NOISE REDUCTION IN HVAC DUCT SYSTEMS

Correctly designed HVAC duct systems address natural sound attenuating mechanisms
and requirements for sound control
November 2013
Sponsored by Kinetics Noise Control, Inc.
By Karin Tetlow
Use the following learning objectives to focus your study while reading this months Continuing
Education article.
Learning Objectives - After reading this article, you will be able to:
1. Summarize the basic concepts underlying HVAC duct system acoustics
2. Explain the principles employed in calculating sound values in HVAC duct systems
3. Identify natural attenuation mechanisms and how they impact HVAC duct design
4. Discuss the purpose of acoustical analysis and how it determines the need for specifying
different types of noise control silencers
Continuous or intermittent noise from an insufficiently designed HVAC system is disruptive and
distracting. In many instances design professionals focus on delivering the proper airflow, but ignore
acoustical aspects, often assuming that white noise from mechanical systems is beneficial because it
helps mask other noises within the work environment.
A noise reduction/abatement program is essential for many industries, especially manufacturing
facilities, because of safety and potential claims for hearing damage. In offices, acoustic problems are
both a leading source of employee dissatisfaction and the least addressed in office designs (General
Services Administration (GSA) workplace research (Sound Matters, January 2012)). Today, owners,
designers, developers and insurers of all building types are increasingly aware that HVAC noise can
contribute to litigious health issues for both occupants and neighbors. Addressing the acoustical
aspects of air handling systems is equally critical as meeting air flow heating and cooling design
requirements.
In order to analyze, evaluate and remedyif necessaryHVAC acoustic issues, several steps are
necessary. The first is to analyze the entire duct system. This begins by evaluating the natural
attenuation that occurs in HVAC systems. If undesired sound persists despite natural attenuation
efficient and cost effective acoustical remedies need to be specified. Leading noise control product
manufacturers offer no-cost design and engineering assistance in analyzing duct systems (see
example of a web-based program below), but it behooves design professionals to have an
understanding of the concepts underlying HVAC noise control. Such an understanding will also help
during the design phase when natural attenuation strategies can easily be incorporated.

Sound attenuators for HVAC systems

Photos courtesy of Kinetics Noise Control, Inc.

Use the following learning objectives to focus your study while reading this months Continuing
Education article.
Learning Objectives - After reading this article, you will be able to:
1. Summarize the basic concepts underlying HVAC duct system acoustics
2. Explain the principles employed in calculating sound values in HVAC duct systems
3. Identify natural attenuation mechanisms and how they impact HVAC duct design
4. Discuss the purpose of acoustical analysis and how it determines the need for specifying
different types of noise control silencers
Credits: 1.00 HSW
Basic Acoustic Concepts
Knowledge of duct system acoustics is an essential first step.

Sound Power and Sound Pressure

While sounding similar, they are different. Sound power is the amount of acoustical power generated
by a sound source in all directions. It is expressed in watts and cannot be directly measured but can
be calculated based on sound pressure measurements. Sound power level (abbreviated as PWL or Lw)
is a logarithmic measurement of the sound power.

Sound pressure is the fluctuation of the ambient pressure generated by the vibration of a surface that
creates a sound wave. It is measurable and expressed in the sound pressure unit pa, or pascal.
Sound pressure varies according to the magnitude of the sound source, the location of where the
sound is measured, the density of the medium the sound travels through and the directional path the
sound travels. The reason why the sound of an electric drill operating in different locations varies is
because the sound pressure varies, despite the fact that the sound from the drill is constant.
The range of sound power is huge: a faint noise at the lower level of human audibility is 1x (10)-12
(0.000000000001) watts, while the sound power of a space shuttle launch is 1 x (10)8 (100,000,000)
watts. Normal speech is 1 x (10)-5 (.00001) watts. A soft whisper is 1 x (10-9) (0.000000001) watts.
Similarly, sound pressure can range from 2 x (10)-5 (0.00002) pascal to 1 x (10) (100,000)5 pascal.
Normal speech at 3 feet is 2 x (10)-2 (0.02) pascal. For convenience and the fact that we cannot hear
variations in sound unless there is a large difference in sound pressure, a logarithmic definition of
sound power and sound pressure is used. To accommodate such a large span in values, a decibel
(dB) is defined as each successive whole number being 10 times larger than the previous number
based on a reference point of 20Pascals (20 x 10-6 pascal). This reference is considered the low
threshold of human hearing. Sound pressures are directly measured by a pressure transducer or
microphone, which converts pressure to sound pressure levels. Sound Pressure Level (abbreviated as
SPL or Lp) is a logarithmic measurement of the sound pressure.
Sound Pressure Level is defined by the equation Lp = 20 log10 (p/pref) which results in a dB value with
(pref=20Pascals). Sound Power Level is defined by the equation Lw = 10 log10 (p/pref) which results in
a dB value with (pref=10-12 watts).
Note that sound pressure levels are a measurement of pressure where sound power is a
measurement of energy.
The unit for both sound power level and sound pressure level is the decibel (dB), which expresses our
subjective reaction to noise, or how we perceive sound. Because sound levels are expressed in
logarithmic terms, a small change in decibel level is significant in how we hear and perceive that
sound.
Calculating sound pressure levels is critical to acoustical analysis because that relates to what sound
people will hear.
Since sound power (energy measurement of the sound source) and sound pressure (pressure
measurement of the sound we hear) are different, their values in decibels are also different. See
Table of Typical Sound Pressure Levels (Lp).
Table 2. Typical Sound Pressure Levels (Lp)

Table courtesy of Kinetics Noise Control, Inc.

Important Points to Remember

Never specify acoustic treatment without first analyzing both the supply and return air
critical duct system paths.
Doing so will result in an improperly designed system that introduces unnecessary
costs to the owner.
Avoid over-designing acoustic treatment by considering natural attenuation.
Often natural attenuation is sufficient to reduce noise levels to acceptable limits.
* A proper acoustic design goal is to achieve a comfortable acoustical environment not
to achieve the lowest possible sound level in a critical space.
* Do not over-attenuate high frequencies. A rumble noise problem will be created.
Do not over-attenuate low frequencies. A hissing noise problem will be created.
* Some background noise levels can be helpful for speech privacy and masking other
noise sources. Identify the use of areas to determine appropriate acceptable noise levels.

Combining Sound Levels

Because sound levels are logarithmic, and based on different reference points sound power and
sound pressure cannot be directly combined.
A doubling or halving of a sound pressure level will not be perceived as a doubling or halving the level
of noise we hear. Rather, since the values are logarithmic it only takes a small change in a sound
pressure level to perceive a large change in sound subjective perceptions:
A change of 3 dB is not detectable
Most people notice a change 5 dB
An increase +10 dB is perceived as a doubling of sound
A decrease of -10 dB is perceived as a halving of noise
Instead of employing extensive calculations in order to compute sound levels, i.e., what sound will we
actually hear if we are exposed to more than one sound source at the same time, it is possible to use
short-cut, rule of thumb guidelines:

 Adding a sound source that is 10 dB less than a primary sound source will have no effect on the
overall level of sound perceived. The louder sound source masks the quieter source.
The addition of two equal sound sources will result in a noise level increased by 3dB.
The addition of sound sources which differ by 2 dB to 4dB will increase the louder noise source by
2dB
The addition of sound sources which differ by 5dB to 9dB will increase the louder noise source by
1dB
(See Table Simplified Decibel Additions).
Table 3. Guidelines for Simplified Decibel Additions

Table courtesy of Kinetics Noise Control, Inc.

Example: Two sound pressure sources producing 100 dB each do not produce 200 dB when heard
together. Rather, according to sound pressure equations, the subjective combined sound pressure
level is 103 dB.
Frequency
The frequency of a sound is determined by the number of pressure fluctuations (sound waves)
produced per unit of time. Fluctuation in pressure determines the pitch. Sound frequency can be
correlated to pitch and is measured in Hertz (Hz), cycles per second. Humans have the capacity of
hearing sounds that range from about 20 Hz to 20,000 Hz. Middle C on a piano has a frequency of
approximately 260 Hz. One octave above or below has double or half the frequency of middle C.
Noise control is a function of the frequency of the noise source. Frequencies are important because
they can be grouped together into octave bands. The overall decibel level from combining sounds
from 8 octaves, or bands, can be calculated using the rule of thumb table. See the following four
tables for Octave Band Linear Addition
Table 4. Octave Band Numbers and their Center Frequencies

Table 5 and 6. Octave Band Center Frequency Linear Addition

Example of octave band center frequency linear

addition combining two noise sources using rule of
thumb guidelines from Table 3 Simplified Decibel
Additions.
Tables courtesy of Kinetics Noise Control, Inc.
Wavelength
The wavelength of sound is the distance over which the wave shape repeats. Low pitch sounds have
long wavelengths. High pitch sounds have short wavelengths. Wave length is important as it directly
relates to frequency and helps determine the proper product required to control the noise. The best
noise solution is to select a product that allows for multiple wavelengths to pass through the product.
The short wavelengths associated with higher frequencies (i.e., 1K , 2K , 4K and 8K Hz bands) of
Table 7 make it easier to attenuate noise at these higher frequencies.
Table 7. Wavelengths of Octave Band Center Frequencies

Table courtesy of Kinetics Noise Control, Inc.

By Karin Tetlow
Loudness
Loudness, a subjective measure, is an attribute of auditory sensation. It is a function of frequency
and sound pressure level. However, the frequency of a sound will have substantial bearing on how
loud the receiver perceives it to be. Equal loudness contours have been developed which show the
increase and decrease in sound level energy required at various frequencies for the average human
to perceive sound in a particular frequency as sounding just as loud, say, as that of a 20 dB sound
pressure level at 1000 Hz.

Loudness is a function of sound pressure and frequency.

Provided by Kinetics Noise Control, Inc.
A-Weighting

Weighting is a useful means of adjusting a linear noise spectrum to closely reflect the human ear
response. An A-weighting filter on the sound meter is commonly used to emphasize frequencies from
1000 to 8000 Hz where the human ear is most sensitive, while attenuating very high and very low
frequencies to which the ear is less sensitive.
Human beings are so sensitive to sound in the 2,000 Hz to 4,000 Hz levels that A-weighting, the most
common weighting system, actually increases those levels to more closely reflect the human ear
response. The basis is equal loudness contours. Adjustments are made in all frequencies except
1000Hz. Once adjustments are made, decibel addition can be used to yield a single A-weighted
sound pressure level (dBA).
Table 9. Example of A-weighting using rule-of thumb guidelines.

Since A-weighting accounts for the sensitivity of human hearing and it is a relatively simple metric,
Occupational Safety and Health Administration (OSHA) has adopted it to set limits on noisy work
environments. Specific requirements and guidelines may be found in OSHA Standard 29CFR, Part
1910, Subpart G Occupational Health and Environmental Control.
Table 10. Federal Noise Limits (OSHA)

Table courtesy of Kinetics Noise Control, Inc.

Duct System Acoustics

In order to determine if a duct system requires additional attenuation, all the duct components along
the critical duct path must be analyzed. This analysis starts with the fan sound power levels (per
octave band) and ends with the sound absorption or reflection effects of the receiving room.
Design professionals should be aware that there are multiple noise propagation paths that should be
considered: the noise that travels through both the supply and return duct system paths, and the
airborne noise that radiates away breaks out through the walls of the duct into the neighboring
spaces.
Fan Noise
Fans generate the primary noise source in HVAC systems. Fan manufacturers can provide laboratory
test results for the total sound power levels of the fan that includes the fan inlet, discharge, motor
drive train and casing radiated noise. Testing is conducted according to Air-Movement and Control
Association (AMCA) Standard 300, Reverberant and Room Method for Sound Testing of Fans.
AMCA, a trade organization comprising fan, damper and silencer manufacturers, specifies test
methods and requirements so that all members use the same rating guidelines. Similar test methods
are published by the International Organization for Standardization (ISO) and the American Society
for Testing and Materials (ASTM).
Sound level data from fan manufacturers may be either total fan sound power levels or separated
into inlet sound power level and discharge sound power levels. The most important data concerns the
noise propagating inside and along the duct system paths. If the sound power level is only given as a
total sound power level the rule of thumb is to subtract 3 dB from the total fan Lw for each octave
band. This is true for both stand-alone fans as well as for packaged air handling units.
Noise from Packaged Air-Conditioning Equipment
Design professionals should obtain manufacturers noise data from tests conducted in accordance
with Air-Conditioning and Refrigeration Institute (ARI) Standard 260.
Controlling Fan Noise
Fans should be selected to operate near their maximum efficiency. Fans are noisier when they are
either oversized and operating under design speed, or undersized and operating above design speed.
Duct system components can both attenuate and generate noise as sound and air propagate through
the system. The following discusses some of these more prominent affects.
Natural Attenuation
Single-wall duct system components provide natural sound attenuation. Several mechanisms such as
duct wall losses, elbow reflections, sound power splits and terminal end reflections may serve to
provide significant natural attenuation sufficient to reduce noise levels to acceptable limits. Natural
attenuation could also eliminate the need for expensive energy consuming supplemental products and
should be the first step in acoustically analyzing a duct system.
In-duct Single Wall Duct Attenuation
When sound travels through a duct system, some of the sound energy is transmitted to the duct
surface. This will cause that duct surface to vibrate and dissipate some of the sound energy. The
amount of energy dissipated through the walls of a duct is a function of the shape, size, length and
the frequency of the sound.

The reduction of in-duct sound energy, which is dissipated through natural duct attenuation is
expressed in units of (dB/ft). Long duct lengths have significant amounts of attenuated sound energy.
Natural duct attenuation assumes that the duct walls are massive enough to contain most of the induct noise. Also, that the sound energy is transferred to the duct surface and converted into vibration
of the duct wall material. See the following two tables for natural sound attenuation through round
and rectangular ducts.
Table 11. Natural attenuation-straight circular sheet metal duct.

Table courtesy of Kinetics Noise Control, Inc.

Table 12. Natural attenuationunlined rectangular sheet metal duct.

Table courtesy of Kinetics Noise Control, Inc.

Elbow Attenuation Reflection
When sound energy enters an elbow, part of the sound wave is attenuated through reflection. The
amount of attenuation is proportional to the elbow bend angle and frequency of the sound. It is
expressed in dB/elbow per frequency.
Table 13. Insertion Loss (attenuation) of Radiused Rectangular Elbows (dB)

Sound Power Splits

The most significant mechanism of natural attenuation is sound power splits. Airborne sound power
energy in watts behaves the same as air when approaching a divided-flow fittingit divides or splits.
The division of sound energy at a junction will be proportional to the cross-sectional area of the
downstream path of the flow divided by the total of all the cross-sectional areas of the downstream
flow paths.
For example, sound energy moving through a 12-in. common duct with a 5-in. branch and an 11-in.
straight-through will be split into the following ratios: branch duct: 0.17; main duct: 0.83. Meaning
that only 17 percent of the sound energy entering the fitting will propagate down the branch and the
balance will travel straight-through.
Table 14. Natural attenuation sound power reduction.

Provided by Kinetics Noise Control, Inc.

Ab is branch cross-sectional area
As is the straight-through cross-sectional area (downstream)
Lw is sound power level in dBs.

Terminal End Reflection

Terminal end reflection is effective for attenuating low frequency energy. At the termination of a duct
path, a portion of low frequency power wave energy is reflected back into the duct.

Table 14A. Duct end reflection loss when duct is terminated in free space.

Provided by Kinetics Noise Control, Inc.

End reflection attenuation is virtually negated if a variable air volume (VAV) system, diffuser/grille is
placed at the duct opening.
Airflow-Generated Noise
Air flowing over duct surfaces generates noise. The following airflow conditions should be avoided:
* High face velocities:
Greater than 2,000 ft/min for rectangular duct
Greater than 3,000 ft/min for round and flat oval duct
It is recommended that acoustic analysis calculations include airflow-generated noise for all duct
elements, along the critical path. This includes the sound power levels of fan powered VAV boxes.
Generated sound power levels should be compared to the resultant levels after subtracting all
pertinent attenuation. If they are within 10 dB of the resultant value of any octave band, they will
contribute to the overall noise level.
Radiated Break-out Duct Noise
Break-out noise is noise that radiates from the duct system elements to surrounding spaces. It is an
important design parameter whenever a duct system runs through or over an acoustically sensitive
space. This noise will most likely be a problem if the localized in-duct sound power level at any
frequency, minus the duct wall transmission loss, exceeds or is within 3 to 5 dB of the NC level of the
acoustically sensitive space. This is best addressed during the initial design of the duct system.
Break-in Noise
Ambient noise transmitted into a duct is known as break-in noise. This noise can be ignored if induct noise is 10dB or greater than the break-in noise. But at places where the fan and
aerodynamically generated noise are minimal, significant levels of break-in sound can radiate from
surrounding areas to inside the duct and propagate to critical places along the duct path.
Room Acoustics

After logarithmically combining the attenuated sound power levels with the airflow generated sound
power levels, the next step is to determine the sound pressure levels within the critical space (i.e.
office, conference room, sanctuary, etc.). This is done by taking the sound power levels remaining at
the supply air diffuser or return air grille and converting them to sound pressuretaking into account
the acoustic effects of the room (i.e. sound absorption and sound reflection). The resulting sound
pressure levels will be used to determine whether HVAC sound is within acceptable/specified design
criteria, or if attenuating strategies need to be employed.
Air Terminal Noise
Duct system paths generally terminate at a register, diffuser, grille or other device. Because terminal
devices generate noise as a result of air passing across them, it is necessary to calculate the sound
power level of that noise before addressing the entire room duct system. Noise generated from
diffusers/grilles is critical because it is the last noise source that affects sound levels in the critical
space.
Acoustic and airflow test data are usually generated in accordance with ASHRAE Standard 70 Method
for Testing for Rating the Performance of Air Outlets and Inlets. If the diffuser sound power is within
10 dB of the residual sound power in the duct, it will increase the sound power level emitted in the
space.
ASHRAE Room Effect Equation
As mentioned, sound power levels (Lw) and sound pressure levels (Lp) cannot be directly combined.
Therefore, in order to calculate sound pressure levels resulting from sound power emanating from
HVAC duct terminals, a procedure endorsed by ASHRAE may be used. The procedure assumes that
rooms have normal sound-absorbing surfaces and furnishings. Other formulas are available for special
rooms (i.e., rooms that are more absorptive, recording studios or rooms that are more reflective,
gymnasiums).
Design Criteria
Having accounted for fan sound power levels, natural duct and fitting attenuations, generated duct,
fitting and terminal noise, and converting sound power levels to sound pressure levels for a specific
space, the next stage is to determine whether the sound pressure level meets the acoustic design
criteria. Various criteria have been established for different space occupancy situations.
Indoor Noise Criteria (NC)
NC curves establish the desirable background sound pressure levels in a critical space. Because higher
frequencies are perceived louder than lower frequencies of the same dB level, NC curves allow higher
dB levels at lower frequencies. The NC criteria consist of a family of curves that define the maximum
allowable octave-band sound pressure level corresponding to a chosen NC design goal. They primarily
apply to the noise produced by a ventilation system, but they may be applied to other noise sources.
Measured Lps within a critical space can be plotted against standard NC curves to determine
compliance with specification or to rate the noise within the critical space. The appropriate NC curve
for a given space is that lowest NC curve that is closest to the highest noise spectrum sound pressure
level at a particular frequency.
Table 15. Typical indoor design acoustical goals using NC curves

Provided by Kinetics Noise Control, Inc.

NC Curve Plot

Allowable Sound Pressure Level (dB) per Frequency vs. NC Level

Provided by Kinetics Noise Control, Inc.
Methods of Acoustical Treatment

Acoustic remedies are required if the sound pressure levels within the critical space exceed the sound
pressure levels per frequency of the corresponding NC or RC curve. The most common acoustic
attenuation method for HVAC duct systems is to install a silencer (i.e., sound attenuator or sound
trap).
Silencers
A silencer attenuates sound when it is directly inserted in the ducted air stream (path). The silencer is
basically a series of perforated sheet metal baffles (rectangular silencers) or bullets (circular silencers)
placed inside a silencer single or double wall outer solid shell. The baffles/bullets are usually filled
with sound absorbing material.
Acoustic performance of duct silencers is generally described in terms of insertion lossthe
measure of noise level reduction determined by comparing the noise level without a silencer to the
noise levels with silencer. Since the silencer itself can generate noise (because it disturbs the airflow),
its self-generated noise has to be added to the attenuated sound level. Baffle and bullet-type
silencers block a portion of the air stream and will cause additional pressure drop (PD). Manufacturers
should always list values for insertion loss, regenerated noise and pressure drop.
An absorptive silencer is the most common type of silencer. It uses absorptive fibrous material
within sound baffles or sound bullet cavity with perforated sheet metal facings that allow sound
energy to pass through and be absorbed by the fibrous fill.
Rectangular and circular silencers have solid rounded nose cones on the air inlet end and tapered tails
on the air discharge end of each baffle/bullet to minimize silencer pressure drop. The tapered end of
the silencer baffle/bullet allows for static regain to occur, thereby offering the lowest silencer pressure
drop for a particular level of attenuation. This is important because silencer pressure drop is in direct
relation to a duct systems lifetime energy costs.

Kinetic cut view of rectangular silencer showing internal acoustic media, nose cone,
perforated baffle face and outer solid silencer shell
Image courtesy of Kinetics Noise Control, Inc.
Manufacturers offer a selection of standard or custom engineered silencers that will satisfy the
requirements of project specific applications.

Circular silencer with sound absorbing bullet and outer shell supply and return air systems
Photo courtesy of Kinetics Noise Control, Inc.

Rectangular Silencer with circular end caps and absorptive baffles.

Image courtesy of Kinetics Noise Control, Inc.

Circular silencer with absorptive outer casing and no sound absorbing bullet.
Image courtesy of Kinetics Noise Control, Inc.

T-rectangular elbow silencer with absorptive side baffles and curved air passages.
Image courtesy of Kinetics Noise Control, Inc.

Circular silencer with sound absorbing bullet and no absorptive outer casing
Image courtesy of Kinetics Noise Control, Inc.

Circular silencer with internal sound absorbing bullet and absorptive outer shell.
Image courtesy of Kinetics Noise Control, Inc.

Rectangular elbow silencer with extended body (casing)

Image courtesy of Kinetics Noise Control, Inc.
Guidelines for selecting silencers
The following information is needed to determine silencer Insertion Loss (IL) and Pressure Drop (PD)
performance:
Insertion Loss (IL) requirements
Forward (supply) or reverse (return) airflow direction
Forward flow: airflow in the silencer is in the same direction as the noise propagation
Reverse flow: airflow in the silencer is in the opposite direction to the noise propagation
Maximum allowable silencer PD
Airflow (cfm)
Length, width and height restrictions for where the silencer is to be installed, connecting duct
dimensions.
The IL requirements, quoted for octave bands 1 through 8 may be determined by:

 Comparison to an existing specification

Duct system analysis.
Application-dependent requirements, such as elimination of low frequency or tonal noise

Example of Web-based Silencer Analysis

By incorporating the most up-to-date design analysis algorithms recognized by ASHRAE, this
example from a leading manufacturer of a no-cost software service provides a complete
eight-octave band acoustic analysis The program produces a report that displays whether or
not a design meets the required noise level within the critical space. If the sound levels are
not met, the program will automatically choose a duct silencer that meets the required
attenuation while still meeting the user specified constraints such as the applications
allowable height, width, and length and pressure loss.

Conclusion
Proper acoustic analysis of an HVAC duct system is an important part of any design. Design
professionals should always set specific acoustic requirements and analyze the duct system design to
determine how much unwanted acoustic energy (noise) is produced by the system. A correctly
performed acoustic analysis will determine exactly how much noise treatment is required to provide a
quiet system with the lowest initial and operating costs.

Celebrating over 55 years, Kinetics Noise Control has extensive

experience in designing and manufacturing innovative products to
control sound and vibration. Established in 1958 as engineers
focusing on sound and vibration control, Kinetics pioneered
development of pre-compressed, molded fiberglass pad isolators
that would be incorporated into an innovative new floor isolation
system. Previous trade names of Kinetics Noise Control include
Consolidated Kinetics and Peabody Noise Control.
www.kineticsnoise.com