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Designing sound reinforcement systems for sports venues requires not only engineering precision, but also a clear understanding of international standards and industry practices. This is especially relevant for rapidly developing infrastructure markets such as Central Asia and the Caucasus, where new expectations are emerging in terms of venue quality and the level of technical solutions being implemented.
We spoke with Pavel Aheunin, Manager at L-Acoustics, who oversees this region and has experience working on stadium and multifunctional arena projects, about what compliance with international standards means in practice — and what FIFA actually evaluates when it comes to multimedia infrastructure.
Strictly speaking, FIFA does not assess “multimedia” as a set of separate technologies. What is evaluated is the infrastructure’s ability to perform its functions within the stadium as an operational system.
First and foremost, this applies to sound. The system must provide clear and intelligible communication with spectators — both inside the stadium and in the surrounding areas. It must operate across different scenarios: a match, an evacuation, an announcement, or a show.
This is why a stadium today is no longer just a sports venue. It is a space where sound, video, safety, and control systems work together as a single integrated environment.
Yes, exactly. The mere presence of equipment does not mean anything in itself.
FIFA looks at whether the system can be used to:
— deliver messages to spectators in noisy conditions — manage sound by zones — integrate with the stadium’s overall control system
The official documents state directly that the system must be powerful enough to overcome crowd noise, ensure high speech intelligibility, and provide high-quality sound reproduction.
In other words, what is assessed is not simply whether “there is sound,” but whether sound works as a tool for managing the space.
— What sound parameters do you consider essential for a stadium?
From an engineering perspective, there is a basic set of parameters without which a system simply cannot be considered modern.
These include:
— sufficient sound pressure level — extended frequency range, including low frequencies — even coverage — speech intelligibility — zoning — integration with safety systems
I would use the following values as practical benchmarks: 105 dB(A), a frequency range starting from 30–35 Hz, coverage uniformity of around ±3 dB, and an STI value of at least 0.5–0.55.
It is important to understand that these are not “formal FIFA requirements.” They are practical benchmarks established through international design practice. FIFA formulates its requirements in terms of functions — intelligibility, coverage, and audibility. It is then up to the system designer to translate those functions into specific parameters.
— What is more important for FIFA: the musical quality of the system or speech intelligibility?
Strictly speaking, speech intelligibility is the priority.
The system must ensure clear and intelligible speech in all areas of the stadium. This is a basic function, especially in the context of safety.
At the same time, modern requirements no longer separate sound into “speech” and “music.” FIFA documents state directly that the system must provide both intelligible speech and high-quality music reproduction.
And this makes sense: today, a stadium is not only a venue for matches, but also a platform for shows, ceremonies, and entertainment events.
That is why the system needs to be universal.
— How critical is sound zoning?
It is one of the key parameters.
The system must be able to address individual areas of the stadium — both inside and outside the venue. This is explicitly stated in the requirements.
There is also another important point: the ability for priority override from the stadium’s control centre — the Venue Operations Centre.
In other words, even if the sound is muted or reduced in a certain zone, the system must still make it possible to deliver a critical message to that area.
This is no longer just about acoustics. It is about the operational logic of the venue.
— What role do video screens play in this system?
Video screens are part of the same infrastructure.
They are used not only for broadcasting content or advertising, but also for delivering information, including in emergency scenarios.
FIFA treats audio and video as interconnected systems. Signals must be available within the stadium’s internal IPTV / content distribution network, and control must be integrated into the operations centre.
In other words, this is a unified communication system for interacting with spectators.
— How important is integration with the stadium control centre?
It is critically important.
The Venue Operations Centre is the core of stadium management.
The audio system must be part of this structure. It needs to work in coordination with video surveillance, screens, and safety systems.
In addition, redundancy, power supply, and fault tolerance are mandatory considerations.
This is no longer a matter of comfort, but of safety.
— How relevant is EN54 and integration with voice alarm systems in this context?
If the system is part of the PA/VA chain, it is mandatory.
It is also important that compliance applies to the entire system, not just to individual components.
At the same time, this should not be treated as a mere formality.
The point is not the certificate itself, but the fact that the system must be guaranteed to operate in a critical situation.
— If a stadium meets FIFA requirements, can it be considered ready for concerts and shows?
No, and this is a very important point.
Compliance with FIFA requirements is a baseline.
A system may pass an audit and still be insufficient for opening ceremonies, concerts, or large-scale shows.
FIFA itself indirectly confirms this: its recommendations refer to the need for higher-level systems for concert scenarios.
That is why system design should not start with FIFA requirements alone, but with an understanding of what types of events the venue is expected to host.
— Could you give an example of international practice where this has been implemented correctly?
A good example is Malmö Eleda Stadium.
There, the system was designed with FIFA requirements in mind, while also addressing a broader range of tasks.
Acoustic modelling was carried out, loudspeaker placement was optimised, directivity control was ensured, and the system was integrated with other stadium systems.
One particularly interesting aspect is that different scenarios were effectively implemented: one for spectators and another for players, so that sound would not interfere with the game.
This is exactly what a systematic approach looks like.
— And what would be an example of a more complex, event-oriented stadium?
Al Janoub Stadium in Qatar.
The requirements for international tournaments were built into the project from the outset, but the design was not limited to those requirements alone.
The system was designed through modelling, verified against SPL and intelligibility criteria, and adapted to the architecture of the stadium.
This is the level where the key issue is no longer simply installing equipment, but ensuring a predictable result.
— Then what is the main takeaway for clients and system designers?
The main point is to understand that FIFA does not evaluate “sound” as such, but rather the stadium’s ability to function as a controlled system.
What is evaluated includes:
— intelligibility — coverage — zoning — integration — resilience
However, if the goal is to create a modern, multifunctional stadium, this alone is not enough.
The system must be designed around real operational scenarios.
In this sense, international practice matters not as a “brand example,” but as proof that the system is capable of operating predictably, reliably, and consistently over a 10- to 20-year period.
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