrete.
5-4
I
March 1983
Figure 5-5. Masonry Wall and Concrete Plank Roof
or without concrete topping). Isolation performance

decreases with decrease in mass, and with increase in
stiffness (stiff materials carry vibrations more readily).
Concrete is best, and metal deck without topping is worst.
A concrete or concrete plank roof (as in Figure 5-5)
requires no further ceiling isolation measures in the case
of Individual Practice Rooms. Only a regular acoustical
ceiling (non-STC rated) is needed to provide absorption
within the room, as a room acoustics provision.
5-5
B. Wall running across deck corrugations

A. Wall running in same direction as deck
corrugations tice Rooms (see Figures 5-6A and B), it should be shielded
Figure 5-6. Joints Between Masonry Walls and Metal from the room with an STC-rated (STC 35-44) suspended
Roof Decks ceiling. Careful attention must be paid to the joint between
ceiling and wall, as the wall/roof joint, although it must
Metal roof decks are unsuitable for use in Band Facilities, be sealed, will be a more difficult problem. In the illustra-
for several reasons. They are lightweight, stiff, and continu- tion in Figure 5-6A, fiberglass insulation is stuffed in the
ous for long distances, so they will carry vibrations from joint between the wall and metal deck, and sealant is run
one room to many others. The corrugations of the decking along the edges.
make it extremely difficult to seal the wall/roof joint. The Figure 5-6B shows a concrete block wall running across
most effective modification to metal roof decks is regular
the roof corrugations. A premolded rubber filler strip, sup-
weight concrete topping, to add mass and dampen
plied by the metal deck manufacturer, is set in a bed of
vibrations.
sealant on the wall, and the joint between the filler and
If metal decking with concrete is used over Individual Prac- the roof is also sealed.
5-6
5-7
B. Small Group Practice Rooms

Small Group Practice Rooms, 300 to 350 square feet in
area, have a Noise Criterion of 30, and sound levels in
the room may reach 95 dB. Thus, if adjacent, noise should
be reduced by about 65 dB, requiring barriers rated STC
65. Again, this is a reasonable-not ultimat-goal. Non-
adjacent location is advisable.
The isolation techniques described for the Individual Prac-
tice Rooms generally apply, but with more emphasis on
superior performance. Solid masonry walls should be
upgraded with resiliently attached gypsum board or plas-
ter walls (always backed with acoustical batt insulation),
as illustrated in Figure 5-8.
5-9
Wall skins (Figure 5-9A) should be joined continuously with struction is always necessary in the case of metal roof
the ceiling skin, which should be suspended on resilient decks. But, under a concrete or concrete plank roof, an STC
hangers (illustrated in Figure 5-9B), with acoustical batts rated acoustical ceiling can combine attenuation with
laid on top. Note that another ceiling is necessary below absorption.
this isolating ceiling, for room acoustics purposes. This con-
Figure 5-9. Resiliently Furred Construction B. Resilient ceiIing hanger

A. Cutaway of wall construction
5-10
I
Doors to these rooms could be either good quality solid core dows to interior spaces (corridors and lobbies), with 2
wood or packed metal doors with acoustical seals or spe- to 3 inches between panes. Line the space between panes
cially manufactured sound control doors. Double glaze win- at jamb, sill and head with an inch of fiberglass.
Table 5-3 Recommended Ceiling Treatment
PLANK ROOF
CONSTRUCTION WITH
RESILIENT METAL ROOF METAL ROOF
CONCRETE PLANK JOINTS AT WITH WITHOUT
ROOM ROOF RESILIENT CONCRETE CONCRETE
TYPES WALL TOPPING TOPPING
SEPARATIONS
INDIVIDUAL
PRACTICE 1 1 1,3 5 2,4
SMALL GROUP
PRACTICE 5 5 1,3 7 2,4
LARGE GROUP
PRACTICE 5 5 1,3 7 N.R.R
MAIN REHEARSAL* I 3,1 1,3 3,1 1,3 5
This table shows recommended ceiling treatments for different room types, depending on type of roof
construction. It indicates the most cost effective combination; other ceilings are possible if they meet cri-
teria discussed in the text.
1. Ordinary acoustic tile suspended (also provides acoustic absorption).
2. Ordinary acoustic tile suspended, under resiliently hung gypsum wall board ceiling.
3. Absorbent panels (fiberglass, etc.) - (provides no isolation).
4. Absorbent panels under resiliently hung gypsum wall board ceiling.
5. STC rated acoustic tile (35-44 STC) (provides absorption and isolation).
6. STC rated acoustic tile (35-44 STC), plus gypsum wall board ceiling.
7. Absorbent panels below gypsum wall board ceiling.
N.R. not recommended
*This assumes the roof of the Main Rehearsal Room is not continuous with the roofs of other music spaces. If
otherwise, higher quality constructions are required.
5-11
C. Main Rehearsal Room, Large Group-

Practice Room and Control/Recording
Booth
The recommended background noise level in these
spaces is NC-25, though up to NC-30 may be acceptable
in the Large Group Practice Room. Isolation requirements
are more stringent for these uses than for those already
discussed. These spaces are all usually placed in close
proximity, so wall constructions on the order of STC 75 may
be needed. This much isolation is quite difficult to achieve.
In practice, placing the Control Booth between the Main
Rehearsal and Large Group Practice is best. The booth
will then form a buffer between the active music rooms (the
isolation between either room and the booth is in any
case compromised by the window).
Solid masonry, with resiliently furred gypsum-board skins
on each music room wall, will be adequate for wall construc-
tion between these spaces (as already discussed in Fig-
ure 5-8). Such walls do not achieve the best performance,
but are compatible with the required windows. (The win-
dows are still weaker than the walls, but their small area
tends to transmit less sound than the larger area of the
walls.)
Where Large Group Practice or Main Rehearsal Rooms
are directly adjacent to each other or to other music rooms
(see Figure 5-10), construction should be tieless double
masonry walls with acoustical batt insulation between, with
a concrete (preferable) or concrete plank roof. The insu-
lation also aids in preventing inadvertent mortar bridges
between the layers, which would compromise the isolation.
The concrete roof should be discontinuous (or shielded by
an STC-rated ceiling) to avoid flanking.
5-12
Figure 5-11. Section Through A Typical Large Group Practice, Recording, and Main Rehearsal Room Complex
For improved performance, the concrete slab-on-grade with the other rooms, isolation required of the ceiling is
could also have a resilient joint in line with either the resil- minimal, and can be provided by an ordinary suspended
iently attached wall, or between the two layers of a dou- acoustical ceiling. Wall isolation is still required, in this
ble masonry wall, depending on the condition. case forming a barrier sealed to the roof. To further increase
isolation, a slab break between rooms is recommended.
The roof deck over these major spaces should be
It is shown here only at the Main Rehearsal Room wall.
broken—with a change in roof plane or a parapet—at music
Absorptive ceilings are required in all these spaces, sus-
room separations, so the deck doesn’t carry vibrations
pended below the isolation construction.
from one music room to another. If the roof slab is
noncontinuous, suspend a resiliently hung gypsum board Metal roof decks without concrete topping are absolutely
ceiling in one of the rooms, or provide both rooms with nor- unacceptable in this application. Decks with topping must
mally hung STC-rated acoustical ceilings. also be shielded with a resiliently hung gypsum board ceil-
ing (similar to Figure 5-8). An alternative to the gypsum
Figure 5-11 illustrates a typical Large Group Practice/
board ceiling is construction of a resilient joint in the roof
Recording/Main Rehearsal Room complex, similar to
in line with the room separation (resilient or double wall)
those shown in the illustrative designs for 45 and 64 per-
below.
son band new construction (see Chapter 6). In this case,
construction is of single, solid masonry walls, with resil- Doors to these major music spaces-especially to the
iently attached gypsum board wall skins. Since the Large Main Rehearsal Room—should be the best in the building.
Group Practice and Recording Rooms share a common pre- Sound locks (illustrated in the door discussion, Figure
cast concrete roof deck, the ceiling of the Large Group 5-12) are preferred. Even with these, one of the two doors
Practice is shielded with a resiliently hung gypsum board (usually the inner) might be gasketed. If sound locks are
ceiling, continuous with the gypsum board wall skin. Since not possible, use special acoustical doors, rated at least
the roof over the Main Rehearsal Room is not continuous STC 40.
5-13
D. Doors
Doors are always the nemesis of sound control planning,
since they depend on the performance of seals that are in
constant operation and thus susceptible to deterioration.
A properly constructed wall will always perform, but doors
depend on frequent adjustment or maintenance of the
seals.
Doors are rated by Sound Transmission Class (STC) as
are other constructions, but STCs achievable for doors are
lower than for similarly complex walls etc., and the best
acoustical doors are expensive. Manufacturers recommend
that door STCs be lower than those for walls. Within
reason, this is correct, because doors generally constitute
a small portion of the wall. A range of doors recommended
for band facilities is described below. For reference, a wood,
solid core, ungasketed door rates about STC 20 (see
also Table 5-1).
● STC 30 + —minimum for Individual Practice Rooms;
also for sound locks (inner door). To achieve this, use
solid wood or fiber-filled metal door, with full gasketing
along all sides including sill and, for double-leaf doors,
where the two leaves meet. Gaskets of various config-
urations are available from most weatherstripping
manufacturers, but they must be compliant (neoprene,
vinyl, etc.) to make an airtight seal. Hollow metal frames
are grouted or packed with insulation. Joints between
frame and wall must be well sealed.
● STC 35 + —preferred for Individual Practice Rooms and
sound locks; minimum for the larger music rooms. Use
either non-proprietary doors as described above, but
with the least possible seals, very well installed and
adjusted, or proprietary acoustical doors rated at least
STC 35. The latter comprise a complete assembly includ-
ing door, frame and seals.
● STC 40 + —preferred for all critical band facility applica-
tions, especially for Main Rehearsal and Group Prac-
tice Rooms, if sound locks cannot be provided. Use propri-
etary acoustical doors rated at least STC 40. Good
Figure 5-12. Sound Lock—Overhead Plan View installation approaching or exceeding STC 50 are thick,
heavy, and very expensive. They may be required in
some cases, but are best avoided by appropriate planning.
Sound locks, shown in figure 5-12, consist of a vestibule
and two doors, and are much more effective than a single
door. Only one of the doors need be gasketed, and even
this is not always essential. Although they take up addi-
tional floor space, sound locks are highly recommended
for the larger music rooms. They offer good performance
without depending on perfect gasketing. With one or both
doors gasketed, their performance could well match that
of the surrounding walls. The inside door, in the sound
lock illustrated, is fully gasketed for best performance. The
glazing should be doubled if the inside door is gasketed,
but may be single if not. The vestibule itself should have
an absorptive ceiling. The vestibule enclosure may be
lighter construction than the heavy outside wall.
5-14
and out. The active leaf in a double door should be a

large door (3’-4” or 3’-6”), so musicians carrying tubas or
other large instruments can pass through easily. The inac-
tive leaf can be smaller so the total opening available through
both leaves is at least 6’-0”.
Figure 5-13. Plan of Music Room Double Doors
5-15
Figure 5-14. Double Door Meeting at Astragal
Figure 5-14 depicts the details where the doors meet. ble vinyl gasket) will grip the active leaf when it closes.
The inactive leaf is fixed with a floor bolt until needed. The The active leaf, since it is shown open, has the drop seal
drop seal is shown down, sealing the door bottom. An raised.
astragal with a magnetic seal (a bar magnet inside a flexi-
5-16
Small fixed windows in acoustical doors (up to one foot

square) may be single-glazed (one pane of glass). For larger
windows in or next to acoustical doors the considerations
from Section E,Windows, should be applied.
An improved quality sound seal is shown in B. The seal

is an attached neoprene bulb seal held in place with a metal
strip. The door is hollow metal, packed with fiberglass
insulation.
In further improvements, Illustration C, the frame is
installed in a wall consisting of both masonry and gypsum
drywall, which is resiliently attached to furring channels
on the masonry. Sealant eliminates any rigid connection
between grout-filled frame and the resilient gypsum. The
stop is an attached metal channel with a projecting neo-
prene strip, applied to a flat jamb.
C. Resiliently attached to furring channels on the

masonry
Figure 5-15. Acoustical Door Frames and Seals
5-17
A raised threshold is most effective for stopping noise, but

it makes moving heavy musical instruments and sound
equipment difficult, and it may be a danger when a large
number of people are using the door in a short time.
Raised threshold seals (Figure 5-16A) are effective for indi-
vidual Practice Rooms. The wood door shown compres-
ses a neoprene bulb sound seal against the wood threshold.
Cam-operated drop seals (5-16 B and C) are recommended
for larger music rooms. The cam is a rod through the door,
which is pushed by the frame when the door closes, and
lowers the seal. When the door opens, the cam is released
and the seal raises by springs. The path over the bot-
tom seal is also closed by a seal that slides against the
A. Raised threshold door side. The moving bar is metal, with neoprene or
felt inserts. Figure 5-16 C shows a cam-operated drop seal
attached to the door, rather than integral as in B. It is
shown in closed position.
Door closers must be strong enough to close the doors
against the resistance offered by all types of compression
seals. All seals should be located in one plane, to elimi-
nate leaks at corners where otherwise adjacent seals may
not meet.
B. Cam operated drop seal built into

door
C. Surface mounted cam operated

drop seal
Figure 5-16. Acoustical Door Bottom Seals
5-18
March 1983
E. Windows
Except on unusually noisy sites (e.g., near airfields), there
is no need for special exterior glazing. Even where such
need exists, remember that an open window (for natural
ventilation) provides zero sound attenuation.
The best acoustical improvement that can be made to a
window is double glazing, with the largest possible space
between the two panes of glass—as much as the wall
thickness permits, but no less than 2 or 3 inches. The two
panes must not be rigidly connected to each other. Either
set the glass in neoprene gaskets, or, if the window is
installed in a double wall, split the frame. The frame area
between the panes should be absorptive. Performance of
the two panes is improved if they are of different
thicknesses, so that sympathetic vibrations are not trans-
mitted from one to the other.
Figure 5-17A shows a hollow metal window frame assem-
bly in a masonry wall. A metal frame packed with fiber-
glass is attached to the masonry, and sealed along its edges.
Other metal “Z” angles are assembled to form a pocket
for acoustical absorption (more fiberglass behind a cloth
screen); and to form channels to hold the glass in neo-
prene gaskets.
The construction in Figure 5-17B deals with the problem
of a double wall, resiliently attached gypsum wallboard on
masonry. This frame is shown in wood, but it can be built
in metal as well. Sealant keeps the frame from firm attach-
ment to the resilient wall (the only structural attachment
being to the masonry). Wood stops form similar conditions
- to that described above.
Windows are no match for the isolation provided by solid
walls. Interior windows should be installed only where abso-
lutely necessary, either for supervision, checking on occu-
pancy or relief of claustrophobic conditions, or to allow
visitors in the Lobby to view functions in the music rooms.
Windows smaller than 1 foot square may be single glass,
whether in walls or doors.
The most critical window installation is between the
Recording/Audio Control Booth and the Main Rehearsal
and Large Group Practice Rooms. Split frames and dou-
ble glazing are recommended. One pane might be lami-
nated acoustical glass; but, in general, ordinary plate glass
of 1/4" to 1/2" is acceptable in this building type.
5-19
F. Lighting and Electrical Systems isolating barriers, they should be well-sealed (to maintain
airtightness) and, if the barrier is resiliently attached, the
Electrical systems must be designed to eliminate noise box or switch must not compromise the resiliency. Figure
from the fixtures themselves, to prevent components and 5-18 illustrates a light fixture hanger passing through a
conduits from transmitting sound from one room to resiliently hung ceiling. The caulked joint around the hanger
another, and to avoid air leaks incidental to installation. rod not only seals the opening but also avoids rigid con-
Ballasts for fluorescent lighting in any music room used tact between the resiliently suspended ceiling and the rod.
for critical recordings should be installed remote from the The resilient ceiling hanger is also shown. An escutch-
room, to eliminate noise. In Individual Practice Rooms, eon is optional to hide the joint.
use A-rated ballasts, which may be located at the fixture.
Any clocks in music rooms should be silent-type.
To avoid conduits becoming conductors of sound, slack sec- 5-3 Noise Control and
tions of flexible conduit should be used where they cross
music room walls which have resilient gypsum wall board
Mechanical Systems
skins. Avoid running power distribution conduits above
music spaces, or across their ceiling plenums. Try to avoid Background noise in buildings is primarily produced by out-
wiring within isolation walls, as the solidity of the construc- door traffic and the building’s own mechanical systems.
tion will be compromised. Wall outlets should never be back Traffic noise is seldom a problem in closed, air-conditioned
to back. buildings, unless they are located along busy streets or
highways, which is not recommended (see 2-5.A.3).
Use of surface mounted fixtures will avoid cutting large holes
in isolation walls and ceilings, although lighting may be The mechanical systems must be engineered for quiet
recessed in the absorbent ceilings that are not part of operation, but preferably so that the noise level is not much
isolation. (Sound-rated suspended ceilings are designed below the applicable NC criteria (see Table 3-1). Bland
for integral lighting without compromising their performance). background noise, at modest levels, helps mask other intru-
If outlet boxes and switches must be recessed into sound- sive sounds, with which even the best sound-isolating
barriers cannot cope. The principal sources of this mechani-
cal system background noise are: the fans that circulate
air; the ducts, including volume control boxes, that distrib-
ute the air; and the diffusers and grilles through which
air enters and leaves the room. Each must be considered
if correct background noise levels are to be achieved.
A. Fan Noise. Fan noise—often a low-frequency

rumble—travels equally with and against the airflow.
Consequently, supply and return air systems merit
equal consideration. The initial noise level (at the fan)
depends on factors such as fan type, capacity (cfm),
and static pressure. In general, the larger the fan, the
noisier it is. The noise is carried by the ducts which,
unless treated, offer very little attenuation. The only
acoustically effective treatments are internal glass fiber
lining (not less than 1” thick) and silencers that can be
inserted in the ducts.
B. Duct Noise. Noise generated in the ducts is due
turbulence caused by sudden velocity changes, sharp
turns, and generally by high air speeds. It tends to be strong-
est in the middle frequencies. The best solution is to mini-
mize duct noise by careful design-by promoting smooth
airflow at moderate velocities-and by inserting adequate
lengths of acoustically-lined duct between points of turbu-
lence (such as volume control boxes) and the room.
In general, ducts between fans and the music rooms they
serve should be of generous length and lined with 1”
fiberglass. In addition, if ducts are of insufficient length, manu-
factured duct-silencers should be inserted. Common ducts
serving several music rooms should be long, with some 90°
bends, and acoustically lined. In buildings served by high-
-pressure, high-velocity systems, pressure and velocity must
be reduced outside the music rooms, i.e. before ducts
penetrate the rooms’ sound-isolating constructions.
Figure 5-19. Duct Penetrations in Sound-Isolating Construction
5-21
Design Guide: Band Training Facilities DG-111O-3-119
The air distribution systems should be so designed that A. Absorptive Finishes

at no point in the building, in any duct, does the airflow
exceed 1500-2000 feet per minute. Absorptive finishes reduce reverbation as well as loudness.
Most are porous (fibrous or cellular), allowing sound to
Airflow velocities in the terminal necks of ducts where they enter the material, where its energy is converted into heat.
-
connect to diffusers or grilles should not exceed 370 fpm Fiberglass board is an excellent example. To be effective,
for NC-25, 450 fpm for NC-30, 550 fpm for NC-35, and 675 such materials must not be too thin—at least 1” —or they
fpm for NC-40. must be backed by an airspace of at least several inches.
C. Diffuser Noise. Noise at the diffusers and grilles— Some absorbers are not porous, but they are thin and free
typically a mid-to high-frequency hiss—also is caused by to vibrate in response to the sound. For example, thin
turbulence as air is forced through restricted openings. wood paneling (or even furred gypsum board) vibrates and
It is exceedingly velocity-dependent: a doubling of airflow thus, by resonance, absorbs sound. However, resonant
through a given device will increase the noise level by absorbers are much less efficient and their absorptivity is
15 to 20 decibels. The only acoustically safe approach is limited to the low frequencies.
to use oversized diffusers and grilles with large free area, Absorptivity is commonly given by the material’s Noise
without integral volume control dampers, straighteners, or Reduction Coefficient (NCR*). But like the STC (for
equalizing grids. Diffusers and grilles serving music rooms isolation), it does not indicate low-frequency performance,
should not incorporate volume control dampers. If required, which is of considerable interest in the design of band
these are best located at the branch duct takeoffs, rooms. It can be used as a guide, but with this important
because their noise will then be attenuated by the acousti- qualification: every room should have at least one major
cally lined ducts. surface that not only has a high NRC (0.60 or more), but
D. Existing Systems. Mechanical systems should always also absorbs low-frequency sound. Most typically, this
be designed to meet the recommended criteria. If existing requirement is met by using a suspended (not glued-on)
systems are involved, their noise levels should be mea- acoustic tile or lay-in ceiling. The low-frequency absorp-
sured and the feasibility of reducing any excess noise should tivity, by resonance, of any furred wall is not enough. Low
be investigated. frequency absorption can also be provided by a large
air space behind wall mounted panels, as in the corner treat-
E. Equipment Location. All major equipment should ment illustrated in Figure 5-20.
be located remote from the active music rooms. Fans,
pumps, compressors, etc. are best located on-grade,
where they can be more easily vibration-isolated. Mid-span
locations on long-span structures are unacceptable. All
rotating, reciprocating, and vibrating equipment must be resil-
iently supported or hung. All their connections to the build-
ing structure must be resilient; and ample static deflection
—up to several inches in the most critical cases—should
be specified.
F. Penetrations of Sound-lsolating Construction. Penetra
tions through sound-isolating walls and ceilings must be
perfectly sealed. The annular openings around ducts and
pipes should be either grouted solid or sealed with a non-
hardening sealant (see Figure 5-19).
5-4 Room Acoustics

Achieving satisfactory room acoustics for practice and
rehearsal is a complex matter. As discussed in 3-5.C,
the concerns include loudness and reverberation control,
clarity and communication among the members of an
ensemble, and avoidance of certain unwanted effects. Ade-
quacy in all these respects is difficult to define, since indi-
vidual musicians and bandleaders have their own standards
of reference, often based on past experience in rooms
that may or may not have been to their liking. The follow-
ing paragraphs describe the means of achieving results
that should satisfy most users of the facility.
5-22
Typical NRC’s of various finishes and treatments are given tains affords acoustical variability.
in Table 5-4. Specific materials suitable for music prac- ● A wide variety of acoustical ceilings, made of mineral
tice and rehearsal rooms are described below. fiber, fiberglass, as well as fiber-backed perforated
● Semi-rigid fiberglass board, 1” to 2" thick, covered metal. These should always be suspended at least a
by a sound-transparent material such as cloth, perfora- foot below the solid deck or ceiling, to enhance low-
ted vinyl or metal, or an open mesh or screen. frequency absorptivity.
● A similar detail to the above, made of fiberglass batts,
The basic guidelines regarding placement of absorptive
or if a dark finish is desired, of fiberglass duct liner materials are: (1) always treat the ceiling, most usually
board. (Batts are also very effective if placed behind with suspended acoustic tile; (2) always treat at least
fiberglass board, to increase the treatment’s thickness the equivalent of one wall, but preferably spread the treat-
to 3" or 4".) ment over several walls; (3) if any two walls are parallel,
*The Noise Reduction Coefficient (NRC) is the arithmetic treat one or both so that no major opposite and parallel sur-
average of a material’s sound absorption coefficients in the faces remain hard. In general, this will assure a sufficient
octave bands centered at 250, 500, 1000 and 2000 Hertz, quantity of absorptive material (for loudness and reverbera-
rounded off to the nearest multiple of 0.05. tion control), a fair state of diffusion in that the absorb-
● Wood-fiber panels such as “Tectum”, backed by at
ers are distributed throughout the room, and adequate flutter
least 1-1/2” batts, since such panels alone are not control.
very efficient. Floors may be carpeted, but do not need to be. As indi-
● Heavy—typically velour-curtains, draped to one-half cated in Table 5-4, carpet is a poor absorber. Adding it
to two-thirds their flat area, and heId 6" or more off to the other, required absorbers (on the walls and ceiling)
the wall. As noted earlier, the movability of such cur- will afford little additional control.
Table 5-4 Approximate Acoustical Absorptivity of Room Finishes and Treatments

NRC*
Floor Finishes:
All hard and rigid finishes 0.05
Wood on joists 0.10
Average glue-down carpet 0.25
Thick carpet without underpad 0.35
Thick carpet with underpad 0.45
Wall Finishes:
Brick, drywall, etc. 0.05
Painted concrete block 0.10
Unpainted concrete block 0.25
Medium-weight curtains 0.45
Tectum or similar (average) 0.50
Heavy curtains 0.60
Mineral fiber wall panels 0.60
Glass fiber wall panels (1”) 0.75
Tectum over glass fiber 0.80
Glass fiber wall panels (2”) 0.90
Ceiling Finishes:
Concrete, steel deck, etc. 0.05
Suspended plaster or drywall 0.05
Wood boarding 0.10
Mineral fiber tile - minimum 0.50
Fibrous spray (1”, well applied) 0.65
Acoustical deck systems (average) 0.65
Mineral fiber tile - maximum 0.80
Well-perforated metal pan with insulation 0.85
Glass fiber ceiling board 0.90
*Higher number indicates better performance. See 5-4.A for definition of NRC.
5-23
Design Guide: Band Training Facilities
DG-1110-3-119
Practical Approaches for Accoustic Construction
March 1983
Figure 5-21. Room Acoustics in Main Rehearsal Room
B. Room Shape The floor is flat and bare, allowing great flexibility in the
arrangement of band personnel. The ceiling is largely
The shaping of rooms for band practice and rehearsal
was discussed in 3-5.C. In summary, the basic recommenda- absorptive—at all frequencies including the lows, because
tions regarding room shape are: (1) avoid perfectly square it is suspended over an airspace. The reflective inserts in
or cube-shaped rooms, especially when designing small the ceiling (minimum 4’ x 4’ each) help players hear each
music rooms; in other words, let the principal dimensions other and also blend the sound as heard by the bandleader.
be unequal; (2) if possible splay one or more of the major Assuming part of one major wall (usually the front wall)
surfaces, although with proper absorptive treatments, this is covered by chalk or tack boards and thus must remain
is not always necessary; (3) avoid concave shapes that will reflective, the opposite wall is permanently absorptive.
focus sound; (4) be generous with size, specifically with Mounting the absorptive panels several inches off the wall,
ceiling heights. as noted, or backing them with batt insulation, which will
add thickness to the treatment, increases absorptivity. The
C. Main Rehearsal Room remaining walls—splayed in this example—can be cov-
ered with curtains or remain exposed, to suit acoustical
The design shown in Figure 5-21 illustrates the major room preferences. The curtains could also cover the chalkboard
acoustics design issues for Main Rehearsal Rooms. This if more absorption is required. Note that the curtains prefera-
space combines ample height with non-rectangular geome- bly should be sewn in individually movable panels, each
try and incorporates fixed as well as variable absorbers. up to 10’ wide when extended. This permits locating cur-
5-24
tains anywhere along a track, without necessarily cover-

ing a whole wall.
Attention should be paid to the durability and maintainabil-
ity of materials. As shown in Figure 5-21, the wall treat-
ments extend almost down to the floor, which they must,
because otherwise there would be a zone of uncontrolled
reflections between the lower, untreated walls. This
requires particularly durable facing over the fiberglass panels.
Curtains can be replaced more readily than panels but
if their durability is a real concern, their extent could be lim-
ited from the track (at or near the ceiling) down to about
7’ above the floor. In such a case, fixed treatment may be
required on the lower portion of the wall.
D. Group Practice Rooms

The recommended treatment of Group Practice Rooms
falls in between that of Main Rehearsal, described above,
and Individual Practice, which follows. Large Group Prac-
tice Rooms should be similar to Main Rehearsal Rooms,
except reflective inserts in the ceiling normally are not
required. Curtains for variability remain advisable. Small
Group Practice Rooms might more resemble Individual
Practice, with no or minimal acoustical variability.
E. Individual Practice Rooms

The recommended treatment of Individual Practice Rooms
is a smooth, hard floor, with a suspended acoustic tile
ceiling. Some wall treatment is recommended regardless
of room shape; and it should be at least 4’ high, starting
about 2’-6” above the floor, which puts it in the height range
of musicians’ instruments and ears. The fist rule in locat-
ing the treatment is to eliminate flutter, as described in Fig-
ure 5-22. Although distribution across several walls is
desirable for improved diffusion, Individual Practice Rooms B. Flutter treated with absorption and
are generally too small to allow a “patchwork” of reflec- a splayed wall
tive and absorptive surfaces.
It should be remembered that some ceiling materials only
absorb sound. These include fiberglass lay-in panels,
which are extremely absorptive (NRC 0.90). If, however,
the suspended ceiling also must attenuate sound (for
example, if it is hung below a continuous deck), then the
choice is limited to attenuation-rated tiles and panels,
which are made of mineral fiber, often foil-backed. They
are less absorptive (NRC 0.60), but still adequate in most
cases.
Prefabricated practice modules require no additional
treatment. Their design incorporates ample areas of very
absorptive finishes—most typically, perforated metal over
several inches of fiberglass. Because of this and because
of their confined size, they are even more “dead” than
conventionally built practice rooms, treated as recommended.
C. Corner echo eliminated with absorp-

tion; flutter eliminated with wall
splays
Figure 5-22. Absorption and Room Shape to Treat

Acoustical Problems
5-25
March 1983 Space Criteria
Chapter 4:
Space Criteria
Contents page
4-2 Main Rehearsal Room 4-2
4-3 Group Practice Rooms 4-4
4-4 Individual Practice Rooms 4-5
4-5 Recording/Audio Control Booth 4-8
4-6 Library 4-9
4-7 Offices 4-9
4-8 Individual Instrument Lockers/
Instrument Cleaning 4-10
4-9 Day Area 4-14
4-10 Toilets/Lockers/Showers 4-14
4-11 Unit Supply/Storage/Instrument Repair 4-16
4-12 Lobby and Circulation 4-17
4-13 Maintenance and Mechanical Spaces 4-19
4-14 Arms Room 4-19
4-15 Mail Room 4-19
4-16 Outdoor Spaces 4-20

This chapter contains the detailed design criteria for all the
spaces included in the Band Training Facility. These pro-
vide the spatial descriptions and performance requirements
to meet the functional requirements discussed in Para-
graph 2-3, Functional Program. For each individual space,
this chapter presents a use description, size requirements
and critical dimensions, spatial characteristics and organi-
zation, relationships, furnishing and equipment require-
ments (as essential to the built space design and function-
ing), and technical recommendations.
Equipment and Technical criteria are presented only
where requirements are special for band facilities, not where
common architectural practice for general-purpose struc-
tures is to be followed. Further details on acoustical design
criteria, particularly applicable to the music spaces, are
found in Paragraph 3-5 and Chapter 5. A summary list of
the spaces included and their recommended square foot
areas is found in Table 2-1.
These individual space criteria are to be used primarily
in the development of the Concept Design and Final Design
for the band facility by the contract architect/engineer.
They will also be useful to the Bands personnel, Facility
Engineers and District Engineers in setting the design
requirements for the architect to meet, and in reviewing the
design submissions for compliance.
4-1
Space Criteria March 1983
4-2 Main Rehearsal Room ● Average ceiling height of 20’-30’ is recommended; 15’
is an absolute minimum. No musician should stand within
7-1/2" of the ceiling. (Heights of less than 18’ should
A. Use be considered only if a minimum volume of 600 cu. ft.
per musician is maintained.)
(see also the Functions Program in Paragraph 2-3).
The Main Rehearsal Room must be large enough to ● Avoid long, narrow rooms, since good visual communica-
accommodate a full 45- or 65-person band, as tion with the director is impossible if the rooms are
applicable, plus approximately five soloists perform- either excessively wide or deep,
ing with the ensemble. Space should be adequate for ● Minimum recommended dimension: at least 30 feet for
alternative arrangements of musicians, for training a 1,575 Net Square Feet (NSF) room, 40 feet for a 2,275
and for recording set-ups.
NSF room. (see Figures 4-1 A&B)
Occasionally used for small group practice, but mainly
for concert, marching band, stage band and chorus C. Spatial Character and Organization
rehearsals and full unit meetings.
● Large room volume is required to control loudness of
Often accommodates large instruments (e.g., piano, sound for good room acoustics. Design to accommo-
percussion), even when not being used. These must
date the percussive and brass-heavy quality of the band,
be able to easily be moved out to other use spaces.
so that the musicians can hear themselves and each
Bandmaster should have good visual communication with other (see Paragraph 3-5 on acoustical principles).
all members of the group and be able to hear and iden-
tify problems of individual instrumentalists. ● Enhance clarity of sound by minimizing reverberation time,
although not at the expense of room volume.
B. Size and Critical Dimensions
● Splayed walls are beneficial for sound diffusion, although
● 1,575
NSF for a 45-member band; 2,275 NSF for a parallel walls can be used, with appropriate treatment
65-member band. of surfaces (see Chapter 5).
Figure 4-1. Illustrative Main Rehearsal Rooms A. 45 person new construction example
4-2
● Light and spacious in character-windows for natural light E. Furnishings and Equipment
are advisable, although glazing must be carefully con-
trolled to avoid glare and to be acoustically sound. ● Permanent risers should not be used. Portable risers pro-
vide flexibility to accommodate marching bands, con-
D. Relationships cert or show bands, and smaller groups, in different
configurations as required for different rehearsal and
(see also Paragraph 3-4) recording activities. The average riser width should be
● Particularly convenient to Unit Supply/Storage, Library 60” (48” is adequate for wind players); top riser should
and Loading Dock. be 120” wide. Risers should ascend in 6" to 8" steps,
and should be placed so the space in front of the room
● Avoid adjacency with other music spaces—wherever is adequate for good sound mixing.
possible use storage (or other spaces in which sound ●
Large instrument storage may be useful in the Main
isolation is not critical) as a buffer. Rehearsal Room, but is inaccessible during rehearsals.
● Must be immediately adjacent to the Control Room, with ● A podium should be provided; recommended 2 1/2' to 3’
good eye-level view between the band-master and the square and 8' high.
recording/audio control operator. ● Chairs should be non-folding.
● Easily accessible from Main Entrance and Loading Dock, ● Music stands: 45 for 45 person band; 65 for 65 person
since this is a high-volume traffic area. band.
B. 65 person new construction example
4-3
● Chalkboard, with chalk tray; 4’ x 8’ recommended. ● Glazing recommended in or adjacent to room doors, so
● Heavy curtains and tracks to permit acoustical variabil- people outside can see in without disturbing activities in
ity (see 4-2.F.2). session.
● Silent-type wall clock required. ● Flourescent lighting must have remote ballast.
● Fire alarm system should have flashing light and alarm
F. Technical Recommendations in all music rooms.
(see also Chapter 5). ● If doors to outside are provided, they shall be equipped
with panic hardware.
1. Sound Isolation.
● One set of double doors are required for movement of
● Carefully locate (and limit) weak points in the acoustic grand piano. See 5-2D for recommended configuration.
separation such as doors and windows.
● Use fully gasketed or proprietary acoustical doors (suggest
STC 40), or provide sound locks. 4-3 Group Practice Rooms
● Double glaze any interior windows (as those to the Con-
trol Room); space the two panes several inches apart. A. Use
● Single story, slab-on-grade construction is the most eco- (see also Paragraph 2-3).
nomical way to provide sound isolation. ● One Large Group Practice Room must be large enough
● Heavy masonry wall construction is greatly preferable to accommodate rehearsal and practice sessions of a
to stud wall construction. Double wall, with cavity, rec- 20-25 person Stage Band, or smaller groups or
ommended between music spaces, if adjacent. sections.
● Avoid the use of natural ventilation, since it precludes ● Small Group Practice Rooms should accommodate
sound isolation and the humidity control necessary to store groups of 8-12 people each.
instruments properly. ● Access for large instruments must be provided to all of
● Acoustically lined sheet metal ducts for supply and return the Group Practice Rooms. The rooms should be able
air, sized for adequately low velocity to achieve NC-25. to accommodate a grand piano and possibly large per-
● Perfectly seal all joints and penetrations to make the room cussion instruments.
virtually airtight. Even small leaks admit sound. B. Size and Critical Dimensions
● Avoid rigid paths for sound transmission, such as electri- ●
cal conduit. Use non-metallic conduit at music room Large Group Practice Rooms - 700 NSF.
walls. No outlets back-to-back. Where resiliently sepa- ● Small Group Practice Rooms - 300-350 NSF each.
rated double constructions are used, do not bridge them ● Average ceiling height of 18’ is recommended; 15’ is abso-
with rigid ties. Even minor ties, unless resilient, impair lute minimum.
isolation. ● Length, width and height should not be equal to each
2. Room Acoustics. — other, nor should they be multiples of each other. Inte-
gral room dimensions - i.e. length:
Inadequate volume is a pervasive problem in rehearsal
width: height ratios of 1:1:1, 3:2:1, etc. - are conducive
rooms; see 4-2.B, Size and Critical Dimensions.
to a clustering of standing waves. Such rooms tend
Apply extensive amounts of sound absorbing material to “sing” disturbingly in response to specific sounds that
that is effective over a wide frequency range, includ- match the pitch of the standing waves. This problem
ing the low frequencies (at and below 125 hz), Absorp- is confined to smaller rooms, and is not a consideration
tive material should not be limited to the ceiling but in the Main Rehearsal Room.
should be applied to the walls as well. Movable curtains ●
Large Group Practice Room proportions, in plan, should
afford acoustical variability. (See Paragraph 3-5 and
be elongated rather than roughly square, for rehearsal
Chapter 5 for details).
of Jazz Bands in straight-line rows. (see Figures 4-2
Make the ceiling partially reflective. Typically, use sus- A & B, and Figures 4-3 A & B)
pended acoustic tile, but over approximately one-half of
the ceiling area, centered in the room, make a 50-50 C. Spatial Character and Organization.
checkerboard (minimum 4’ x 4’ modules) of hard and
absorptive materials. For example, insert gypsum board ● Large room volume is required to control loudness of
in the ceiling grid. Note that this will limit the hard areas sound, for good room acoustics and to protect person-
to approximately one-quarter of the ceiling area. nel from hearing damage (see Paragraph 3-5).
● Splayed walls are beneficial for sound diffusion, espe-
Other.
cially in the Large Group Practice Room. Parallel walls
● Avoid carpet in the rehearsal room – it has little acoustic can be used, with appropriate surface treatments (see
effect and may be a maintenance problem (hard- Chapter 5).
surfaced floors are generally preferred). ● Windows for natural light are desirable, although glaz-
● Lockable doors required, with good-quality hardware, for ing should be used with care to avoid glare and to be
security of expensive instruments. acoustically sound.
4-4
● Heavy curtains on suitable track for acoustical variabil-

ity (see 4-2.F.2).
● Silent-type wall clock required,
● Preferably not adjacent to Main Rehearsal Room or other F. Technical Recommendations

Group or Individual Practice Rooms. Definitely no direct
All of the technical issues in 4-2.F, for Main Rehearsal
door into another music room.
Rooms, apply to the Group Practice Rooms, with the fol-
● Convenient to Main Rehearsal Room, Unit Supply/ lowing modifications:
Storage, and Loading Dock in order to facilitate move-
● Design the ventilation system for a maximum background
ment of heavy instruments.
noise level of NC-30.
● Large Group Practice Room should be adjacent to the ● Partial reflectivity of the ceiling may be unnecessary.
Control Room, if possible, with eye-level view between
bandmaster and recording/audio control operator.
● Preferable directly accessible from Lobby. 4-4 Individual Practice Rooms
● Instrument Locker area should be easily accessible.
● Practice room door should never open onto the rehearsal
A. Use
room. (see also Paragraph 2-3).
● Individual Practice Rooms accommodate between 1 and
E. Furnishings and Equipment. 4 people, practicing the full range of instruments in the
● Group practice Rooms should include space for a studio- band. Sizes of rooms should vary to meet the range—
size piano. most for 1-2 people, some for 3-4.
● Provide chairs and music stands for numbers of musi- ● Individual Practice Room should accommodate an upright
cians to be accommodated. piano, in addition to personnel.
● Chalkboard, with chalk tray; 4’ x 4’ recommended. ● Access for large instruments should be possible.
4-5
B. Size and Critical Dimensions ● For 45 person bands, provide a total of 8-10 individual
Practice Rooms, 2-4 Large and 6-8 Small.
● Large Individual Practice Rooms (for 3-4 people)-80- ● For 65 person bands, provide a total of 12-15 Individual
125 NSF, each.
Practice Rooms, 3-6 Large and 9-12 Small.
● Small Individual Practice Rooms (for 1-2 people)-55- ● Minimum recommended dimension: at least 8 feet for
65 NSF, each.
Large; 6 feet for Small.
● Length, width and height should not be equal to or inte-
gral multiples of each other, to avoid standing waves,
as discussed in 4-3.B. (see Figures 4-4 A, B & C)
C. Spatial Character and Organization

● Either splayed wails or rectangular shape can be used,
with appropriate surface treatments (see Chapter 5).
● A window for natural light is desirable, although glazing
should be used with care to avoid glare and noise from
outside.
● Should not feel cramped; this can make it psychologi-
cally difficult to play with force.
D. Relationships
(see also Paragraph 3-4).
● Particularly convenient to Individual Instruments Lockers.
● Locate within “private” zone of building, away from Lobby

and public view.
● Preferably not adjacent to the larger music rooms
(adjacency to other Individual Practice Rooms is
acceptable).
Figure 4-3. Illustrative Small Group Practice Rooms

A. 45 person new construction example
Figure 4-4. Illustrative Individual Practice Rooms

B. 65 person new construction example A. 45 person new construction example
4-6
B. 65 person new construction example
● Individual Practice Rooms should accommodate an upright

piano, in addition to personnel.
● Provide at least one chair and music stand in Small
Individual Practice Rooms, and three in Large.
● Silent-type wall clock required.
F. Technical Recommendations
All of the technical recommendations in 4-2.F, for Main
Rehearsal Rooms, apply to Individual Practice Rooms,
with the following modifications:
● Use fully gasketed doors, or proprietary acoustical doors
rated STC 35.
Small interior windows or viewing ports (up to 1 sq. ft.)
need not be double-glazed.
● Double masonry walls between adjacent practice rooms
may be prohibitively expensive. See 5-2.A for alternatives.
noise level of NC-35. C. 45 person renovation example
4-7
——
● Do not provide curtains; use fixed sound-absorbing treat-

ments only.
● Make the ceiling wholly absorptive.
● Fluorescent ballasts need not be remote, but should be
A-rated for least noise.
● Consider the use of prefabricated sound modules, of vari-
ous sizes, particularly in renovation projects. These are
fully self-contained, acoustically isolated practice
spaces, with integral lighting and mechanical systems,
provided by various manufacturers. This approach
insures flexibility and quality control in construction.
● Single doors are adequate for Individual Practice Rooms.
4-5 Recording/
Audio Control Booth
A. Use
● TO make recordings of the full band or ensembles, mainly
for internal use (instruction or other Army activities)
and for promotion or recruiting purposes.
● Not a professional-quality studio.
● Most recordings are taped; although records are also

sometimes cut. Figure 4-5. Illustrative Recording/Audio Control Booth
● Should have a normal playback capability.
● Continuous work surface counter along both walls adja-
B. Size and Critical Dimensions cent to music rooms.
● 2 chairs, minimum.
● 250 NSF for both 45 and 65 person bands.
● Tape and equipment storage.
● Minimum width: 9 feet. (see Figure 4-5)
● Silent-type wall clock.
C. Spatial Character and Organization ● Fire extinguishers suitable to deal with the high voltage
electrical service and multiple outlets installed in the room.
● Should be laid out to accommodate equipment and work
space on both sides of an aisle, for recording opera-
tions facing into both of the adjacent music spaces.
(see also Chapter 5).
D. Relationships ● Superior isolation required between the Control Room
(see also Paragraph 3-4). and the adjoining rooms. Most of the technical recom-
● Adjacent to Main Rehearsal Room and, preferably, Large
mendations in 4-2.F.1 apply.
Group Practice Room. ● For room acoustics, provide an absorptive ceiling and
● Provide window for good, eye-level visual access between

also treat any major wall areas (above desk height)
that are not covered up by equipment.
the control room operator and bandmaster in each of the
● The room should be adequately ventilated, but noise lev-
music rooms.
● Provide electronic verbal communication with the music
els should not exceed NC-25.
rooms. ● Provide separate zone in heating and cooling system,
to deal with high heat production of recording equipment.
E. Furnishings and Equipment ● Lockable doors required, with good quality hardware, for
security for expensive equipment.
● 8-16 track control/mixing board.
● Extensive electrical outlets must be provided and conve-
● Amplifiers. niently located along walls for the current and potential
future electronic equipment (see 3-6.D).
● 2 tape decks.
● Flourescent lighting must have remote ballast.
● 2-3 pairs of speakers. ● Fire alarm system should have flashing light and alarm
● Videotape equipment. in Control Room.
4-8
4-6 Library C. Spatial Character and Organization.

● A well-lighted storage area, preferably with some natu-
A. Use ral light available at the work stations (or desks) for
the library administration and arrangers/copiers.
Primarily a storage and retrieval area for multiple cop- D. Relationships
ies of concert-size and marching band-size music; also
for reference books and training materials, and phono- (see also Paragraph 3-4)
graph records. ● Central location to all activity-areas of the band facility.
Used for layout, distribution and collection of music for ● Particularly proximate to Main Rehearsal and Group Prac-
performances, rehearsals, group and individual practice. tice Rooms, for convenient music distribution.
Used for sorting, cataloging and maintenance of music, ● Glazed connection to Lobby, if possible, for views for band
as well as music arrangement and copying. personnel and visitors.
Provides work space needed for library administration.
E. Furnishings and Equipment
● 24 legal-size file cabinets (for band and orchestra scores)
● 500 NSF for a 45 person band; 640 NSF for a 65 perfor 45 person band; 35 file cabinets for 65 person band.
son band. Two to three electronic file systems may be used instead
● Minimum dimensions should be least 15’, for work space of file cabinets for storage of scores.
and storage on both sides with a generous aisle space. ● 25-30 lineal feet of bookshelf for closed cabinet storage
(see Figure 4-6) for 45 person band; 35-40 lineal feet for 65 person
band.
● Several sorting racks with 5 or 6 slanted shelves each.
● Rolling racks or wall slots for distribution of sheet music
to band personnel.
● Tables or other work surface, for music layout and
organization.
● 4 work stations with desks.
● Copying machine.
4-7 Offices
A. Use
(see also Paragraph 2-3)
● Provides offices for the administrative activities of the
Bandmaster (Commander), Associate Bandmaster (for
65-member band only), Enlisted Bandleader, and
Non-Commissioned Officers/Performance Group Leaders.
● A general office area provides work stations and stor-
age for general administrative activities, including
operations, scheduling and transportation, training,
personnel, re-enlistment, information, clerical, etc.
● The Charge-of-Quarters desk, opening directly onto the
Lobby, accommodates reception and control functions
for the Main Entrance and whole facility.

For a 45 person band: Commander—200 NSF; Enlisted
Bandleader—150 NSF; NCO/Performance Group
Leaders—210 NSF; Administration and Operations/
Transportation—425 NSF.
For a 65 person band; Commander—200 NSF; Associ-
ate Commander—150 NSF; Enlisted Bandleader—150
NSF; NCO/Performance Group Leaders—280 NSF;
Administration and Operations/Transportation—575 NSF.
Figure 4-6. Illustrative Library Plan (see Figures 4-7 A & B)
4-9
Figure 4-7. Illustrative Offices Plans

A. 45 person new construction example
C. Spatial Character and Organization E. Furnishings and Equipment
● Offices and administrative spaces should be pleasant and ● Commander, Associate Commander and Enlisted
quiet, with an attractive outlook and plenty of natural light. Bandleader Offices should be equipped with a desk, chair
Officer, NCO and Band-leader spaces should each be and storage areas.
separate, closeable office rooms. Access to them should ● NCO/Performance Group Leaders should have 3 desk-
be after passage through the General Administrative spaces for a 45 person band; 4 for a 65 person band.
area. ● Administration and Operations/Transportation Offices
● General Administration Office should be distinctly subdi- should have 4 desk-spaces for a 45 person band; 6
vided into two areas, for Administration and for Opera- for a 65 person band. Workspaces should be partitioned
tions/Transportation. or partially partitioned for privacy.
● CQ desk should be effectively in both the Administra- ● CQ desk built-in to counter between Lobby and Admini-
tive Office area and the Lobby space. strative Office, with window opening and roll-up security
grille.
D. Relationships ● Bulletin board for band information and internal com-
(see also Paragraph 3-4) munications. Separate bulletin boards for each individ-
ual performance group are desirable.
● Administrative area should have direct access from the
Main entrance, without going through the “private” zone
of the facility.
● Offices should be shielded form the noisy “private” band
4-8 Individual Instrument
personnel spaces, especially Individual Instrument Lock- Lockers/Instrument Cleaning
ers and Day Area, and the sound-producing music rooms.
This can be achieved by non-adjacency and/or com- A. Instrument Storage Requirements
pletely enclosing partitions of a suitably high STC rating.
● CQ desk must have direct overview of the Main Entrance,
-General
Lobby, Individual Instrument Lockers and Day Area. Over- Instrument storage requirements will vary for each band,
view of the service entrance and doors to Unit depending on the individual commander’s preferences
Supply/Storage and Main Rehearsal Room is also regarding how many instruments are issued to the musicians,
recommended. versus how many are kept in the central storage area
4-10
Space Criteria
1 bassoon
2 oboes
14 clarinets
8 saxophones
6 snare drums
1 accordion
2 guitars
See the balance of this Paragraph 4-8, for storage space
requirements for these instruments.
2. Non-Issued Instruments. Instruments kept in the
Storage room until required generally include duplicates
for bad-weather use, or large instruments, or those for very
occasional use by other than the marching band:
9 trumpets
1 euphonium
1 french horn
4 trombones
1 tuba
3 bass viols
2 flutes
2 piccolos
1 bassoon
1 english horn
16 clarinets
5 saxophones
1 electric piano
5 snare drums
See Paragraph 4-11 for storage space requirements for
these instruments.
3. Stationary Instruments. Instruments which are gener-
ally left locked in the Main Rehearsal and Practice Rooms
because of their large size, but which may at times be kept
in Storage, include:
upright pianos
grand piano
4 sousaphones/tubas
4 tympani
vibes
xylophone
6 drums, of various sizes
Smaller percussion instruments (gourds, gongs, congas,
marimba, etc.) can be stored in a large cabinet on wheels,
and either rolled into the Storage area or left locked in
the Main Rehearsal Room.
B. Use
Space use for Individual Instrument Locker/Instrument Clean-
ing (see also Paragraph 2-3):
● Storage of issued instruments in individual lockers appro-
priate to the size of the instrument issued.
● Cleaning of instruments by band personnel themselves.
C. Size and Critical Dimensions

● IndividualInstrument Lockers: 520 NSF for a 45-mem-
ber band; 680 NSF for a 65-member band.
● Instrument Cleaning area: 75 NSF for either size band.
4-11
Lineal feet of individual lockers: for a 45 person band - E. Relationships

approx. 64 ft. x 28 in. deep x 4 ft. high; for a 65 per-
son band - approx. 92 ft. x 28 in. deep x 4 ft. high. Some (see also Paragraph 3-4)
of these may be stacked on top of each other, reduc- ● Individual Instrument Lockers should be centrally located
ing the total lineal feet on the floor. See F. Furnishings and conveniently accessible to all rehearsal and prac-
and Equipment, below, for illustrative storage module tice rooms, and building entrances, but particularly close
system for these lockers. to the Individual Practice Rooms, Toilets/Lockers/
● Instrument Cleaning requires at least 10 lineal feet of Showers, and Day Area, as discussed in 3-4.C.1.
2-foot-wide counter space. (see Figure 4-8) ● This space must be visible from the CQ; therefore, it
must be directly off the Lobby.
D. Spatial Character and Organization ● Individual Instrument Lockers are part of the “private”
● The Individual Instrument Locker area must provide zone of the facility (see 3-4. B). They should be shielded
convenient access to all lockers and adequate space from visitors’ and outsiders’ views, to maintain as much
to open lockers and instrument cases and set down of a sense of privacy as possible, within the constraints
instruments, either on top of the 4-foot-high lockers of the need for CQ visibility, above.
or on tables provided. ● Instrument Cleaning should be adjacent to or within the
● The locker room can also serve as part of the circula- Individual Instrument Locker area.
tion system to the related “private” areas.
● Instrument Cleaning should be a part of or a close
F. Furnishings and Equipment
adjunct off the individual Instrument Locker area. ● Supply built-in or modular units, for issued instrument
storage, that are well ventilated, secure cabinets of
wood or metal.
● Individual Instrument Storage Lockers for the instru-
ments for a 45 person band (see Subparagraph 4-8.A,
above), can be provided by approximately 16 stan-
dard 4-foot-square by 28-inch-deep modular cabinets.
These standard, prefabricated modules are divided
into compartments of different sizes, available in many
combinations, designed to accommodate the full range
of band instruments. Table 4-1 shows a typical array _
of the numbers of compartments of the different sizes
which can accommodate a 45 person band’s instruments.
This array of compartments would require 16 modules
to provide the numbers of each indicated. Figure 4-9
illustrates a section of this storage array, with instru-
ment locations indicated. This array is illustrative only,
and may vary for each band.
● A surface for setting down instruments while removing
them from their cases must be provided near the lockers.
If lockers are stacked double-height, counters or table
should be provided. If lockers are single-height, their
tops can be used for this purpose. This resting sur-
face should be carpeted or padded and fabric-covered
to protect instruments.
● Instrument Cleaning area requires a deep, stainless steel
laundry-type sink for washing instruments, with counter
space on either side for laying-out and cleaning, drying
and polishing parts.
G. Technical Recommendations
● Individual Instrument Storage must be well-ventilated,
tive humidity of 35-40%,

● Individual Instrument Lockers must be lockable with
secure hardware, with individual keys or combinations.
● Instrument Cleaning area must have water resistent, eas-
ily cleaned surface materials, such as ceramic floor tile
Figure 4-8. Illustrative Individual Instrument Locker Area. and epoxy-painted wall finish.
4-12
Table 4-1 Typical Modular Instrument Storage System for 45-Person Band
Compartment Compartment Number Instruments

Type Dimensions Required Accommodated
A.
B.
c.
D.
E.
F.
G.
4-13
Space Criteria
4-9 Day Area

A. Use
● Used during breaks in the practice schedule as a place
to gather, relax, play pool or ping pong, have snacks
and drinks.
● May be used by only a few people or by a large part of
the group at one time.

● 640 NSF for a 45 person band; 860 NSF for a 65
person band. (see Figure 4-10)
C. Spatial Character and Organization

● Should have plenty of daylight and a pleasant outlook.
● Should be comfortable, relaxing environment; removed
from music practice “work” atmosphere.
● Should, if possible, be subdivided into two sub-areas:
one more quiet, for lounging and reading; the other
for noisier activities and games.
D. Relationships
● Easily accessible from Individual Instrument Lockers
and Toilets/Lockers/Showers.
● In “private” zone of facility, shielded from visitor intrusion.
● Visible, in part, from CQ desk, including the door to the

Patio.
● Direct access to Outdoor Terrace or Patio, for recre-
ation and relaxation.

● Furnished with comfortable chairs, coffee tables,
games tables, and chairs, pool table and/or ping pong
table, magazine rack.
● Tackboard for announcements, communication; 4’x4’
recommended.
● Vending machines. Figure 4-10. Illustrative Day Area Plan
● Kitchenette, with counter, sink, small refrigerator, cof-
fee machine, storage, etc., within or adjoining the Day ●Individual uniform storage.
Area, if possible. ● Uniform pressing, by band personnel themselves.

4-10 Toilets/Lockers/Showers ● For a 45 person band, Men’s dressing area, with at least
40 lockers, 4 toilets, 4 lavatories, 2 urinals, 4 show-
A. Use ers and 2 uniform presses - 880 NSF.
For a 45 person band, Women’s dressing area, with at
(see also Paragraph 2-3) least 10 lockers, 2 toilets, 2 lavatories, 2 showers and
● Showering and changing uniforms before, after and, 1 uniform press - 450 NSF.
sometimes, in-between performances and rehearsals. For a 65 person band, Men’s dressing area, with at least
● Toilets used by all band personnel, including those in 58 lockers, 5 toilets, 5 lavatories, 3 urinals, 5 show-
administration, plus visitors. ers and 2 uniform presses - 1200 NSF.
4-14
● For a 65 person band, Women’s dressing area with at C. Spatial Character and Organization
in-order to provide space for dressing and an aisle. (see also Paragraph 3-4)
● Uniform pressing machines require a clear space 6’x6’ . Toilet/Lockers/Shower area should be most closely
each. (see Figure 4-11) associated with Individual Instrument Lockers, for
Figure 4-11. Illustrative Toilet/Lockers/Shower Plan
4-15
Table 4-2 Recommended Toilet/Shower Fixture Counts*
45 person 65 person
Men Women Men Women
Water Closets 4 2 5 2
Lavatories 4 2 5 2
Urinals 2 3
Showers 4 2 5 2
* These recommended numbers are based on an 80/20
male/female ratio. Different ratios require proportionately differ-
ent numbers of fixtures. However, in no case should there be
fewer than 2 of each appropriate fixture for the use of either sex.
convenient preparation for and changing between

performance commitments.
4-11 Unit Supply/Storage/
● Access to toilet area from “public” zone of the facility, Instrument Repair
without passage through Individual Instrument Lockers
/Day Area, would be desirable. A. Use
● Closeness to Instrument Cleaning and to janitor’s closet (see also Paragraphs
- . 2-3 and 4-8.A)
is recommended, for plumbing efficiency. ● Storage of non-issued instruments, uniforms, instrument
cases, expendable band supplies and musical instru-
E. Furnishings and Equipment ment repair parts, lighting and electronic equipment,
amplification and recording equipment, music stands,
See Table 4-2 for recommended fixture counts for dif-
possibly portable podium and risers, hand trucks, gen-
ferent facility sizes.
eral and office supplies, and possibly linens, weapons,
Table 4-2 Recommended Toilet/Shower Fixture Counts. and some personal property.
At least one toilet, for use by each sex, must be equipped ● Issue desk for distribution and receipt of supplies and
for use by the physically handicapped, as indicated in equipment.
EM 1110-1-103. ● Space for collection and distribution for uniform cleaning.
One locker for each musician must be provided, large ●
Administrative activities of the band’s Unit Supply
enough for 3-4 uniforms at one time. To allow for some
program.
shifts in male/female ratio, 45 person facility should
have at least 40 men’s and 10 women’s lockers, and ● Repair and maintenance of instruments.
65 person should have at least 58 men’s and 14
women’s lockers, Lockers should be full height, B. Sizes and Critical Dimensions
lockable, with louvered doors. Unit Supply and Storage: for a 45 person band - 1,000
Dressing area should be equipped with mirrors and NSF; for a 65 person band - 1,300 NSF.
benches for changing (benches, if covered with resil- Instrument Repair - 100 NSF, in addition to Unit Sup-
ient material, may also serve as a good place to tempo- ply and Storage area.
rarily rest instruments).
Smallest dimension in Storage area should be no less
Provide 2 uniform presses in or near men’s dressing than 16 feet, to facilitate movement of large instru-
areas, 1 uniform press for women’s. ments and equipment. (see Figure 4-12)
F. Technical Recommendations C. Spatial Character and Organization
● Plumbing layout and design must be in accordance with ● Unit Supply area should be an uncluttered, well-lighted
TM 5-810-5. space, with some natural light available at the work
● Skylights or clerestories may be used over dressing stations and desks, and with well-organized special-
Iocker areas for natural light; single skydomes recom- ized storage.
mended. ● Instrument Repair should be a separate space, securely—
● Clothing presses require high-pressure steam supply. lockable so equipment and parts may be left out on
4-16
room must be provided in circulation in front of issue

desk for a large group waiting for supplies.

Storage area should be equipped with special shelv-
ing or compartments to store non-issued instruments
and equipment, appropriate to the space requirements
of each. Will vary with each band’s operations. Con-
sider standard, adjustable shelving system, for chang-
ing contents. Padded shelves recommended for
instrument storage.
Unit Supply area should have 2 work stations with desks
for a 45 person band; 3 work stations with desks for
a 65 person band.
Uniform racks should be in a dust-free area and high
enough to keep uniforms from touching the ground. Pro-
vide a movable 8’ rack for a 45 person band, and a
12’ rack for a 65 person band.
Issue desk minimum 4’ long and securely closeable, with
lockable metal roll-up security door.
Instrument Repair must have a continuous work surface,
minimum 12’ long and 2’ deep, including a deep, laundry-
type sink, large enough to handle large brass
instruments, a gas burner for repair of brass instru-
ments, and space for storage of tools.
● Storage and Unit Supply must be secure, with lock-
able metal doors at all accesses.
● Double Doors required for movement of large instru-
ments and equipment from Storage to Unit Supply and
Figure 4-12. Illustrative Unit Supply/Storage/Instrument to circulation to other parts of facility.
Repair Plan ● Divisions between Unit Supply, Storage and Repair areas
should be wire mesh. This provides security by both
work area, but visually open to Unit Supply to avoid small, denying access, and allowing Unit Supply personnel to
enclosed spatial feeling. observe the whole area. Concrete masonry units or
other solid wall material may be used, if other factors
Storage area should be a large space, designed for easy (structure, etc.) dictate.
equipment movement. Shelving arrangements will vary
with each band’s storage items and operations require-
● If windows are provided in these spaces, they must be
ments, Separate small areas for specialized storage or wire-glass or otherwise designed for high security.
special levels of security may be required. ● Instrument Storage and uniform storage must be well-
Separations between Unit Supply, Storage and Instru- ventilated and humidity controlled, with year-round
ment Repair should provide secure closure, but con-
venient access for movement of required equipment and
supplies between the spaces.
4-12 Lobby and Circulation
D. Relationships
A. Use
Particularly close to Main Rehearsal and Group Prac-
tice Rooms, for ease of large equipment movement. Main Entrance and Lobby should allow musicians and
visitors to check-in with CQ, orient themselves and
Adjacent to Loading Dock, with access that is direct and
move easily to lockers and storage areas, practice/
without steps.
rehearsal spaces, or administrative areas. It must
Doors/access to Storage and Unit Supply should be visi- accommodate large numbers of band personnel
ble from CQ desk, for security. simultaneously, moving in and out of adjacent
Unit Supply issue desk should be easily accessible from rehearsal and storage spaces, and waiting for succes-
all parts of the facility, for all band personnel. Ample sive events.
4-17
Figure 4-13.
● Circulation should provide reasonably direct, compre- recommended.

hensible access to all parts of facility, without intrud- ● Circulation should vary in dimension and character as
ing upon function-spaces. It should help to keep separate appropriate to adjacent function-spaces and movement
the “public” and “private” zones of the facility (see requirements. Circulation should not consist of straight,
3-4.B). It must accommodate movement of large instru- uniform corridors.
ments and equipment throughout the facility.
● All circulation must be without steps and preferably at
a single level, without ramps, for ease of equipment
B. Size and Critical Dimensions movement.
● Lobby: 600 NSF for a 45 person band; 900 NSF for a

65 person band. D. Relationships
● Circulation area, together with walls and other non- (see also Paragraph 3-4).
allocated spaces, should be about 25% of the Net
● Lobby and layout of circulation should permit direct obser-
Square Footage of the building. vation of Main Rehearsal, Group Practice and Library
Circulation to and from Loading Dock, Unit Supply/ spaces upon entry.
Storage, Main Rehearsal and all Practice Rooms should
● Main Entrance and Lobby layout must permit access
accommodate large instruments and equipment.
and overview relationships for CQ desk and administra-
Dimensions at corners and turns into entrance doors
tive offices, as described in 4-7.D.
should be checked against largest instrument
dimensions. Minimum corridor width: 7’-0” at major music
and storage spaces; 4’-0” at Individual Practice E. Furnishings and Equipment
Rooms. (see Figures 4-13 A & B)
● Lobby should provide limited lounge seating, for use by
visitors and sometimes by band-members between
Co Spatial Character and Organization rehearsals and/or performances.
● Lobby should be an attractive, open area that over- ● Trophy and memorabilia display case, in lobby.
looks the main functions of the building. Natural light, ● Tackboard for information display, possibly in Lobby near—
perhaps through use of skylights or clerestories, is CQ desk.
4-18
● Mechanical space must be accessible from outside the

building only, for use by the Facility Engineers.
● Mechanical spaces should not be adjacent to any music
practice or rehearsal rooms. If this is unavoidable, ducts
must not pass directly into such rooms.
D. Furnishings and Equipment

● Deep laundry-type sink in janitor’s closet for building
cleaning and maintenance.
4-14 Arms Room

(Optional Function)
A. Use.
● Storage of weapons for use by the band unit. This is
an optional function, not necessarily included in the
Band Training Facility.
B. Size and Technical Recommendations

● Not part of typical band facility space program; if included,
this requires additional square footage.
● Space requirement, approximately 40 NSF for a 45 per-
son band, 50 NSF for a 65 person band; see AR 190-11
for specific requirements.
● Special security requirements apply to design of this
space; see AR 190-11.
C. Relationships
● Should be included as part of Storage or Unit Supply
area as a separate, secure enclosed space.
B. 65 person new construction example ● Access is limited under special security requirements.
4-13 Maintenance and 4-15 Mail Room

Mechanical Spaces (Optional Function)
A. Use.
A. Use.
● Sorting and distribution of mail for band personnel.
● Storage for building cleaning supplies and support for This is an optional function, not necessarily included
janitorial services. in the Band Training Facility.
● Equipment for mechanical, plumbing and electrical
systems. B. Size and Technical Recommendations
B. Size and Critical Dimensions ● Not part of typical band facility space program; if
included, this requires additional square footage.
● Janitor’s Closet: 50 NSF. ● Individual mail boxes for each person must be provided,
● Mechanical Space: typically 5% of overall building area. plus adequate counter-space for sorting and loading in
the mail boxes.
C. Relationships ● Space requirement, approximately 30 NSF for a 45 per-
● Janitor’s closet should be reasonably convenient to son band, 35 NSF for a 65 person band.
all parts of the building for ease of maintenance ● Special security requirements apply to design of this
operations. Closeness to toilet area is recom- space; see United States Postal Service Publication
mended for plumbing economy. 17.
4-19
C. Relationships
● Should either be included in administrative area, with
mail boxes accessible to band personnel, or in
“private” zone of facility, with Individual Instrument
Lockers.
● Access to the Mail Room is limited to mail service per-
sonnel only.
4-16 Outdoor Spaces

A. Use
● Outdoor rehearsal, marching practice, ceremonial drill.
● Outdoor performances.
● Parking for all band personnel, plus visitors.
● Delivery, loading and unloading of equipment, instru-
ments and supplies.
● Loading and unloading of personnel from buses and
other vehicles.
● Outdoor recreation and relaxation for band personnel
in break times.

● Drill Area -30,000SF; recommended dimensions,
approximately 100’x300’.
● Parking Area: 13,500 SF (45 spaces) for 45 person band;
19,500 SF (65 spaces) for 65 person band. See TM 5- formance “stage”, for audience area and to provide
822-3 for specific criteria. enclosure to the performance space. Earth berms may
● Loading Dock/Outdoor Performance Area - 300 SF mini- be used to form a grassy slope for an audience, if natu-
mum for loading function; recommended area for com- ral topography does not provide the opportunity. (see
bined performance stage and loading (optional): 1,100 Figure 4-14)
SF for 45 person, 1,500 SF for 65 person. ● The Entry Court should be an evidently defined space,
● Loading Dock should have 2’-6” high concrete pad, for shaped by the building forms and angles, landscaping
truck loading, with ramp and stair access. and paving, to provide a sense of arrival in front of
the Main Entrance. It should provide seating and views
● Loading Dock door should be at least 6’-8” feet wide of key building areas. It should connect to access from
by 8 feet high. the parking and drop-off areas. (see Figure 4-15)
● Patio outside Day Area -600 SF recommended mini- ● The Patio should be a paved area, defined by the build-
mum paved area.
ing walls and angles and landscaping at its edges. If
possible, it should be placed at an interior angle or
C. Spatial Character and Organization indentation of the building, for added space definition
● See Paragraph 3-2, Site Design, and applicable por- and relationship to the facility. It should provide seating,
tions of DOD 4270.1-M, TM 5-803-5, TM 5-811-1 and sunny and shady areas, and attractive views. (see
TM 5-822-2 for spatial design issues for outdoor spaces. Figure 4-16)
● Loading Dock/Performance Area, if provided, should be D. Relationships
placed against the building, preferably in an interior
corner, so the walls serve as a backdrop and sound (see also Paragraph 3-4)
reflector for the performances. The ground around the ● Existing parade ground can serve the purpose of the
paved service yard should rise up away from the per- Drill Area if the band facility is sited nearby.
4-20
● Drill area should be convenient to the Band Training

Facility, particularly to the service door/loading dock.
It should not interfere with nearby quiet functions such
as living quarters or offices. Drill Area should not be
bounded by parallel walls or buildings, to avoid echoes
and flutter.
● Vehicular Access paths to parking area, service/loading
and drop-off at Main Entrance should be separate, if
possible. Mechanical space may share access with serv-
ice or parking area.
● Drop-off area should be as close as possible to entry
court and Main Entrance.
● Loading Dock should be adjacent to Unit Storage/Supply
and Main Rehearsal Room.
● If the Loading Dock is also used as a Performance Area,
it should be shielded from traffic noise, but prefera-
bly visible to passers-by.
● Patio should be adjacent to and directly accessible from
-
Day Area.

● Built-in outdoor seating should be provided in Entry Court
and Patio.
● Portable acoustic shells may be required if the Load-
ing Dock/Performance “stage” cannot be so designed
as to utilize the building’s walls for reflection. Figure 4-16. Illustrative Patio
4-21
March 1983 General Design Programming
Chapter 3:
General Design
Considerations
Contents page

3-2 Site Design 3-1
3-3 Overall Building Design 3-3
3-4 Space Relationships 3-5
3-5 Acoustical Considerations 3-10
A. Sound isolation 3-10
B. Noise Control 3-13
C. Room Acoustics 3-13
3-6 Environmental Systems Design 3-15

This chapter presents the considerations to be applied
in site design and overall building design for Band Train-
ing Facilities. It provides particular guidance in space rela-
tionships which the building layout should reflect and in
environmental systems design. Most important for this
facility, this chapter also presents the general principles of
acoustic design and their implications for design of the
whole band facility.
These general considerations are to be used by the engi-
neers and design architects in the Concept Design phase,
when the major spaces and space relationships of the
proposed design are developed. They should continue to
be referred to, along with the more specific Individual
Space Criteria in Chapter 4 and Practical Approaches for
Acoustic Construction in Chapter 5, throughout the Final
Design work. The issues discussed in this chapter are also
essential for the Army Bands personnel and Facility Engi-
neers to understand. It should inform their development of
the Architectural Program and the materials for the Proj-
ect Development Brochure and DD 1391, which determine
the requirements the architectural design must meet.
3-2 Site Design

Site planning and design must be in accordance with the
approved Installation Masterplan and applicable portions
of DOD Manual 4270.1-M, TM 5-803,5, TM 5-822-2, and
TM 5-822-3; and the completed Project Development
Brochure. Site evaluation criteria are discussed in
Paragraph 2-5. The major issues to be considered in site
design for Band Training Facilities are itemized below.
For further detail about specific outdoor space design,
see Paragraph 4-16, Outdoor Spaces.
A. Zoning Related to Building. The several outdoor

activity areas required on the band training facility site
should be zoned to relate closely to functionally-
3-1
General Design Programming March 1983
connected indoor areas of the building. An Entry Court

should be created at the front of the facility, as an ap-
proach to the Main Entrance. An Outdoor Terrace or
Patio for band personnel recreation and relaxation should
be adjacent to the Day Area, with direct access from in-
side. This terrace should be separate from the front entry
court, and protected from exposure for the privacy of
band personnel.
The Loading Dock and service area, which may double
as an Outdoor Performance area, should be immediately
outside the Unit Supply/Storage space, and near the
Main Rehearsal Room, for ease of movement of large
instruments equipment and supplies, in and out. The Drill
Area, for outdoor rehearsal and practice, should be
relatively close to the building and convenient to the Unit
Supply/Storage and main Rehearsal Room for instrument
and equipment movement. As discussed in Paragraph
2-5, this outdoor practice area should not be located
between closely spaced buildings, to avoid reverberant
echoes. (see Figure 3-1)
B. Outdoor Performance Potential. It is desirable for the
site design to include provision of an Outdoor Performance
area in the Loading Dock/service area. The loading dock
can provide a performance stage, facing an audience
space in the service apron and surrounding area. Behind
the loading dock, the building should form an inside cor-
ner to help reflect and project the sound toward the audience.
The building massing may also partially shield this space
Figure 3-2. Outdoor Performance Area
from street noise; but no building should be placed directly

behind the audience. The ground around the service
apron should slope up away from the loading dock, to form
a natural amphitheater for the audience. This may be
achieved through use of natural land forms or created with
earth berms. (see Figure 3-2)
C. Access Separation. The site design for the band
facility should, if possible, provide differentiated access
routes for the different functions: The Main Entrance should
be evident at the front of the building, with a car/bus drop-
off immediately nearby, and a direct path to the parking area.
The Loading Dock/service access should be distinctly
separate from the Main Entrance, to the side or rear of the
building. The Parking Area should also have its own
access, if possible. The Mechanical Space access may be
combined with the service area or parking area access.
—
All access should be designed to Army standards and be
Figure 3-1. Site Zoning clearly marked, for easy movement and loading of instru-
3-2
for highest quality design and accommodation of these pro-

gram requirements.
B. High-Volume Use. The Band Training Facility is a

heavily used building, with an unusual, high-volume use
pattern. The facility is frequently occupied by all 45 or 65
occupants at once, but intermittently has no or few users,
when the band is away on performance commitments.
Furthermore, all or almost all 45 or 65 people will often
be using one part of the building at the same time, on an
intensive, time-constrained schedule - for example, when
they are all rehearsing in the Main Rehearsal Room, or
quickly changing and preparing for a concert in the
Locker/Shower and Individual Instrument Locker areas. Thus
these major parts of the facility, and the circulation to
them, must be designed to accommodate intensive use by
large volumes of people, even though the rest of the build-
ing may simultaneously seem underutilized.
C. Music Spaces Predominant. Among the spaces in
the band facility program, the most important unquestion-
ably are the music spaces—the Main Rehearsal Room,
Figure 3-3. Access Separation Group Practice and Individual Practice Rooms. This
predominance should be reflected in the design. The require-
ments of these spaces, spatially and in relationships,
ments, equipment and personnel for the frequent travel should take priority in the design considerations. If any
required for band commitments. (see Figure 3-3) compromises in the program must be made, they should
D. Landscaping Definition. The landscaping should be be in the other, support spaces—not the music spaces. This
used to define and separate the outdoor spaces and importance should also be evident in their prominence
access routes for the band facility site. Trees, shrubs, fences in the architectural form and image of the Band Training
and outdoor furnishings should be designed to define Facility (see Figure 3-4).
the overall band site, divide function-spaces, screen areas
D. Band Image. As the “home” for the band, this facil-
that need privacy or protection, and characterize each
ity should in its architectural image help project an iden-
area, as shown on Figure 3-1. However, where acoustic
tity for the band. The band is an important component of
isolation is desired, as for the Drill Area, earth berms or
the morale and esprit de corps of a post or unit. It should
solid walls should be provided as buffers; trees and other
present a good-looking image, in its performances and in
vegetation will not stop sound.
its facility. The building should have an attractive presence,
to passers-by and visitors approaching from the outside,
3-3 Overall Building Design and to those inside. It should present a distinctive, identifi-
able image as a band facility. In part, this can be achieved
through the architecturally prominent and musically appro-
This section discusses considerations which affect design priate design of the predominant music spaces (as shown,
of the whole Band Training Facility or apply to all the com- for example, in Figure 3-4).
ponent spaces of the building and their organization. One
of the most significant factors in band facility design—the E. Ample and Clear Circulation. The building circulation
acoustic design considerations, including sound isolation, system must accommodate the heavy use required and pro-
noise control and room acoustics—is separately presented vide clear access to all spaces. The high-volume use
in Paragraph 3-5, Acoustical Considerations. Issues of described above means that the circulation systems will often
zoning of the building organization and relationships between have to accommodate a rush of the full 45-or 65-member
spaces are presented in Paragraph 3-4, Space Relation- band composition at one time—particularly in the areas of
ships. the Main Rehearsal Room, Lobby, Individual Instrument
Lockers, and Toilets/Lockers/Showers. In addition, large
A. Home of the Band, While their performance activities instruments (pianos, tympani) and equipment (lights, elec-
tronic equipment) are often moved through the circulation
may have the bandmembers work in many locations, the
system to different practice spaces, storage, or outside. The
Band Training Facility is the one centralized “home” they
have as a group. As such, it must be an attractive place size of all elements of the circulation must be considered
to ensure adequacy for these movements. This affects both
for them to be, that provides good accommodation of the
band’s particular functional needs. The space program the overall spaces and critical junctures—as, for example,
(see Paragraph 2-4) requires a specific set of spaces, many the ability to turn an upright piano from the corridor through
with specialized technical, acoustic and equipment require- the door of an Individual Practice Room.
ments (discussed in Paragraph 3-5 and the Individual Space The access pattern to all building spaces should be clear
Criteria in Chapter 4). The band facility design must strive when one enters the facility. There should be good views
3-3
Figure 3-4. Band Image
or understandable routes directly from the Lobby. The orga- should be made as to what is financially feasible and —
nization and zoning of the building, as discussed in Para- what compromise on program accommodation is acceptable.
graph 3-4, should reienforce this clarity of access. Provision
of all band spaces on one floor will significantly benefit 2. Renovation Design. The general design guidance on
the ease and clarity of circulation. (see Figure 3-5) the types of spaces, character, relationships, sequences,
and views should apply to renovation as to new construction.
F. Renovations. Renovation of an existing building is a
Some compromises on recommended design criteria may
common means of creating a Band Training Facility. The
be necessary to adapt to existing building structure, space
criteria for building suitability for renovation are discussed
and dimensions (see, for example, the illustrative plan
in Subparagraph 2-5.B. In converting an existing building
in Figure 3-6). Redesigning interior partitions, spaces and
to a Band Training Facility, most of the objectives and
circulation may still not provide the exact programmatic
requirements described for new construction apply. However,
match of spaces and relationships required, and additions
some particular constraints and opportunities do pertain
beyond the existing volume may be needed. See Subpara-
to planning and design for this type of facility:
graph 2-5.B for discussion of the two alternative renova-
1. Alternative Space Fits. Once an existing building is tion approaches, either entirely within the existing
selected, consideration must be given to how it can best structure, or with the addition of the musically critical spaces.
serve as a Band Facility, given the constraints of the struc-
ture and existing space configuration. Accurate survey 3. Renovation Implementation. Major renovations require
drawings of the building, showing the size of the existing significant expenditure and must be implemented through
spaces, the location of walls, windows and doors, and the standard procedures of the MCA program, as dis-
the structural and environmental systems, are required. Alter- cussed in Paragraph 1-5 of this Design Guide and in AR
native patterns fitting function to space should be devel- 415-15. Minor renovations, costing several hundred thou-
oped according to the general and individual space criteria sand dollars, can be funded under the Minor Construction
presented in this chapter and Chapter 4. This will involve program, with cost limitations and implementation proce-
consideration of possible modifications to the building— dures as described in AR 415-35. Some renovation work
removal of walls, combination or division of spaces, is likely to be of a scale that band personnel can accom-
changes of windows and entrances, relocation of building plish by themselves, or together with the direct involve-
support systems, and additions outside the original ment of Facility Engineer personnel, following the
structure. The relative costs of these alternative renovations, guidance in this document (see particularly Chapters 4 and
and their benefits in terms of completeness of program 5). Renovation, particularly when it involves such contrib-
accommodation, must then be weighed. Priority choices uted effort, presents a low-cost potential for providing band
3-4
of DOD 4720.1-M, the National Fire Protection Associa-

tion (NFPA) Life Safety Code-101. The variety of activities,
potential maximum occupancy and structure loads, and fire
hazards, must be considered in design of building layout,
circulation, exits, fire detection, alarm and other systems.
A particular safety concern pertinent to Band Training
Facility design is the potential hearing damage and health
problems affecting band personnel which can result from
improper acoustics in practice and performance spaces.
Continuous exposure to high sound levels can lead to
hearing loss, and band facility design and operation should
comply with requirements in Occupational Safety and
Health Act (OSHA) documents, including OSHA Standard
1910.95. Proper acoustic design of Band Training Facili-
ties to avoid such problems is described in paragraph 3-5
and Chapter 5.
3-4 Space Relationships

Significant space relationships to consider in the layout
of the Band Training Facility plan are presented in this
section. Many are based on sound transmission and isola-
tion issues, which are explained in Paragraph 3-5, Acousti-
cal Considerations.
A. Single-Story Facility. It is strongly preferred that the

Band Training Facility be all on one level, in a single-story
building. This avoids the problems of sound transmission
up or down, from or to band practice spaces, with the resul-
tant disturbance of band activities. This requirement not
to be over or under other uses spaces is essentially criti-
Figure 3-5. Ample and Clear Circulation
cal for the music spaces—the Main Rehearsal, Group
and Individual Practice, and Audio Control Rooms.
facilities that would not be funded under new construc-
A single-story building readily permits construction of
tion programs. spaces of different ceiling heights or with sloped roofs, as
G. Interior Design and Signage. Interior design features is desirable for the music rehearsal and practice rooms
must be developed in coordination with the architectural (see Figure 3-7). The single-level plan, with at-grade access
design. All features of the building relative to the interior on the same level, also provides the best circulation for
design, whether they are furnished and installed as part movement of large instruments and heavy equipment
of the construction contract or provided later by the using between the various use spaces and to the outside.
service, must be developed as an overall scheme. Graphic
B. Public and Private Zones. One of the major space-
design and signage should be included as part of the over-
organization considerations in the layout of a band facil-
all design to identify activities and facilitate functional ity is their division into “public” and “private” zones. Although
effectiveness. See DG 1110-3-122 for guidance on interior the building is primarily used by band personnel them-
design, and TM 5-807-10 on signage. Requirements must
selves, there are more “public” areas—Main Rehearsal
be coordinated with the using service and the installation.
Room, Group Practice Rooms, Library, Offices—which
H. Design for the Physically Handicapped. The Band are likely to receive visitors on occasion, such as installa-
Training Facility must be designed to provide a barrier- tion Command personnel or nearby high school bands
free, accessible environment that will enable all band per- and other musicians. These spaces should be designed
sonnel and visitors to utilize the entire facility. The design and maintained to be presentable to visitors. The circula-
must comply with the requirements of ER 1110-1-103. tion to them should be shielded from views of the more
Although training facilities generally are exempt from hand- “private” band activity spaces.
icapped requirements, the Band Training Facility must pro-
The “private” zone includes the spaces used exclusively
vide this accessibility, because it will host visitors to the
by band-members, with rare outside visitors—lndividual
installation, potential enlistees, local high school bands and Instrument Lockers, Day Area, Toilets/Lockers/Showers, Indi-
similar guests, some of whom may be handicapped. vidual Practice Rooms. These are spaces where band
I. Life Safety. The band facility must be designed to insure personnel should feel at ease, for doing their own per-
the physical safety of all its users. It must conform to the sonal practicing, preparing, or relaxing. Their layout and
safety, seismic, and fire protection design requirements design, and the circulation and views to them, should pro-
3-5
Figure 3-6. Example Renovation Design
3-6
DG-111O-3-119 Design Guide: Band Training Facilities
vidual Practice Rooms. Both these movement patterns must

be conveniently accommodated; but the former, involving
heavy, large equipment, should be emphasized. This leads
to the recommended clustering of the Unit Supply/Storage
near the large practice spaces and Loading Dock (see Fig-
I ure 3-9).
D. Supervision. Supervision is important in the Band
Training Facility, for security for the facility and its expen-
sive equipment, and for control of the activities of band
personnel. Many of the major musical instruments and
items of electronic equipment used by the band cost thou-
sands of dollars, as do the sets of sheet music for many
performance pieces. The Charge-of-Quarters (CQ) is respon-
sible for after-hours control of all people entering or leav-
ing the facility, and for the general security of the building
and its concerns. This includes restraint of possibly rowdy
activities by personnel in the Instrument Lockers/Day Area.
The CQ desk must be located to provide good overview
of the Main Entrance, Instrument Lockers and Day Area,
and preferably also of the Service Entrance and doors
to the Unit Supply and Storage Rooms, where many of the
valuable items are kept (see Figure 3-10).
E. Specific Space-to-Space Relationships. Important
space-to-space relationships in the band facility, in addi-
tion to the considerations discussed above, are indicated
Figure 3-7. Single-Story Facility below and illustrated in Figure 3-11. Further discussion
of the individual spaces and their relationship criteria are
found in Chapter 4, Individual Space Criteria.
vide a sense of privacy and protection from outsider
intrusion. (see Figure 3-8) 1. Main Rehearsal Room/Group Practice Rooms/Audio
Control Booth. The large rehearsal/practice rooms should
C. Use Sequences. The band facility space relationships not be adjacent to each other, wherever possible, for
should reflect two important sequences of space-use typi- acoustic isolation reasons (see also Paragraph 3-5). The
cal of band activities: Main Rehearsal and Large Group Practice Rooms should
1. Individual Instruments and Uniforms Storage. Upon have visual connection to the Audio Control Booth, to per-
entering the facility, band personnel will frequently go to mit eye-level communication between the bandleader and
their Instrument Lockers to get their instruments, and then control booth personnel. The Main Rehearsal Room should
proceed with them to their activities in the Rehearsal and have close access to the Loading Dock/Outside Perfor-
Group Practice Rooms, to the Individual Practice Rooms, mance area, for equipment movement.
to the Library to get sheet music, or to performance com-
2. Individual Practice Rooms. These should be conve-
mitments outside the building. After these activities, they
nient to the Individual Instrument Lockers, and prefera-
will typically reverse this pattern, returning their instru-
bly not adjacent to other rehearsal/practice spaces. They
ments to the lockers, and then going to relax in the day
must not have doors for direct access from other
area or leave the building. Before getting their instruments,
rehearsal/practice spaces.
they often must go change into uniforms and prepare for
performances in the Toilet/Shower/Locker area. This pri- 3. Library. This Library should be central to the whole
mary movement sequence leads to a recommendation that facility, as a visible, focal place for band training functions,
the Individual Instrument Locker area be central to the and for easy distribution of sheet music to bandleaders,
facility, with direct and convenient access to all these other personnel, the Main Rehearsal Room and all Practice
use-spaces (see Figure 3-9). Rooms.
2. Unit Supply/Storage. Another basic sequence in the 4. Offices. The administrative spaces should have direct
functioning of the band facility is the movement of items access from the Main Entrance. They should be separated
issued from the Unit Supply/Storage area to the primary and shielded from the noise and activity of the Individual
use-spaces of the building. Large, heavy equipment and Instrument Lockers/Day Area, and of the rehearsal/prac-
instruments are frequently moved from this area to the tice spaces. The CQ desk, at the entry to the administra-
large practice spaces—Main Rehearsal Room, Group Prac- tive offices, must have all the visual connections indicated
tice Rooms, Outdoor Performance and Drill Areas, and under 3-4.D, Supervision.
performance places elsewhere. Other items issued here—
small instruments, clean uniforms, expendable music 5. Individual Instrument Lockers/Instrument Cleaning.
supplies—tend to be taken from the Unit Supply desk to These spaces should be located together in a central
the Individual Instrument Lockers, clothing lockers, or lndi- position to the entire facility (see 3-4.C.1.). They should be
3-7
Figure 3-8. Public and Private Zones
especially close to the Individual Practice Rooms, Day cent to the Individual Instrument Lockers area, and have
Area, and Toilets/Lockers/Showers. They must be over- direct access to the Outdoor Patio.
seen by the CQ.
7. Toilets/Lockers/Showers. These support spaces
6. Day Area. This relaxation space should be private and should have convenient access from all parts of the facility.
protected (see Subparagraph 3-4.B), but under some While closeness to the Individual Instrument Lockers is
supervision from the CQ desk (3-4.D). It should be adja- desirable, access to the toilets should be possible from the
3-8
Figure 3-9. Use Sequences and Building Relationships
3-9
is no better than the band’s training and practice. This

can only be effective if band personnel can hear them-
selves and each other clearly, and be heard by the band-
master for instruction. Control of the quality of sound within
the music rooms, and of the ability to hear without dis-
traction from noise from other rooms, is essential.
This section sets forth the principles of design for acous-
tic quality and sound isolation, and their implications for build-
ing organization. Specific room descriptions based on
these principles are found in Chapter 4, and details for
construction to meet acoustic requirements are presented
in Chapter 5.
The three areas of concern in designing a functionally
suitable sound environment are:
● Sound isolation-reducing or eliminating the passage
of unwanted sounds (noise) from other rooms into
sound-sensitive rooms;
● Noise Control-the design of mechanical systems so
as to achieve sufficiently low and sufficiently even
background noise levels.
● Room Acoustics-the quality of sound that bandsmen
generate and hear within their practice rooms.
A. Sound Isolation
1. Principles. In order for instruction and practice to be
effective, music practice rooms must be quiet and without
distraction from noise sources outside the room. Every
level of decision in the design and construction process has
an impact on how successfully unwanted sound (noise)
is kept out of music rooms, from the choice of structural
system and building organization to details such as the
installation of lighting fixtures.
The sound generated by bands includes low frequencies.
Figure 3-10. Supervision Relationships Ordinary noise problems (notably speech) involve higher
frequencies, which can be attenuated (reduced) by rela-
“public” parts of the facility without going through the indi- tively light constructions. The primary method of compar-
vidual Instrument Lockers/Day Area. ing attenuation between different materials or assemblies
is by Sound Transmission Class (STC), which considers
8. Unit SuPDlv/Storaae/instrument Repair. These performance from 125 to 4000 Hertz (cycles second).
support spaces should be close to the Service Area/Load- The resulting single-number methods works well for ordi-
ing Dock; and the Main Rehearsal and Group Practice nary sound problems, but due to the preponderance of
Rooms, for ease of movement of large instruments and low frequencies in Band Practice Facilities, the STC will
equipment (see 3-4.C.2). The access to the Unit Supply not necessarily indicate good performance. Materials must
Room should be under the overview of the CQ, if possible. be compared on the basis of their ability to reduce low fre-
The Instrument Repair space should be part of the Unit quency sound. Therefore caution must be used in rely-
Supply/Storage block. ing on STC as a guide.
9. Circulation/Lobby. The Circulation System should Approximate numerical criteria can still give a means for
provide convenient access to all building spaces. The understanding the issues involved in isolation, as well as
Lobby and Circulation System must be able to accommo- being of use in selecting methods of building, keeping
date all of the band at once in rush-time movement from in mind that they will be less accurate for lightweight
the Main Rehearsal Room and for preparations between construction. For each room type, an amount of accept-
performance commitments. “ “ able background noise can be assigned, and then the adja-
cencies of other room types and the noise they generate
determined. The difference between the acceptable back-
3-5 Acoustical Considerations ground level and the noise generated in the next space
will give the amount of noise that the construction between
Although the Band Training Facility is not a place for perfor- must eliminate.
mances to be presented, acoustic issues must be the For example, the Main Rehearsal Room is assigned a Noise
foremost consideration. The quality of band performance Criterion rating of 25 (NC 25)*. That is, background noise
3-10
Figure 3-11. Space-to-Space Relationships
up to 25 decibels is acceptable. If the rehearsal space is general, an STC of 70 requires very sophisticated construc-
placed directly next to the Large Group Practice Room, tion, possibly two parallel, unconnected masonry walls.
which might generate 95 decibels, the construction between Therefore, the best course is to organize the function-spaces
them ideally should reduce the sound by 70 decibels, of the building so that noise generators such as music
requiring an STC rating of 70. Specific constructions and practice rooms and mechanical rooms are not next to other
their STC ratings are discussed in Chapter 5; but, in music rooms. Quieter activities such as corridors, offices
and storage should be used as buffers between noisy
*NC curves, describing sound level as a function of frequency, activities. The noise reduction will not have to be as great,
embody both speech interference and annoyance considerations. and constructions can be simpler.
The numbers represent decibles and have a built-in allowance
for increased low-frequency noise to which our ears are less The recommended criteria for Band Training Facilities
sensitive. For details, see the Sound and Vibration Control are found in Table 3-1. These criteria do not imply silence.
Chapter, ASHRAE Systems Volume. They range from a rather quiet NC-25 to a moderately
3-11
noisy NC-40. The largest of the music rooms must be an opening between two music rooms, then the connec-
quietest, because here musicians who may be dispersed tion should involve a pair of doors facing each other
over a large area still must hear each other. So must the across the widest space possible.
audience, if present. With decreasing room size and
Isolation can be increased further by building an indepen-
reduced occupancy, audibility inherently improves. In the
dent “room” within the heavy walls already constructed, or
smaller rooms, even with the suggested, higher back-
adding another separate masonry wall next to the first
ground noise levels, adequate signal/noise ratios are still
(see Figure 3-12). These added elements must be iso-
retained (background noise will be discussed later).
lated completely in such a way that the vibration of one
Table 3-1 Recommended Sound Isolation Criteria barrier will not be passed on to the other. An independent
for Band Training Facilities skin of gypsum wallboard or plaster, attached to walls
and roof with resilient clips, is very effective.
allowable
noise from Factory-made sound modules are an effective means of
generated
outside noise providing smaller practice rooms of good quality, either in
conversions where dependable construction may be
Recording/Audio Control difficult, or in new construction. They provide light, heat and
Booths max. NC-25 --- air supply and all interior finishes. They may also be use-
Main Rehearsal Room max. NC-25 100 dB ful for Recording/Audio Control Rooms (see Figure 3-13).
Group Practice Rooms max. NC-30 95 dB
Individual Practice
Rooms max. NC-35 90 dB
All other occupied
spaces max. NC-40 ---
2. Construction Implications. Some types of construction

are inherently more suitable for band facilities. Since sound
is a transmitted vibration, its isolation requires construc-
tions that are not easily set into vibration. Concrete slabs,
solid or sand-filled masonry or concrete walls, and con-
crete roofs are appropriate, because their weight helps stop
low frequency sound. Design consideration should begin
with a massive construction system rather than a lighter
framework that will require elaborate soundproofing later,
to less effect. Continuous metal roof decks and steel frames
are not recommended, because they will transmit vibra-
tion throughout the building, no matter how good the wall
construction.
Rehearsal and practice rooms are best located on grade.
This eliminates the need for double floor constructions,
which would be necessary not only for vertical isolation
(to/from the rooms below), but also to stop sound from
propagating horizontally along the unrestrained upper-floor
slab.
Sound waves travel freely in air, so it is imperative that all
music rooms are sealed boxes, with no air gaps—even
tiny ones—or defects in construction. Partial separations
and semi-open planning are totally inadequate, as are
folding partitions. Flexible acoustic sealants are an essen-
tial part of good acoustical construction. Elaborate layers
of materials are wasted if poor workmanship at the joints
and corners allows air passage. This includes joints where
partitions meet the roof, seals around doors and windows,
and where mechanical and electrical lines penetrate walls.
Doors are the weakest point in the enclosure, and must
always be fully gasketed, unless they are incorporated
into a sound lock (two doors separated by a vestibule). It
is more dependable to install a series of doors with a
sound lock, than to depend on one expensive sound-
insulated door. Gaskets need periodic adjustment, and
misuse can make them ineffective, whereas a sound lock
will always perform its function. If it is necessary to have
3-12
I DG-1110-3-119 Design Guide: Band Training Facilities
General Design Programming
Figure 3-14. Ductwork Design to Reduce Sound

Transmission
should be long and devious (and acoustically lined). Typi-
cally trunk ducts run over corridors, with separate branch
ducts serving each room. Volume control dampers at the
terminals should be avoided; they are best located at
the branch duct takeoffs.
The mechanical equipment should be located far from
sensitive music rooms. It should be on grade, rather than
on rooftops or mezzanines, where adequate vibration iso-
lation is much more difficult to achieve (see Figure 3-14).
C. Room Acoustics
The quality of sound within the room, assuming that extrane-
ous sounds from other areas are eliminated or neutralized,
is the key factor in room acoustics. The room’s size and
shape and the acoustical properties of its finishes must be
manipulated to form the desired environment—a place
where sounds are heard by band-members and leaders as
distinct yet blended, strong yet not too loud, and of such
quality that the players enjoy the sound they make. Three
problems must be solved within the space: 1. the con-
trol of sheer loudness and reverberation; 2. clarity and
communication; and 3. avoidance of unwanted effects.
1. Loudness and Reverberation. * Loudness depends on
the sound energy emitted by the instruments, which only
the players can control, and on the acoustic absorptivity
3-13
of the room, which can be controlled by design. In essence,

every doubling of absorption reduces the sound level by
3 decibels, but also shortens the reverberation time* by a
factor of two. Since excessive loudness is a major prob-
lem in band practice and rehearsal rooms, liberal amounts
of absorptive treatments are recommended—most
typically, on the ceiling and the walls. The resultant (short)
reverberation times, implying “dead” acoustics, are far
preferable to a “live” but very loud sound. See Paragraph
5-4 for specifics on sound-absorbing materials.
A corollary means of reducing loudness is to increase the
room size well beyond the minimum required to accom-
modate the occupants. This will create larger surfaces that
can be treated (more absorption) and make the sound
travel longer distances before being reflected back to the
musicians (weaker reflections). For economic reasons,
increased size is most often to be found in increased height.
Therefore, ample volume is recommended—ceiling
heights of 18 to 30 feet for Main Rehearsal, 15 to 20 feet
for Large Group Practice, and 12 to 15 for Small Group
Practice. Individual Practice Rooms need not be as high:
ten to twelve feet is suggested, but 8 or 9 feet is often
acceptable; and like the larger rooms, they should contain
liberal areas of absorptive finishes.
2. Clarity and Communication. Abundant absorption,
as recommended for loudness and reverberation control,
automatically assures a fair degree of clarity. Sounds, once
made, stop quickly and do not compound into a state of
acoustic confusion. This helps the learning process for which
training facilities are built, but stands in contrast to con-
cert halls (which are much larger) where reverberation is
an asset.
In the Group Practice and smaller music rooms there is sel-
dom any difficulty in the players hearing each other. The
spaces are still relatively small and sound is reflected from
player to player, even off the nominally absorptive surfaces
(no material is totally absorptive), However, intra-group
communication in the Main Rehearsal Room, where dis-
tances are greater and the sound of one’s own section tends
to dominate, is often lacking. The preferred solution is
to make the (high) ceiling partially reflective—to design a
pattern of reflective “islands” into an otherwise absorp-
tive ceiling (see 4.2.F.2 for detailed requirements).
3. Unwanted Effects. Adherence to the preceding
guidelines does not guarantee acoustical excellence, It
can be marred by one of several effects, the most com- Figure 3-15. Treatment of Echoes
mon of which are: (a) discrete echoes off distant surfaces;
(b) flutter echo—a ringing sensation due to a pattern of
avoidance of parallel, reflective surfaces; and splaying
repetitive reflections along the same path; (c) focusing; or treatment of these surfaces with absorptive materials;
and (d) standing waves— a booming at specific, low (c) avoidance of concave shapes including curved walls,
frequencies.
vaults, domes, etc.; (d) avoidance of principal room dimen-
The preventive measures to deal with these unwanted effects sions (length, width, height) that are equal to or multiples
are, respectively: (a) absorptive finishes, especially on of each other (see Figures 3-15 and 3-16). The last
distant walls, more than 30 feet from the sound source; (b) problem — standing waves—hardly affects the Main
Rehearsal Room, whose inherently large dimensions are
unlikely to support standing waves within the frequency
*Reverberation time is defined as the time it takes for the sound range of interest.
energy density to decrease to one-millionth of its initial value; in —
other words, it is time during which, after the source has stopped, In addition to the problems and solutions discussed above,
the sound level decreases by 60 decibels. the design of any music room should be such as to encour-
3-14
4270.1-M, TM 5-785, and TM 5-810-1. Specific require-

ments for band facilities include:
● Air conditioning should be provided for temperature and
humidity control on a year-round basis. Many of the
musical instruments are very expensive and highly sensi-
tive to changes in humidity and temperature, and must
be protected.
● Mechanical systems must be designed to minimize noise
generation and transmission, and disruption of band prac-
tice activities. See Paragraph 5-3 for specific criteria
and practical approaches for acoustically acceptable
design of mechanical systems in relationship to music
spaces.
● Inside desiqn temperatures shall be as follows: Winter
inside design temperature is 68°F; fresh air will be limited
to 10 cfm per person, for energy conservation purposes.
Summer inside design temperature is limited to 78°F. Humid-
ity levels shall remain within the range of 40% to 50%.
B. Plumbing. Plumbing, water supply and sewer systems
will be in accordance with TM 5-810-5 and 6, TM 5-814-1,
and DOD 4270.1-M. Conservation of water shall be a
consideration of prime importance in the design of the facility,
as discussed in DOD 4270.1-M.
C. Fire and Safety. General safety and fire protection
measures for the Band Training Facility will conform to DOD
Figure 3-16. Elimination of Flutter with a Splayed Wall 4270-1.M, the requirements of the National Fire Protec-
tion Association (NFPA), and applicable sections of TM 5-812-
1 and TM 5-813-6.
age diffusion. For this, within the limits of practicality and
consistent with the previous recommendations, the sug- Sprinkler systems and wet-type fire extinguishers are not
gested provisions are: irregular, non-rectangular room recommended, because they may cause damage to musi-
shapes; small-scale splays and bumps on large, otherwise cal instruments, equipment, sheet music and other library
plain surfaces (but still measuring feet, not inches, in width materials. Dry-type portable fire extinguishers should
and depth); and distribution of sound-absorbing finishes be provided, particularly in locations adjacent to the
throughout the room, rather than their concentration on Library, Audio Control Booth, Individual Instrument Lockers,
one or two surfaces. and Unit Supply/Storage Area.
At least some of the sound-absorbing materials should Smoke alarms should be provided in all areas. The fire alarm
be furred-out or, in the case of ceilings, suspended. The system should provide flashing lights as well as audible
airspace thus created behind the material will help absorb alarms in sound-isolated areas, including all rehearsal and
low-frequency sound and reduce boom. This must be taken practice rooms. Location of detectors and alarms must
into account when determining finished room dimensions comply with NFPA 101, Section 7-6. The type of system
and ceiling heights. shall comply with Section 26-4.3.5.
D. Electrical and Lighting. Electrical design will conform
For wall absorption in the larger music rooms, adjusta-
to DOD 4270.1-M and TM 5-811-1 through 4. Lighting lev-
ble drapes on tracks are recommended. This would allow
refIective surfaces to be covered or uncovered to reduce els will conform to IES standards and DOD 4270.1-M.
or increase “liveness”. Such flexibility is likely to be appre- Systems characteristics will be selected to provide for the
most efficient and economical distribution of energy, in
ciated by bandmasters, to suit their personal preferences,
accordance with DOD 4270.1-M.
as well as by the various ensembles, to suit their musical
styles. Emergency power will conform to the requirements of
NFPA Standard NO. 101 for exit and emergency lighting
systems. Auxiliary power requirements for fire alarms,
exit lights and emergency lighting systems will be provided
3-6 Environmental Systems in accordance with appropriate NFPA Standard.
Design ● Convenience outlets shall be provided in all music prac-
tice areas in the following suggested quantities: Small
Individual Practice Rooms-2 duplex outlets; Large individ-
The following environmental systems considerations apply ual Practice Room-3 duplex outlets; Small Group Prac-
to all the spaces within the Band Training Facility.
tice Rooms-6; Large Group Practice Room and Main
A. Mechanical. Heating, ventilating and air conditioning Rehearsal Room-8 on the walls and four evenly distri-
systems will conform to the applicable portions of DOD buted on the floor.
3-15
● The Audio Control Booth will require a large number of ● To preclude interruption of recording sessions in the Main
convenience outlets, at least 10. The power requirements Rehearsal or Large Group Practice Rooms, install “on
for this room should be coordinated with the specific air” warning lights above or beside room entrances.
electronic equipment planned for it. See Chapter 4 for –
E. Energy Conservation. Because of limited energy
additional requirements for individual spaces. resources, it is critical that the design of the Band Train-
● Proper lighting for the music practice areas is another ing Facility make every effort to minimize energy expendi-
very important consideration. Long hours of concentrat- ture as discussed in DOD 4270.1-M. Although there are
ing on music sheets on stands while practicing can be no unique energy conservation requirements or considera-
very fatiguing if the lighting is inappropriate. Harsh over- tions for this facility, all the approaches generally applica-
head light, glare off music sheets on stands, and shad- ble should be considered in the design. These affect building
ows on the music sheets must be avoided. One orientation, layout and enclosure, insulation and glazing,
excellent way to illuminate practice areas is by indirect mechanical and lighting systems. The exploitation of local
fluorescent light bounced off of light-colored ceilings. climate conditions, topography and landscaping may per-
Illumination at the task should be 40 foot-candles mit orientation and fenestration for direct gain solar exposure,
minimum. wind protection and wall shading. Compactness of layout
● Lighting and electrical systems must be designed to elimi- and differential treatment of the different facades of the build-
nate noise, specifically from music practice areas. This ing can be economical ways of making major energy con-
includes air leaks at conduit penetrations, ballast hum, servation gains. Life-cycle costing of mechanical and
and transformer vibration. See Subparagraph 5-2.F electrical systems in relationship to other building feature
for discussion of the acoustical issues which affect electri- options is also important for energy-efficient design.
cal and lighting systems design.
3-16
March 1983 Architectural Programming
Chapter 2:
Architectural
Programming
Contents page

2-2 Programming Process 2-1
2-3 Functions Program 2-3
A. Overall Functions 2-3
B. Specific Functions 2-3
2-4 Space Program 2-6
2-5 Site and Building Selection 2-6
A. Site Evaluation Criteria 2-7
B. Building Suitability Criteria 2-10

This chapter provides guidance for developing the Architec-
tural Program for the Band Training Facility, and criteria
for selecting an appropriate site for new construction or an
existing building to renovate.
Included are discussion of the steps and considerations
involved in the programming process, a description of
the functions the building is to accommodate and their
requirements, and the recommended set of spaces. The
chapter provides recommended space programs including
square footage allocations for all spaces, for the two stan-
dard size facilities. This programming process is primarily
the work of the band personnel with assistance from the
Facility Engineer. The product of this process—the Architec-
tural Program—directs the engineers and designers in
the requirements the facility design must meet, and pro-
vides the basis for development of the DD Form 1391
and Project Development Brochure (see Paragraph 1-5 of
this Guide, AR 415-15, and AR 415-20).
The site selection criteria are to be applied in the site review
process described in Paragraph 1-5, Responsibilities in
the project development process (see also AR 210-20).
Because many bands are accommodated in reused
facilities, criteria for evaluation of existing buildings are
emphasized. These site and building selection delibera-
tions should involve joint consideration by the band person-
nel and the Facility Engineer/lnstallation Masterplanner.
2-2 Programming Process

The steps involved in developing an Architectural Program
for the band facility are shown in Figure 2-1. This is a part
of the project development process presented in Para-
graph 1-5 and Figure 1-1 of this Design Guide, leading to
the DD Form 1391 and Project Development Brochure
outputs. While this process and the considerations involved
are generally applicable, each post may adapt the proc-
2-1
I Design Guide: Band Training Facilities DG-1110-3-119
Architectural Programming March 1983
ess and modify the recommended function and space pro- ties to be accommodated. Guidance in these considera-
grams presented in this chapter, as appropriate to local tions is given in Chapter 3, General Design Considerations,
band operations and planning requirements. The key steps and Chapter 4, Individual Space Criteria.
of the process include:
C. Space Program. The outcome of the above considera-
A. Functional Description and Analysis. In this phase, tions is an articulated space and performance require-
band personnel develop a complete picture of the local Army ments program for the facility. This includes the proposed
Band training activities required to be accommodated, set of function-spaces and, for each, the proposed size,
within the guidelines of this Guide. This includes consider- number, spatial character, relationships, critical dimensions,
ation of the list of functions in which the band is involved furnishings and equipment, acoustic and other technical
and required for its support, the numbers and types of peo- criteria. Paragraph 2-4 presents summary space programs
ple involved in each, their schedules, equipment require- with function-spaces and area requirements. Chapter 4
ments, and specific activity flows. provides the criteria for full development of the space-by-
Paragraph 2-3 presents the issues to consider in this task space program requirements.
and a model Functions Program, which is the product of D. Site/Building Selection. Once the space program is
this phase. The functions included in this model, and the developed and the overall building and site area require-
standards provided in R 220-90, must be considered in light ments are known, site selection and evaluation of exist-
of the specific local band function pattern, in developing ing buildings for renovation to meet these requirements can
the program for the individual post. take place. Criteria for consideration in these evaluations
B. Spatial Implications. This involves consideration of the are presented in Paragraph 2-5.
space accommodation issues of the functions program E. Test by Design. Initial sketch designs test the validity
developed above—both overall facility criteria and individ- of the functional analyses and space proposals made in
ual activity needs, and priorities to be applied when the programming process. This should be done on the
necessary. Analysis is required of dimensional and quan- basis of the site selected for construction or existing build-
tity needs, desired spatial characteristics and relationships, ing chosen for renovation, with its particular constraints
and critical technical issues, in support of each of the activi- and potentials. The sketch designs permit analysis of the
SITE OR
EXISTING
BUILDING I
I
Figure 2-1. Space Programming Process
2-2
match to local band requirements and broaden the under- 1. Rehearsal. Space is required for rehearsal of the diverse
standing of the space needs and use. This may result in range of performance groups: (see Figure 2-2)
revisions to the space program, prior to initiation of facil- ● Concert Band-full band strength, including brass,
ity design and development. woodwind, and percussion sections.
● Marching Band-full band strength, including brass,
2-3 Functions Program woodwind, and percussion sections.

● Stage Band-approximately 18 to 25 members; typically
The description presented here of the general and specific two per band; for dance-band music.
functions an Army Band Training Facility must accommo- ● Show Band-approximately 12 members; may be more
date is generally valid for Active and Reserve Component than one; play popular music.
Bands. While it is recognized that each band may have ● Jazz Combo-5-6 members.
slightly different operating practices, only minor variations ● Various Ensembles-popular music groups, brass choir,
in the functions program should be made for a specific
percussion, bluegrass, etc.; varies by post.
band facility. Substantive program changes may hinder future
changes in mission operations emphases. ● Chorus-typically included in a 65 person band and not
in a 45; drawn from same full band strength.
The Band Officer and his senior personnel—Associate ● Simultaneous rehearsals of two or more of any of the
Commander, Enlisted Bandleader, performance group
medium-sized groups or sections may need to be held.
leaders, etc.—should review the functions description pre-
sented here and note minor differences in their local ● Rehearsals sometimes include visitors and additional
operation. These local notes should be incorporated into players in small numbers, beyond the band personnel
the Architectural Program, to inform the facility designers themselves.
of the accommodation requirements as explicitly as possible,
2. Practice. (see
. Figure 2-3)
and should be reflected in a modified, Iocally. appropriate
, , .
space program. ● For individuals or small groups, and sections of perfor-
mance groups (2-6 persons).
A. Overall Function ● Some have large, difficult to set-up or transport instru-
ment requirements (e.g., percussion, piano).
The overall function of the facility is that of rehearsal and
practice for an Army Band. The building is for the band 3. Performance.
personnel and their serious musical activities, and support ● Not a likely or essential function in Band Training
functions required for operation of the band. Recreation Facilities, for most line bands; although some bands
and relaxation activities take place, before or after prac- do have, for small audiences.
tice and performance functions, as part of the band’s
active daily schedule. Performance and visitor use of the ● Performances generally take place elsewhere on-post
facility is minor. Rehearsal and practice are always the or off-post, as commitments require.
priority functions to accommodate. 4. Recording. (see Figure 2-4)
There are two required sizes of Active Duty Bands, to ● Recordings are made for band training (playback and
which this Design Guide is directly addressed—45 person study), internal Army use, and promotion (such as
and 65 person. At times, a band may not have its full recruiting). They are mostly on tape, but sometimes
complement of personnel, but the facilities should be records are cut for distribution.
designed for these sizes, which are the required levels. ● Not assumed to be professional-quality recording activity,
While not directly addressed here, the functions of the larger
Premier Bands and of National Guard and Army Reserve 5. Library. (see
— . Figure 2-5)
Bands are similar in many ways to those presented in this ● Music storage and retrieval, for concert-size and marching-
section. size music.
Each Army Band has a multiplicity of diverse performance ● Music layout and distribution for performances and
groups, outlined in 2-3.B.1, below. While the array and rehearsals.
size of performance groups are relatively standardized from ● Music arrangement and copying.
post to post, local variations exist in performance
emphases, schedule and frequency of activities or differ- ● Music sorting and cataloging, care and maintenance.
ent groups, and specific types of small combos, which ● Reference books and educational materials storage and
will effect the use of the building spaces. Each installation’s retrieval.
facility must accommodate the various rehearsal, practice ● Phonograph record storage, lending and maintenance.
and support needs of its local band.
● Library administration.
B. Specific Functions 6. Administration and Operations. (see Figure 2-6)

Specific functions to be accommodated in the Army Band ● Activities of Bandmaster (Commander), Associate Band-
Training Facility, and critical issues about their operation, master (for 65 person bands only), Enlisted Bandleader,
include: and Non-Commissioned Officers.
2-3
Figure 2-2. Band Rehearsal (The U.S. Army Band and Chorus; Brucker Hall, Ft. Myer, Vs.)
● Operations activities of performance group leaders (brass, ● Refreshments-food vending, coffee, drinks.
woodwind, percussion). ● Mail distribution (optional function; not in all facilities).
● Administrative activities, including: transportation,
operations, information, training, recruiting/re-enlistment, 8. Storage and Supply (see Figure 2-8)
performance commitments, personnel, budget, issues, ●
Unit Supply administration and operation.
general clerical.
● Receipt, storage, maintenance, issue and collection, for:
● Charge-of-Quarters (CQ) activities (see 9. Transition,
non-issued instruments and uniforms; instrument cases;
below). equipment, including lighting, electronic equipment, porta-
● Information/communication, within band and externally. ble generators, etc.; heraldic regalia; expendable musi-
7. Personal Support. (see Figure 2-7) cal supplies (reeds, wax, strings); musical instrument
—
repair parts; general and office supplies; and linens
● Individually-issued uniform and instrument storage. (possibly in Band Training Facility; may be handled at
● Instrument cleaning. barracks, by HQ command or otherwise).
● Uniform pressing. ● Security is a critical concern, especially for high-cost instru-
● Showers and changing, before and after or between ments and equipment.
performances. ● Uniform cleaning-collection and distribution; cleaning typi-
● Toileting. cally done out of facility.
● Relaxation and recreation during break times; lounging, ● Instrument repair. .
cards, table games, magazine reading, pool, ping pong, ● Weapons storage (optional function; typically not in band
table hockey, etc. facility).
2-4
Figure 2-5. Music Library (Brucker Hall)
● Janitorial and building maintenance supplies and

operations.
9. Transition.
● Entry and Circulation, often for large numbers of band
personnel simultaneously, moving in and out of
rehearsal and other activity areas.
● Movement of equipment, particularly large instruments
Figure 2-3. Small Group Practice and electronic equipment, between storage, rehearsal
and practice spaces, and outdoors.
● Reception and control - for visitors, after-hours phone
coverage, security and check-in (CQ functions).
● Trophy and memorabilia display.
Figure 2-4. Audio Control and Recording Figure 2-6. Band Administration
2-5
Figure 2-7. Individual Instrument Storage Figure 2-8. Large Instrument Storage
10. Outdoor Activities. (see Figure 2-9) tion of the spaces to be included and their recommended
relationships. (see Figure 2-10)
● Outdoor rehearsal, marching practice, ceremonial drill.
As discussed in Paragraph 2-3, these space program recom-
● Performance-possible, but not essential at the Band Train-
mendations are generally applicable to the two indicated
ing Facility.
sizes of Active Duty Bands. They provide an adequate, but
● Parking for all band personnel, plus visitors.
not overly generous, accommodation of the requirements
● Delivery, loading and unloading of equipment and of these bands. However, local differences in operational
instruments. patterns and function programs may require some modi-
● Bus loading and unloading. fications to the space program to be most suitable to local
needs. These differences may, for example, include: larger
or smaller size for individual spaces; different relationship
patterns between spaces; or elimination or addition of
2-4 Space Program specific spaces for identified local functions. Local band
personnel should review the recommended programs and
A Space Program is developed to indicate the space make changes based on specific functional and operational
requirements to accommodate the functions in the Func- differences, following the functional accommodation
tions Program, discussed in Paragraph 2-3. It includes approach and spatial character guidance provided in this
the set of required spaces, their areas, and their critical spa- Design Guide.
tial characteristics, relationships, technical and support
requirements, for a Band Training Facility.
Table 2-1 provides a summary list of the set of spaces 2-5 Site and Building Selection
to be included in the space program, and recommended
square foot areas for each of these spaces, for Band Selection of a site for construction of an Army Band Train-
Training Facilities for 45 person and 65 person bands. ing Facility must be based upon the locally developed func-
Detailed presentation of the critical dimensional and spa- tions and space program, as described in the previous
tial characteristics, relationships, technical and other require- sections of this chapter, and on the site evaluation criteria
ments for each space is found in Chapter 4, Individual outlined below. Where renovation of an existing facility
Space Criteria. Figure 2-3 provides a diagrammatic presenta- for band training purposes is being considered, all the same
2-6
Figure 2-9. Outdoor Performance
site selection criteria apply, plus the building suitability and marching practice; loading dock/outdoor performance
criteria outlined in subparagraph 2-5.B. area, with truck and service access; parking area for all
band members, plus visitors; automobile and bus drop-off
Individual sites or buildings being evaluated may not be
and loading zone, plus access drives. See Table 2-1 for
able to meet all the criteria indicated. Certain site and build-
recommended area requirements for these outdoor function-
ing suitability criteria, as discussed below, are essential
spaces for the two facility sizes. Assume the site area
to a viable band facility and must be met. Others, which
required for the building itself equals the gross total area,
are desirable but not mandatory, should be considered
including mechanical, as shown in table 2-1.
and used to rank alternative possible sites or buildings
against. Judged against all these factors, the overall most 2. Desirable Proximities. It is preferred for Band Training
satisfactory site should be selected. Where an existing facil- Facilities to be located near the installation parade ground,
ity to be renovated is being selected, satisfying the essen- for convenience of performance of the ceremonial func-
tial criteria for building suitability for band functions will tions which are a prominent part of the band’s activities.
typically outweigh the less critical site location factors. Proximity to general post operations areas, for perfor-
mance convenience, and to band personnel billets, for
A. Site Evaluation Criteria. access convenience, are also desirable. However, many
performance commitments, and housing for much of the
Significant requirements and criteria for evaluation of poten- band, will inevitably be found elsewhere, in dispersed
tial sites for Band Training Facilities include: locations.
1. Site Size. The site must be large enough to comfortably Co-location of band training and band personnel billets
accommodate the band training building and all the out- in the same structure may be considered. Some savings
door function-spaces: a drill area for outdoor rehearsal would be likely in shared personaI support spaces, such
2-7
Table 2-1 Recommended Space Allocations for Army Band Training Facilities Area Requirements
Area Requirements
45 Person 65 Person
Function-Space spaces Net Sq. Ft. spaces Net Sq. Ft.
required (NSF) required (NSF)
Main Rehearsal Room 1 1,575 1 2,275
Practice Rooms
Large Group 1 700 1 700
Small Group 1 300-350 2 300-350
Large Individual 2-4 80-125 ea. 3-6 80-125 ea.
Small Individual 6-8 55-65 ea. 9-12 55-65 ea.
total 8-10 total 825 total 12-15 total 1,145
Recording/Audio Control Booth 1 250 1 250
Library 1 500 1 640
Offices
Commander 1 200 1 200
Associate Commander 0 — 1 150
Englisted Bandleader 1 150 1 150
NCO/Performance Group 1 w/3 210 1 w/4 280
Leaders desks desks
Administration and 1 w/4 425 1 w/6 575
Operations/Transportation desks desks
Personal Support
Individ. Instr. Lockers 1 520 1 680
Instrument Cleaning 1 75 1 75
Day Area 1 640 1 860
Toilets/Lockers/Showers
men 880 1,200
women 450 480
Officer’s Toilet 0 -1 50
Storage and Supply
Unit Supply/Storage 1 1,000 1 1,300
Instrument Repair 1 100 1 100
Janitor’s Closet 1 50 1 50
Transition
Lobby 1 600 1 900
Circulation as needed as needed
Outdoor Spaces
Drill Area 1 30,000 1 30,000
Loading Dock 1 300 1 300
(Performance/Loading (1,100)* (1,500)
Combined-Optional)
Parking Area 45 13,500 65 19,500
Total Indoor Spaces-Net Only 9,500 12,760
Circulation, Walls, etc. @ 25% 2,380 3,190
GROSS TOTAL 11,880 15,950
Mechanical Spaces @ 5% 600 800
Total Including Mechanical 12,480 16,750
* If performance option is chosen, square footage includes 300 S.F. loading function.
2-8
Cleaning
Loading/
Performance
Figure 2-10. Spaces and Relationships for Army Band Training Facilities.
as day areas and showers. However, potential problems 4. Site Access. The site configuration and relationships to
exist in security control of access doors, and in sound access roads should readily permit design of good, sepa-
transmission and interference between the two function- rate patterns for the multiple access needs of the band
areas. facility. This should include service access to the loading
3. Inappropriate Proximities. The site for the band dock and mechanical space distinctly separate from the
main entrance, preferably to the side or rear of the building.
facility must be quiet, located away from truck routes,
heavy equipment operations, runways and flight paths, and The parking area access should also be separate. The
potential should exist for the provision of a car/bus dropoff
helicopter landing areas. The outdoor practice field must
space at the main entrance.
not be located between closely spaced buildings, espe-
cially with facing parallel walls, to avoid echoes which 5. Topography. The topography of the site should be easy
make hearing and practice difficult. Functions in buildings to develop at minimum cost, with no extraordinary require-
adjacent to the Band Training Facility should not be those ments for foundations or drainage. Slopes in the building
which would be disturbed by outdoor practice or perfor- area and the surrounding outdoor activity spaces should
mance noise. not require expensive grading and site preparation, or
2-9
Figure 2-11. Site Evaluation Criteria

accommodate all the program spaces; built of heavy con-
difficulty for bicycle and wheelchair access. Flat or slightly struction (masonry or concrete), to provide the required
ramped access to the building is particularly important acoustic properties; and with sufficient space of a mini-
because of the frequent movement of large instruments and mum 15-foot ceiling height to accommodate the Main
equipment. However, the ground around the service apron Rehearsal and Large Group Practice Rooms. Such a build-
should slope down toward the loading dock, t O form a natu- ing could be used to house the band training functions
ral amphitheater for outdoor performances. If a site is entirely within the existing structure (see Figure 2-5 for
otherwise acceptable, construction of earth berms may be example). The criteria for selecting a building suitable for
used to form the amphitheater. (see Figure 2-11) this purpose are discussed in detail below. (see Figure
2-12)
B. Building Suitability Criteria The second approach is to find a building smaller than the
required program area, and add the musically critical
There are two approaches to utilizing an existing building rooms in new construction (see figure 2-6). Square foot-
to renovate as a Band Training Facility. One is to find a age can be between 5,000 and 10,000 square feet, for
building which is: at least as large as the required area to a 45-member band, with new construction bringing the total
2-10
Architectural Programming
to 12,000 to 13,000 square feet. This approach insures

that music rooms- rehearsal, practice, control-will per- Figure 2-13. Band Training Facility in Renovated Exist-
form adequately, and have proper construction, shape, ing Building plus Additions
volume and isolation, to meet band training acoustic
requirements. In addition, this approach provides better Training Facilities. The site location criteria are the same
construction quality control standards for the acoustically as for a newly constructed building, discussed above, but
sensitive spaces, typically easier to achieve in new con- may not be as fully realizable, given the location con-
struction than in renovation. (see Figure 2-13) straints of available buildings. The location benefits must
The following are the significant requirements and criteria be balanced against the quality and adaptability of the
for evaluation of potential buildings for renovation as Band available facilities and the economic benefits of renovation
2-11
versus new construction. However, the essential building 3-5, Acoustical Considerations, for further explanation).
suitability criteria, as indicated below, must be fulfilled, over- Buildings of other types of construction may be used, but
riding any site evaluation factors, because without these with less successful results and with difficult renovation
the facility will not perform adequately for band training use. techniques required (see Chapter 5, Practical Approaches
for Acoustical Construction, for discussion of these sys-
1. Building Size. The building size must be at least equal tems and techniques). Large open interior spaces are eas-
to the band training program square footage, and prefera- ier to renovate to fit band space requirements. Especially
bly larger, unless additional construction is planned. Con- for the music spaces, structural bay sizes of 20 feet by 30
version usually requires more square footage in order feet or greater are preferred.
to fit all the required functions and spaces within the exist-
ing configuration and structure. For a 45 person band, 5. Environmental Systems Reuse. Reuse of expensive
the building should be between 12,500 and 15,000 square elements of the existing building such as plumbing and
feet; for a 65 person, between 17,000 and 21,000 square mechanical systems is economically advantageous.
feet. Minor compromises in the area of individual program Building suitability evaluation should reflect the feasibility
spaces may need to be accepted to fit within an avail- of this reuse, in the context of the function layout and
able building, but these should be made in the support, relationship requirements for Band Training Facilities, as
administration and the secondary spaces, not in the pri- presented in Chapter 3.
mary music spaces. In order to reuse plumbing systems and toilet rooms, they
2. Ceiling Height. It is absolutely necessary, when must be located in an area of the building that is usable
attempting to install music rehearsal and practice rooms in for the more private band functions, rather than near spaces
an existing structure that there be areas of high ceiling to be used for semi-public activities such as music
heights—15 to 30 feet—to accommodate the large acousti- rehearsal, practice or lobby. If mechanical systems are to
cal volume required for band practice. Without this high be reused, they must be capable of being modified to
space, sound levels will be excessive and potentially dan- include humidity control for protection of instruments. Noisy
gerous to band personnel’s hearing; and the quality of equipment should not be near spaces to be used for
sound and ability to hear others will be impaired. For a 45 music practice. All these systems must meet the require-
person band, at least 2,200 square feet of high space is ments in Paragraph 3-6, Environmental Systems Design.
required; for a 65 person band, at least 3,000.
6. Budget Constraints. The renovations required to meet
3. Single Level. The existing building configuration should
band training programmatic needs must be accomplished
be such that all music rehearsal, practice, storage, and
within the budget limitations set by Army regulations for
instrument areas can be on one level. A loading dock should
additional investment, relative to the type and value of the
be on the same level. This will make movement of large
facility. The cost of renovating an available existing facil-
instruments and equipment easier. Any building configura-
ity must be compared with the cost and relative appropriate-
tion that results in use areas above or below music rooms
ness of new construction. Only part of a desired renova-
should be avoided.
tion may be able to be afforded, or the work may need to
4. Construction. Band Training Facilities should be of be supplemented by band personnel. In such a case,
permanent construction. Massive construction systems— the decision must be made whether a partial level of satis-
masonry or concrete—are inherently more suitable for faction of band desires and needs is appropriate as a
band facilities, for sound isolation reasons (see Paragraph basis for project development.
2-12
March 1983 Introduction
Chapter 1:
Introduction
Contents page

1-2 Purpose 1-1
1-3 Scope 1-2
1-4 Organization 1-2
1-5 Responsibilities 1-2
A. Project Planning and Programming 1-3
B. Design 1-4
1-6 References 1-5
1-7 Glossary 1-5

This chapter describes the purpose, scope and organiza-
tion of this Design Guide for Army Band Training Facilities.
It discusses the roles and responsibilities of participants
in the project process, and provides a reference list of related
military regulations and technical manuals useful in the
development of these facilities.
1-2 Purpose
The purpose of this Design Guide is to provide guidance
and basic criteria for the planning and design of Army
Band Training Facilities (Category Code 171-15). This
involves several stages and types of activities:
A. Evaluation and Improvements. This Design guide

provides criteria against which existing band facilities, build-
ings proposed for renovation for band use, and new
designs can be evaluated. Criteria are provided for assess-
ment in terms of architectural program, spatial and struc-
tural suitability, building organization and relationships, and
the design of individual activity spaces. Improvements
to existing facilities, through renovation and better space
utilization and operation, can be applied by local band
and engineer personnel, based on such assessment and
on the design guidance in this document.
B. Planning and Programming. This Guide provides
general guidance for Army Bank officers and personnel,
and Facility Engineer personnel, for project planning and
programming for band facilities, and initiating projects for
military construction programs. The Design Guide provides
specific guidance for the selection of appropriate sites or
existing buildings to renovate, and for development of
the architectural program, including the preparation and sub-
mission of required documents.
C. Design. As the basic instrument governing the design
of Army Band Training Facilities, this Guide provides the
design principles and criteria for conceptual design and
design development of all sizes of band facilities. The guide-
lines focus on the development of realistic, cost-effective
1-1
Introduction March 1983
buildings which best accommodate Army Band activities. such renovations and small-scale modifications, especially
They specifically address the issues of acoustical design, for construction items unique to band training activities
renovation, and practical construction approaches, which and their acoustic implications. Further guidance on inte-
are particularly important in the development of band rior design is provided in DG 1110-3-122.
facilities.
These guidelines are intended to be used throughout the
design process, by all the participants in this process: Band
officers and personnel, Facility Engineers, District
1-4 Organization
Engineers, and design architects and engineers. They are
to be coordinated with other Army regulations and Depart- This Guide is organized to aid the reader through the
ment of Defense (DOD) criteria and procedures. successive steps in the planning, programming, and design
process. The organization is intended to allow each dif-
ferent user of the Guide to find and use the information perti-
1-3 Scope nent to their role in the overall project. The chapters into
which this Design Guide is divided are as follows:
A. Types of Band Facilities. This Design guide is directly
1. Introduction. Overall purposes, scope and organization
applicable to training facilities for the regular Active Duty
of the Design Guide; roles and responsibilities of partici-
Army bands. The criteria and illustrative designs specific-
pants in the project development process; and references
ally address the two standard sizes required for such bands useful in the planning and design of band training facilities.
— 45 person and 65 person. While the personnel compo-
sition and functions of these bands are relatively standard- 2. Architectural Programming. Functional and space
ized, there are minor local variations in operation from programming for Army Band Training Facilities, including
post to post, which can be reflected in the facility design. criteria for selection of sites or of existing buildings to
This Design Guide is also generally applicable to facili- renovate.
ties for the larger Premier Bands. However, the specifics 3. General Design Considerations. The overriding issues
of band composition, performance groups and activities of site design, building organization and space design
are different from other bands, and will require modifica- which should control design of the Band Training Facilities,
tion and augmentation of the affected function-areas of with specific criteria for their implementation. Discussion
the band facility. Each of these facilities must be programmed of special considerations concerning acoustics issues and
and designed individually, utilizing the general guidance environmental systems design for band facilities are
on programming process, functions and space requirements, included.
overall and individual space design criteria, and acousti-
cal design considerations found in this Guide. Similarly, the 4. Space Criteria. Functional, architectural, dimensional,
contents of this Design Guide are generally relevant to relational and technical criteria for each individual space
National Guard and Army Reserve Bands, and should be of the Band Training Facilities.
applied as appropriate to their operations and scale of
facility construction. 5. Practical Appreaches for Acoustic Construction. Practical,
how-to-do-it guidance and typicaI details for construction
B. New Construction, Renovations, Additions, and Adap-
appropriate to acoustic requirements of Band Training
tive Reuse. This Design Guide is applicable to all projects
Facilities, including sound isolation, noise control, and room
involving new construction, renovations, additions, or adap-
tive reuse for Band Training Facilities. While this docu- acoustics issues. For additional guidance see DG
1110-3-123.
ment provides the basic criteria for such facilities, it is
not intended to provide all the information required for the 6. Illustrative Designs. Designs for new facilities for 45 per
identification of project requirements or the successful son and 65 person bands, and for renovation of two typi-
preparation of project designs. Additional information must cal existing facilities for band use. These are not intended
be obtained at the installation level in order to identify as definitive designs, but rather to exemplify the planning,
the unique requirements of local bands and their activities, programming and design guidelines presented in this Design
and the design constraints and opportunities of the physi- Guide.
cal context and sites. This guide does include illustrative
examples to assist the responsible local personnel in devel-
opment of their project requirements and designs.
C. Staff-Initiated Interior Design Changes. A major use 1-5 Responsibilities
of this Guide is to aid Army Band personnel and Facility
Engineers in evaluating existing facilities and making inte- The roles and responsibilities of the various parties
rior design changes not necessarily involving capital involved in the Project Development process for Army Band
improvement funds. The Design Guide is intended to help Training facilities are diagrammatically outlined in Figure
these personnel to know what design principles and 1-1. This represents the procedures for development of facili-
approaches to follow in making these changes. It provides ties funded under the Military Construction Army (MCA)
specific, practical guidance, with how-to-do-it details, for program.
1-2
Bend
Personnel
Facility
Engineer
Installation
Commander
District
Engineer
(or A/E)
Major
Command
OCE
DA
Notes:
Figure 1-1. Band Training Facilities Project Development Process
A. Project Planning and Programming detailed Project Development Brochure (PDB) prepared,
as specified-in AR 415-20 and TM 5-800-3. The functional
Prior to the steps shown in Figure 1-1, the Installation description of the PDB - the activities and operations of
Planning Board (IPB) must approve an Installation Master- the programs to be included in the facility-is written by
plan, including the site location for proposed Band Train- the Army Band Officer, with assistance from band
ing Facilities, and a priority list for new construction and personnel, within the guidelines of this Guide. The physi-
renovation projects. Because of the unique nature of a cal requirements—siting, site development, general archi-
musical ensemble like the band, and the inherent unique tectural and technical aspects—are developed by the Facility
requirements, it is imperative that the Bandmaster ensure Engineer, in interaction with the band personnel. The Facil-
that those requirements are represented at every process ity Engineer also has the option of asking assistance from
level, from this very first stage, to effect appropriate prior- the District Engineer in preparing the PDB.
ity placement of the Band Training Facilities within the lPB-
approved Master Plan.
The “site review” indicated in Figure 1-1 represents a review The content of the PDB constitutes or summarizes an
and possible revisions of previous siting decisions, based Architectural Program for the facility. Procedures and cri-
on the refined understanding of the specific project func- teria for development of this are found in Chapter 2 of this
tional requirements. In addition, a Project Summary (PS) Design Guide. The Architectural Program is the document
is prepared (see TM 5-800-3), to accompany the initial (one which communicates to the design architects and engi-
page) DD Form 1391, to provide preliminary information neers the requirements the building must satisfy: the func-
about the project to the MACOM. tional program, the space requirements, and critical design
criteria and site constraints.
1. Project Development Brochure. Upon notification that 2. Site Review. The site selected for the Band Training
a Band Training Facility has a high probability of being Facility in the Installation Master Plan should be reviewed
included in the MACOM’s Short Range Construction Pro- by the Band Officer together with the Facility Engineer.
gram (SRCP), the Facility Engineer arranges to have a This review should reflect the considerations presented in
1-3
Figure 1-2. Recently Constructed Army Band Facility

(Brucker Hall, the U.S. Army Band and Chorus, Ft. Myer, VA)
Section 2-5 of this Guide. Any modifications desired must B. Design

be proposed to the Installation Planning Board, for approval
in accordance with AR 210-20, Masterplanning for Perma- For the remainder of the Project Development Process,
nent Army Installations. primary responsibility shifts to the District Engineer’s office,
or the activity charged with construction responsibility.
3. DD Form 1391. DD Form 1391, Military construction The District Engineer develops the design criteria, and either
Project Data, with detailed justifications, is the essential handles concept design, final design and construction
documentation required for decisions on the project by the administration in-house, or contracts the design to an out-
Major Command. Instructions for its completion are found side architect/engineer. Although these tasks take place
in the AR 415-15 and in TM 5-800-3. Army Headquarters away from the installation, they are based on the func-
uses the DD Form 1391, with MACOM input, to further tional and operational requirements in the PDB and DD
refine DA construction priorities. The DD Form 1391 is pri- Form 1391. There is opportunity for review and approval
marily the responsibility of the Facility Engineer, with input of the Concept Design by the Facility Engineer and band
from band personnel, already largely developed in the PDB personnel, and this is critical to insure satisfaction of the
process. It is a detailed justification of the need for the users’ projected needs. (see Figure 1-2)
project, including descriptions of the general physical charac-
teristics of the facility, quantitative data, and cost 1. Design Services. Architects and engineers selected for
estimates. The final submittal of DD Form 1391 will have design of Army Band Training Facilities shoud be experi-
the PDB attached. enced in the design of band or music training and perfor-
1-4
I
mance facilities. They should be able to respond with AR 415-35, Minor Construction.
imagination to the principles and considerations in this TM 5-800-3, Project Development Brochures.
Design Guide, and to the individual post’s use program proj- TM 5-803-1, Installations Master Planning: Principles and
ect criteria and site. The architects must integrate design Procedures.
quality, functional efficiency and cost control, with efficient
C. Design
projects procedures. They must be able to coordinate
the technical engineering and other specialist services AR 190-11, Physical Security of Arms, Ammunition and
required, in particular the specialized acoustic engineer- Explosives.
ing capabilities essential to good band facility design. DG 1110-3-122, Design Guide for Interiors.
2. Concept Design. The designer prepares Concept Designs DG 1110-3-123, Architectural Acoustics.
(detailed schematic designs) to define all functional EM 1110-1-103, Design for the Physically Handicapped.
aspects of the facility, and to provide a firm basis for evaluat- ER 1110-345-100, Design Policy.
ing the total building and site design. Designs are based ER 1110-345-700, Design Analysis.
on the PDB, on functional requirements submitted by the ER 1110-345-710, Drawings.
band personnel, on data in DD Form 1391, on prelimi-
nary designs and cost estimates previously completed and ER 1110-345-720, Specifications
approved, and on detailed consideration of the criteria TM 5-785, Engineering Weather Data.
in this Design Guide. Concept Designs are reviewed by the TM 5-800-1, Construction Criteria for Army Facilities.
Band Officer and his personnel. Based on their recommen- TM 5-800-2, Preparation of Cost Estimates—Military
dation, the Facility Engineer determines if the design is in Construction.
compliance with the program and the criteria in this Design TM 5-803-5, Installation Design.
Guide, and communicates this to the District Engineer.
TM 5-805-4, Noise Control for Mechanical Equipment.
3. Final Design. Final Design is prepared based on the TM 5-805-10, Acoustical Treatment.
previously approved Concept Designs. This stage does
TM 5-807-10, Signage.
not require approval by the installation personnel, but they
should have the opportunity to review the in-process TM 5-809-1 through 5 and 8 through 11, Structural
design before completion of Final Design. Upon comple- Design.
tion and receipt of appropriate directives from the Chief TM 5-810-1 through 6, Mechanical Design.
of Engineers, the District Engineering Office furnishes to TM 5-811-1 through 4, Electrical Design.
the Using Service and the installation commander a copy TM 5-812-1, Fire Protection.
of all bidding documents along with a notice that the Dis- TM 5-813-1 through 5, Water Distribution Systems.
trict Engineer intends to advertise the project for bids.
TM 5-814-1, Water Supply for Fire Protection.
Thereafter the project proceeds into construction, under the
responsibility of the District Engineering Office. TM 5-814-1, Sanitary Engineering
TM 5-822-2 Design for Roads, Streets, Walks and Open
Storage Areas.
TM 5-830-2 and 4, Planting Design.
1-6 References D. Completion Records
The following references are important in understanding AR 415-10, General Provisions for Military Construction.
the functions of Army Band Training Facilities, the proce-
dures for their planning, design and development as part
of military construction programs, and the records to be trans-
1-7 Glossary
ferred to the using service upon completion of the project. Presented below are definitions of technical terms used
A. Functional Requirements. throughout this guide, with which all readers may not be
familiar. These are practical definitions, designed to apply
AR 220-90, Army Bands.
only to the usage of these terms in this document.
FM 12-50, The Military Bands.
TRADOC PAM 525-13, U.S. Army Operational Concept Absorption: absorption of sound, as by a material which
and Use of Army Bands in Combat Areas. soaks up sound energy so that less sound is reflected back
into the room.
B. Planning and Project Development.
Acoustics: The science of sound including its production,
DOD 4270.1-M, Department of Defense Construction transmission and effects, and the qualities that determine
Criteria. the value of a room or enclosed space with respect to
AR 210-20, Master Planning for Permanent Army Installa- hearing.
tions.
Architectural Program (or Space Program): a list of all
AR 415-15, Military Construction (Army) Program spaces required in a building, usually including informa-
Development. tion about the areas (square footages) and activities to be
AR 415-17, Cost Estimating for Military Programming. accommodated, and the design characteristics desired
AR 415-20, Project Development and Design Approval. in each room.
1-5
Attenuation: reduction; in this case, of sound level, Installation Master Plan: an integrated series of documents
especially by walls and other barriers between two rooms. which presents in graphic, narrative, and tabular form
the present composition of the installation and the plan for
Auditory Health Hazard: sound of such loudness or fre
its orderly and comprehensive development to perform
quency as to cause injury to the ears and impair hearing,
its various missions in the most efficient and economical
permanently or temporarily.
manner over a 20-year period.
Batt Insulation, acoustical: fiberglass or other fibers, bonded
Isolation: keeping noise either in or out of a room by means
loosely - specifically designed to absorb sound (as opposed
of constructions that reduce the amount of sound passing
to thermal insulation).
through; see also “Attenuation”.
CFM: cubic feet per minute; a measure of the movement
Loudness: intensity of sound, which may be graded from
of a liquid or a gas (usually used to describe conditioned
soft to loud; loudness depends primarily on the sound power
air), in quantities of one cubic foot of volume passing a
of the stimulus (source), but also on the frequency and
given point in one minute.
wave form of the stimulus, as modified by the room surfaces:
Cast-in Place Concrete: concrete poured into forms in sound can be absorbed that would otherwise be reflected
its final location; forms are subsequently removed; see back into the room to add to the loudness; measured in
Precast Concrete. decibels.
Clerestory Windows: windows inserted in the section of Live Room: a room with an unusually small amount of
wall between an upper and lower roof. sound absorption, and thus much reverberation; a “dead”
Decibel: a unit for measuring the relative loudness of sound, room has a large amount of absorption, so sounds quickly
equal approximately to the smallest degree of difference die out.
of loudness ordinarily detectable by the human ear Life Cycle Costing: estimating building costs for the entire
(logarithmically related to the actual sound energy). expected useful life of the building, including operating
Diffusion: distribution of sound throughout the room under and repair costs, in addition to the usual considerations for
consideration; uniform distribution rather than focusing initial construction cost.
of sound in one place is the goal, and this is accomplished MCA Program: Military Construction, Army; including the
through varying the positions and types of surfaces, and planning, programming, designing, budgeting, construction,
the distribution of absorption within the room. and disposal of major and minor construction of Army
facilities, acquisition of real estate, and other supporting
Earth Berm: a mound of earth, usually man-made.
activities.
Environmental Systems: equipment and assemblies to —
Noise Criteria (NC): a grading scale of levels of noise in
condition air in a building for human comfort or other tech- decibels, based on tests of speech interference and annoy-
nical requirements; usually includes heating, cooling, ance considerations; a room is assigned an NC rating,
ventilating, dehumidifying, and filtering impurities. stating acceptable background noise, based on how criti-
Flanking Path: a way for sound to circumvent a barrier; for cal interference and annoyance by outside sounds will
example, a metal tube that goes around the end of a sound- be; for example, a room that requires almost total silence
isolating wall between two rooms, thus serving as a con- should allow only a very small amount of interfering noise,
duit for sound to bypass the barrier. and thus would have a low Noise Criterion.
Flutter echo: a ringing noise caused by a pattern of repeti Noise: unwanted sound.
tive sound reflections along the same path, such as Noise Control: the manipulation of mechanical system noises
between two parallel hard surfaces. that result from the conditioning of the space, so they
Frequency: the number of oscillations of sound waves are not objectionable, or so they provide an even back-
per unit of time; the higher the frequency, the higher the ground sound level.
pitch of the sound; a sound isolating or sound absorbing Noise Reduction Coefficient (NRC): a rating scale for the
material has different effectiveness at different frequencies. effectiveness of sound absorbers, measured at the four mid-
Gasket: a flexible strip of material which is compressed dle frequencies; high numbers indicate high absorptivity.
to make a tight seal; for example, a material pressed by a The coefficient may be misleading as it does not consider
door against the door frame. the low frequencies generated by many band instruments.
Gypsum Wallboard (GWB) gypsum plaster manufactured Plenum: a space above or below a room, into which pres-
into stiff, paper-covered boards, which are attached to the surized conditioned air is directed, to then pass to the
building structure to make walls; joints between the boards rooms above or below through registers.
are sealed and smoothed to form a continuous surface; also Precast Concrete Plank: factory-made concrete planks,
called sheetrock. delivered to a building site and set by crane on a frame-
Glazing: glass, as installed in a window. work to form a floor or roof; to reduce-weight, hollow spaces
usually run the length of the plank.
Hertz (Hz): the number of cycles of oscillation of sound
waves per second; a measure of frequency. Project Development Brochure (PDB): documents
prepared, in two phases, as part of the project develop-
1-6
ment process, which provide the data necessary to program, Slab-on-grade Construction: a concrete slab poured on
budget, and initiate design of proposed army construction a prepared ground surface, as opposed to a floor slab above
projects. the ground surface (with space underneath).
Proprietary : item or assembly offered as a package by Sound Lock: a vestibule, with two doors, between a music
one manufacturer only, whose performance is guaranteed. room and another space, designed to isolate noise.
Reflectivity: the ability to redirect, back into a space, sound
Sound Transmission Class (STC): rating scale for the
waves that strike a surface, as opposed to absorbing the
effectiveness of sound-isolating constructions, based on
waves.
their attenuation at many different frequencies to arrive at
Renovation: construction modification of an existing one comparative number; however, like NRC, STC does
building for reuse. not consider low-frequency sound as produced by bands.
Resilient Attachment: a method of attachment to stop Splayed Wall: a wall at an oblique angle to another; used
transfer of sound and vibration from one material to for acoustic purposes to diffuse sound and break up
another; provides superior sound isolation. unwanted echoes.
Reverberation: persistence of sound in a room after the
Standing Wave: an accentuation of sound at specific
source has stopped.
frequencies caused by room dimensions that are equal to
Reverberation Time: for a given frequency, the time or multiples of each other.
required, after the source has stopped, for the average sound
pressure level, originally in a steady state, to decrease STC-Rated Ceiling: an assembly consisting typically of a
60 decibels (in other words, to decrease to one millionth metal support grid hangers and acoustical tiles, proprietary
of its initial value). to a particular manufacturer, whose performance as a
sound attenuator has been tested by an independent labora-
Room Acoustics: The acoustical qualities—loudness, tory and found to be in the range of STC 35-44.
reverberance, etc. — of a room, as determined by its size,
shape and finishes; not to be confused with Isolation or Suspended Acoustical Ceiling: an assembly consisting of
Noise Control. a metal support grid, hangers and mineral fiber or fiber-
glass tiles; always NRC-rated, but not always STC-rated.
Sealant, Acoustical: a manufactured, permanently flexi-
ble material used to fill linear gaps in construction, such Zoning: dividing a building design or building site design
as those at joints between two materials, to eliminate into areas of some functional similarity for planning purposes.
- openings in sound-isolating barriers.
1-7

Ufc 4-171-04an Band Training Facilities (01 March 2005)

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UFC 4-171-04AN

UNIFIED FACILITIES CRITERIA (UFC)

BAND TRAINING FACILITIES

APPROVED FOR PUBLIC RELEASE; DISTRIBUTION UNLIMITED

UNIFIED FACILITIES CRITERIA (UFC)

BAND TRAINING FACILITIES

U.S. ARMY CORPS OF ENGINEERS (Preparing Activity)

NAVAL FACILITIES ENGINEERING COMMAND

AIR FORCE CIVIL ENGINEER SUPPORT AGENCY

Record of Changes (changes are indicated by \1\ ... /1/)

Change No. Date Location

• Whole Building Design Guide web site http://dod.wbdg.org/.

Table of Contents page

Chapter 5: Practical Approaches For Acoustic

List of Figures page

4-7 Illustrative Office Plans 4-10

List of Tables page

Chapter 2: Architectural Programming

Chapter 6: Illustrative Designs

FOR THE COMMANDER

WILLIAM N. McCORMICK, JR.

6-1 Using this Chapter

Figure 6-1. New 45 Person Band Facility - Perspective Sketch

Figure 6-3. New 45 Person Band Facility - Site Plan

Figure 6-4. New 65 Person Band Facility - Perspective Sketch

Figure 6-6. New 65 Person Band Facility - Site Plan

6-4 Renovation of 6,150 SF

Figure 6-7. Existing 6,150 SF Battalion Headquarters-Plan

Figure 6-8. Renovation of 6,150 SF Battalion Headquarters - Perspective Sketch

Figure 6-10. Renovation of 6,150 SF Battalion Headquarters - Site Plan

6-5 Renovation of 12,700 SF

Figure 6-11. Existing 12,700 SF Enlisted Men’s Service Club - Plan

Figure 6-13. Renovation of 12,700 SF EM Service Club - Site Plan

5-1 Using this Chapter 5-1

5-1 Using This Chapter

5-2 Sound Isolation

Table 5-1 Typical Performance Ranges of Sound Isolating Constructions

March 1983 Practical Approaches for Accoustic Construction

Figure 5-1. Section Through Typical Individual Practice Rooms

Figure 5-3. Gypsum Wallboard Construction Between

Figure 5-5. Masonry Wall and Concrete Plank Roof

or without concrete topping). Isolation performance

B. Wall running across deck corrugations

B. Small Group Practice Rooms

Figure 5-9. Resiliently Furred Construction B. Resilient ceiIing hanger

Table 5-3 Recommended Ceiling Treatment

C. Main Rehearsal Room, Large Group-

and out. The active leaf in a double door should be a

Figure 5-13. Plan of Music Room Double Doors

Figure 5-14. Double Door Meeting at Astragal

Small fixed windows in acoustical doors (up to one foot

An improved quality sound seal is shown in B. The seal

C. Resiliently attached to furring channels on the

Figure 5-15. Acoustical Door Frames and Seals

A raised threshold is most effective for stopping noise, but

B. Cam operated drop seal built into

C. Surface mounted cam operated

Figure 5-16. Acoustical Door Bottom Seals