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uh good afternoon everyone i'm i'm kathy sands the president and ceo for the center for fine arts education and the executive director for the florida school music association authority music education association and on behalf of those associations i want to welcome you to this webinar um the webinar is on the preliminary results of the performing arts aerosol study that um we're hoping it's going to be able to help us mitigate some of the the uh factors of covid19 in our music classrooms uh so in may and the national federations of high school the college band directors national association and the coalition of over 125 performing arts organizations including fmea and fsma commission a study on the aerosol that you're going to be seeing here over the last month and a half researchers at the university of colorado boulder and the university of maryland have been working hard gathering preliminary results and let me note again for these are preliminary results we do have additional results that will become forthcoming from the study um after july 25th so we'll be providing updates i'm going to ask that if you have questions to put them in the uh to type them in the questions box and we will do our best to answer what we can and then we will download those questions if we have additional information that we might need to gather later so i want to welcome to gonna be to our stage now dr james uh weaver he's the director of performing arts and sports for the national federation of high school state associations of which fsma for school music association is a member dr james weaver he's been a teacher an administrator at the district and state and national level and as the director of performing arts and sports he oversees student participation professional development and awareness of performing arts activities through the nation's 19 500 plus high schools he's earned his bachelor's degree um and in a master's degree and he has his phd as well um also he's going to go ahead and walk us through this and talk more about the preliminary study so i'm going to turn it over to dr weaver it's you're on great thank you very much and i'm excited to uh virtually be in florida with all of you today uh so this is a in-depth discussion on uh performing arts in the 49ers harrison study so i'm going to dive right in and go and like kathy mentioned please go ahead and put any questions we have in the chat window uh we'll try to answer as long as we can i will preface this like kathy just said as well this is a preliminary discussion as far as what we are looking at with the aerosol study as of today there are things that we just don't know yet and we'll know more as we progress through the study so a couple things you'll see on the screen here are we do co-chair this with myself and dr mark speed for this he's the cbdna president and director of bands from clemson university we have our lead funders which is the namm foundation the national federation of state high school associations foundation the diaderia foundation and cbdna and then as mentioned we would not be able to do this without having uh the rest of our funders which is uh as you see on the screen and that includes the florida music association and the florida music education association uh so we're very excited to have you on board for making this possible so i want a big thank you to the membership in florida uh we have contributed collegiate conference band associations um these are groups of bands that uh are part of like the big ten in those areas all came together to do some extra funding as well uh and then we have our sorry our supporting organizations who didn't necessarily give monetary uh support but are getting support in other ways that are non-political supports to give you an idea when we first started off on this project we were about a 37 000 project and it has ballooned to 318 000 in projects so gathering that kind of funds uh was not fun but um we got it all done in about 22 days and that shows the strength of this research occurring and the need we have for the performing arts area uh our lead researchers are two of the planet's leading environmental uh engineering researchers so dr shelly miller of the university of colorado boulder and dr joanna sribrink of the university of maryland uh both these have both these researchers have specialties in environmental engineering in relation to viral bacterial and indoor allergen uh distribution and so this is exactly right up there alley and we're very excited to have them both on board they both bring extensive research teams behind them and you'll see some of their work that they've done uh in their preliminary work so things we have here is this is exploratory measurements of some of abandon band instruments and singing we have conducted all these in controlled clean rooms so what we'll see is a very small amount of ambient aerosols even though the actual load of an aerosol in a room is quite higher um but it gives you an idea of like what changes can occur from a normal room going into a room that has singing and musical playing involved there our goal is to identify the flow and aerosol release pathways what the particle sizes and concentrations are and then the next phase is to improve our aerosol captures and estimate emission rates and the like one thing that i'll put on this when this report was made we were about 10 days into a five month study and so let's keep that in mind as well as we go through some things here here's a picture of one of the tesla's the chaleran test and we're actually going to go through and show you some slant videos this is also a photo here of how we are capturing this little guy right here is the the input mechanism that we collect the aerosols through so as it comes out of the french horn out of the bell we're able to collect what the aerosol load is in the air coming through and then each one of these devices over here on the far left uh those are different devices that are picking up different particle concentrations co2 emissions large particles smaller particles a whole host of sensors are coming in that's all picked up by this one little sensor here and then dvd amongst all these different machines so our schulerian test is a flow visualization test and it identifies how things move about so what i'll show you here is this is an example of what the schlerin test will look like and what i want to show you this is our one of our researchers saying the letter a in front of it you'll see here we can watch this cloud kind of ebb and flow as she says the letter a and i'd like to show this still picture here just so you're able to see close up what it looks like as aerosols are released from the human body now this is the schlerin picks up both heat and air flow and you can tell the difference between the two which is important in some of the videos we're watching um the heat will always go up and go up in near straight lines where air flow will come through and be looking all curved and eddied like this one does so here we're going to watch a um a video of our researcher saying the alphabet so i have to do an audio switch real quick so bear with me in just a moment a b c d e f g h [Music] so you'll see from that video that we um we could see how all the different letters that are formed out of human mouth go some of them are unidirectional some are bi-directional some are tri-directional depending on how the hard consonant sound reacts and so one thing that's important about this is we want to be able to really determine the flow so as we look if we just have one sensor sailing right here in front of her you'd have noticed throughout the course of the output we would have missed a lot of the ejection particles coming this way and a lot coming off this way so this is an idea of where to start looking as far as where all the particles are going and how they're behaving in the air in front of us uh one thing that foundation was like the letter f for example really had a big cloud that came up and out of the top of the mouth and came out over this way so when we start singing different uh different vowels and consonant sounds it helps us determine more where the aerosol accumulation is going to start occurring and so it's a very important part of this test the next one we're going to look at is the clarinet and i'll turn i got to do my audio switching route here real quick but kind of watch the bell the clarinet and then when we start showing where the finger keys are uh or sorry the keyholes are watch there because you're going to see a combination of heat and aerosols coming out especially as we start playing in the lower registers we'll start seeing a lot of the aerosol airflow coming out of the keyholes so i switch my audio here and then we'll play this video [Music] uh [Applause] oh [Music] so you could see there towards the end when she was lifting the fingers off the keyholes we were starting to see an explanation of air coming out of there which makes sense um but that's one of the things we really have to look at as far as we go so what you're going to see now is we're going to play inside of a bag and this is not a mitigation strategy that we're saying should or should not be used at the current moment we're just going to show one can we collect all the aerosols and then two where did all the air cells go once we collect them and can we measure the collection rates of the aerosols so that's really what we're looking at here so here's this video with the clarinet in a bag [Music] [Music] [Music] so you're breathing so what we're seeing here is that the the bag really does appear to stop off the aerosols what you see coming out of here is actually a lot of heat coming out of the the hand holes that were here well there's not thinking about this right now is a mitigation technique because a researcher who was playing the clarinet um so they got very very hot and difficult to play with in the bag uh plus being pedagogically to our younger players you would not be able to see what their hands are doing inside the bag so there's some other mitigation things we want to make sure we look at to ensure that what we're recommending is still educationally valid and able to perform but also we don't want them playing for 10 minutes and also i think it's so hot in the bag that we're just kind of sweating and slipping all over the place on the instrument so a couple things to think about on that we'll be doing some more research and testing on this as we move forward so this is just a photo of what the bag looks like and how it worked i know there's been a lot of online stuff with the with the bags the clarinet we did put a wire kind of uh what you call it like a tube from your dryer the wire mesh from that to kind of bulk it up a little bit to make it stay so that way the bag doesn't fall on top of the instrument um this is right now for laboratories research uh to kind of figure out what we're doing with the aerosols so i'm gonna show you the trombone now with this couple things we'll look at in the trombone um and i'm actually gonna fast forward this component a little bit so we are beyond uh the bell component here because when we move the hand we're getting a lot of heat off the hand so just kind of watch here and then um the next thing you'll see is we'll be using a 80 a 50 and an 80 engineer multi-layer kind of pantyhose material on the bell and you'll see it in a couple of ways the reason i'm describing this because i have to switch the microphone over and i don't want to pause you in the middle what you'll see is when we put the nylon material on the belt we pretty much see a stoppage of all the aerosol air flows coming out of the bell then we use a pop style filter and you'll see in from the bell to the pop filter you'll start seeing a lot of aerosols there but after the pop filter you really see none so it really would have to be attached to the instrument but it is showing that this is being successful and stopping it the problem is not attached to the instrument it's going to flow all over the place except for the one direction where the pop filter is so here's the trombone stuff [Music] [Music] [Music] wow [Music] oh wow so you'll see there that as we uh put the filter in front of the trombone we really were able to stop all the aerosols coming out and uh when we started doing more testing on it we really realized that it's an 80 denier thickness that's folded in half basically uh to create a multi-layer uh thickness as far as the bell cover goes uh the next one we're gonna watch here is a singer and she's gonna sing a couple different things and uh one thing you're gonna the first thing you'll see is we're gonna be singing a pop song from the song rent and watch the schlerin test kind of go everywhere uh for the air flows when she sees the word love and that's gonna be important when i get into some of the results and then the next part we'll watch is she's saying some other warm-ups in a hymn style thing with a mask on anybody will see the difference there uh the one reason why i can't show you the video of her wearing a mask while singing rents for a direct comparison is because we just didn't have that recorded at the time so as we progressed this week we'll obviously have those recorded uh but the results were the same uh you'll see that there's gonna be a much different a much different schlering result from a mass versus an unmasked so i'm gonna get my audio switch over here and we'll be ready to [Music] 600 minutes [Music] oh [Music] [Music] is and what you'll see here is that i stopped at this moment so you can see all the aerosols are basically stopped coming from outside of the mouth however if you look up here because the mask isn't quite fitted perfectly on here or at the nose see a lot of the aerosols coming up here out of the bridge and we need to do a lot more studying to see what that is going to do but what's interesting about this is if you looked at the compared to the mask versus no mask this stops a lot of the airflow coming out and one of the things our environmental engineers are really talking about is whenever you would look for air quality control within within an inside space the closer you can keep that uncontrolled event to the source the more success you have control you're controlling that environment so even though we are still seeing some aerosols dispel up from the nose out to the forehead and up to the top of the head the amount that we are seeing as you can see here is drastically reduced compared to just the open singing so what we have now is we're going to go through some preliminary lab results this is going to be a cpc and aps measurements so our s so a couple things we want to read here is um these are preliminary results from the first respiratory testing uh the focus is on this is strictly a distribution of respiratory aerosols that are released while playing wind and brass instruments and then singing acting speaking dancing and during simulated aerobic activity that's what we're going to be focusing on uh just for everyone's knowledge we are not using live virus we're not infecting participants um because that would cost millions of dollars in governmental level labs for that this study is designed to identify the performing arts activities that generate respiratory aerosols especially for volume direction and density we estimate the emission rates of respiratory aerosols we model the disc version of these aerosols and investigate the mitigation strategies so that's really what our scope of this project is uh we're staggering the release because of the size and we want to make sure that we're getting the people who are rehearsing today make sure they get the information now and then we'll have more information on the end of july for the other areas as we dig deeper into the study as we start going farther and farther than five months then we're going to be finding a lot more areas for our overall knowledge and then give this peer-reviewed we are doing a simultaneous lab doubles check so the uc boulder is doing the work in the university of maryland is almost in real time duplicating the work but in a different fashion so we're using large chamber releases f r the uc boulder one and for the university of maryland we're using a kind of a box inside of a box idea so we're trying to capture the aerosols in two different ways with the hopes of getting the same results so far that has been successful we are getting the same results in both labs which is encouraging so we know that the mitigation strategies we're starting to come up with are testable and provable using two different methods to come up with the same result which is what we would want to see happen a couple definitions we have here which is the condensation particle counters so the cpc is really looking at all of the air cells out there up to very small micron levels we do the virus can travel on uh particles uh down to the size of three microns to put that into a relationship with a human hair is about 100 microns so this is very very small and then the next one is the aerodynamic particle sizer which looks at a little larger particles so here's an example of the trumpet data so here we're looking at this is the high c and the trumpet exercises and you'll see here we're looking at 620 630 parts per cubic centimeter that are then expelled as far as aerosol goes so a cubic centimeter is very small and you'll see here just how many particles we're producing then we did is we covered the bell and this is with a plastic cover we were going to use saran wrap or something that was cheap and easily disposable found out you can blow a hole right through that so this plastic that i have covered here is actually cut open a ziploc bag which has a thicker material to it and then use painters tape to tape it onto the bell and you'll see here here's our high c with no mitigation and here's the same high c with the plastic taped to the belt we got a very similar result to this when we use that 80 denier nylon material that was multi-layered so we see we dropped from 630-ish parts per cubic centimeter down to 150 parts per cubic centimeter and then if you look here we then put a bell or a mask on uh the player and put a slit through so the mouthpiece and the ambiguity can connect and then right here is line here is the same high c as what we have over here so you'll see that no mitigation mitigation of bell only mitigation with player mask and with player mask and instrument mask we're really dropping it down to just a little bit above and the end levels muds of aerosol uh so really it's not that much higher than when we had them read something in the group then we see here we took the the uh the bell cover off and just hadn't played the mask and it had almost a funneling effect so the real mitigation that we want to focus on here is a both the bell covering and the mass covering making sure that the bell covering is at least that multi-layer uh aged near thickness in the nylon material right now is seeming to be good that may change but as of right now we're looking at that and successful with a masked player with a slit in the armature uh people are always like well we just move away this one meter away uncovered doesn't seem so bad have you had to realize that we are now three feet away playing into an inlet that's one cubic centimeter in size and we're picking up this many particles in there so this is actually a lot of particles from being that far away and having a target that is so small so more research on this to be had this distance thing should not be taken as a automatic good news being three feet or so away then what's nice about it is when we look at the larger particles uh we see the same thing the same trend so here here's our high note here's our mitigation one here's our combined mitigation strategies and so we almost eliminate the intensity of the larger particles with those two mitigation strategies uh we're looking here with the flute and one thing i'm going to kind of gloss over the fluid a little bit is we're going to go back and retest and retest and retest the flute because what we're finding here is this flute data doesn't look that bad and we really thought the flute was being one of the worst instruments we could have however we are taking good news with a lot of skepticism and making go and going back and retesting or taking the bad news and right away being like all right let's we got some bad news now let's see what's going on next uh so this actually looks pretty good because if you look at the scale inside we're only talking 50 parts per cubic centimeter with the flute uh we have a theory on this is that in order to produce aerosols you need to have a wet vibrating surface so think about mouthpiece buzzing they're buzzing on the mouthpiece the reeds stopping against the mouthpiece and woodwind instruments singing with the vibration of the vocal cords but then on the flute there's really nothing to vibrate you're just putting over a column of air so you're really talking just large particles that are going to fall to the ground pretty quick so we are still going to do some testing on this we want to see if we can get some large particle generations to occur inside the fluid and see what we can do to uh to mitigate those um but for sure a lot more information to come on the flute so but at first blush is looking promising we just want to be skeptical until we can prove that it's promising uh french horn you'll see here the same kind of trend line we have the mask with the bell uh bell closed here uh then we play with a mute and then a mask and a mute you know these didn't drop off as much as we wanted compared to the other ones uh one thing we found with the mute is that um it looks like it's promising to use as mitigation technique however one thing we found out is that the air streams are just being split around the mute and then accelerating past the sensor um for when we did the mute so we're actually generating more and throwing it farther with the mute than without the mute so this is kind of a misnomer on that one and then this giant spike here is when they open up the door to the lab you can see how how clean the cleaning room is uh here's our soprano singer uh right here is where they started singing the word love so when we saw all those aerosols the spell out of the uh out of her mouth this is the word love what was great about it is when we sang with the mask these five little lines right here down here are the same love and it had a screen that you're saying in front of here's the five lines here with the screen and so what we found right off the bat is that if you could get a mask on you'll dramatically reduce the amount of aerosols that we're able to detect which is really good so we're kind of recommending that everyone sing with a mask and the better the fit the better protection you have then we get into the clarinet here and you'll see we've got the same kind of thing lots of aerosols being generated near the keys near the bell so here's the key zone here is that's a little bit better but one thing we want to go back and test on the keys is especially the lower register how much is coming out of each particular key and can we really capture what the aerosol load is doing and then also again the register the more heals that are open how are we judging and measuring how that's all working so we're hypothesizing that this scale near the keys will be somewhat up here once we take into account all the keyholes that are open and not just a few keyholes that the sensors near but what's encouraging is when we did the pantyhose test which is the 80 denier thickness in a multi-layer you'll see here that this right here looks like it just drops down to this levels down here which is really exciting for us so we have more to do with the clarinet because we know we have some practical things to determine as far as like how to cover the clarinet how to uh make sure that the material that we're using as the mitigation doesn't get stuck in the keyholes uh what i do for heat excuse me and those kinds of things and you'll see here like our playing with the pantyhose over um is similar to the playing in a bank and so we have that to go with which is also good you'll see here there's a larger concentration there are larger particles over time so a couple remarks have on the initial testing is um the export charge results indicate the need to contain the aerosol emissions is a smaller sampling volume uh the size measurements show particles typically are in the 10 the 10 micron or nanometer micron size the concentrations were relatively high for instruments that had straight shapes from mouthpiece to bell so we're thinking the trumpet clarinet um even though we do have the tubing bends in the trumpet it is pretty much a straight shape as far as uh airflow is determined um also masks nylon belt coverings they all seem to reduce the vertical concentrations while performing so now we're gonna get into some modeling here and this is gonna be fun we're gonna look i'm gonna skip the pages a lot of information on this page but it is posted on the nfhs website so if you wanna go back and look at it at your leisure you're more than welcome to um but we're looking at a few different cases here uh case one is this one here so this little blue guy here in the chart is the same size as this person in the blue here this is an outdoor space a 20 meter by 60 meter by 20 meter air flow is coming in from the left and going out on the right this indoor case we have airflow coming in at the ceiling going out near the top of the room this one we have air flow coming into the top of the room and going out at the bottom of the room i'm going to show you why these are all important because we have people's classrooms and outdoor spaces that are designed like all three of these models and we'll show you what the risk level assessments are based on the riley wells uh sorry the wylie the riley wells model which is a very um trusted model for last couple decades on viral content bio-contagion percentages so what we see here is an outdoor case so we're singing in this uh outdoor space here and with this what ends up happening is at uh the blue the dark blue is our zero to ten percent uh ability to have a viral contamination here and is after 90 minutes unmasked singing and so then this lighter blue here is a during the 20 range 30 40 50 60 70 80 and then up here in the 100 of uh the risk of infection after 90 minutes this is at the height of the mouth opening this is also something seeing straight ahead not turning their head for 90 minutes so obviously we know that we're all going to be turning heads and doing things because we can't do music without movement and so we can basically imagine an arc going around this direction here of these colors and so this is something important to to remember as we move forward so then we broke it down in different cases of time and so here's a 10 minute period which is really low risk a 20 minute period still low 30 minutes 60 minute and what happens is what we found is after the 30 minute mark we start to get an exponential growth of the risk level on here so if you look at this we are really watching exponential growth 60 minutes and as we saw in the 90 minutes a real exponential growth there so our research team right now is starting to suggest that 30 minutes sweet spot for rehearsal time periods if we move inside what you'll see here is this light blue this 20 risk level here is the ambient level after 60 minutes of singing unmasked this big dark blue column of air here is your new airflow coming in from your hvac system and over here you see a very tiny sliver of air coming out here on the left and that's your air outflow at the top of the room you'll see here how the aerosols have ebbed and flowed and eddie and created eddies around one reason why we're not recommending those uh plexiglass partitions because when you put those up it'll actually interfere with how your airflow moves and could create one of these eddies around other players right above the plastic blast shielding so more information on that one and then here you'll see an overhead view of that same model then we looked at the same thing with the 10 20 30 and 60 minute time periods we've seen exponential growth occurring after 30 minutes uh with our 60 minute time so right here we're really recommending that indoor 30 minute time period for rehearsals then in the next case where we have airflow coming in from the top and then you'll see down here in the bottom right this little blue blob here that's the airflow going out well what we've noticed here is that this ambient area in the uh of the wrist level is now in the 30 range so what happens here is that um the good air is coming in and then not mixing around like we saw with the other one and so it's just filling the risk level up uh inside of the root and so we show these two models because schools commonly have the model where it comes into the top and out of the top and also in the top and out of the bottom and so we want to make sure that as we look at these in the hvac systems this is kind of what we're looking at so again you'll see on our uh wells reilly equation that the 30 minute time period is kind of sweet spot to make sure we're having a reduced risk of potential infection components so again you can read this one here this is a lot of information on it uh the contact umd is really important and they have some animations that we've put on the slide deck that you can go check out at your leisure as well so some general considerations we're looking at is a mastery worn by all students and staff prior to entering the performance hall or the performing arts classroom mass should be continually worn until all students are seated and ready for instruction excuse me this includes rest periods sectionals moving around the room you know getting ready for the bathroom or anything like that no talking should occur in the room without a mask being properly worn uh when possible a mask with a small slip for mouthpieces malfunction should be worn while playing we are running into an issue with uh the delicacy of the end of a elbow read and the slit in the mask and making sure that all works right so we're going to go back and readjust some things doing defending something better with that that is becoming a concern especially with double reads just because of the delicacy of the of the tip of the mouth of the reed uh then the next thing we're looking at is when possible um sorry an instrument group where masks cannot be worn so just like i mentioned with the oboe if that becomes the case we can't figure out how to make the mask work with the delicacy of the reed then the master worn around the chin and replaced during periods with a student's not playing that includes rests and includes talking um so there we go on those otherwise we're looking at social distancing should occur as suggested by the cdc so currently that is a six foot by six foot space around each student i really recommend kind of boxing that out with uh some sort of a painters tape or a gaff tape or you know if you have the ability to just kind of mark the ground and then the idea is that every student should remain in the center of those six by six foot spaces that way each student is automatically six feet apart uh this will reduce the number of students that typically fit inside performing which classroom we also want to make sure everyone's doing straight lines because as we curve the setup i'll change the directionality of the form of the aerosol so make sure you check that out as well uh students just sit facing the same direction from the back of the room to the front of the room to minimize exposure and then we're also finding that there's a lot of aerosols in the trombone slide as you go into extended positions especially um if there happens to be any air leakage of the spin valve uh there or you know those kinds of things so we're really watching that we're going to be studying this more but our preliminary considerations are talking about having a nine nine by six foot area for trombone players so an additional three feet in front of the trombone so as they're set up in a box uh the player would be seated three feet in front of the back line with six more feet remaining in front of them uh the next one we have here is our genera considerations is spit valve should not be emptied on the floor we recommend using a puppy pad or something similar to catch the contents of the spit valve and discard that at the end of rehearsal and there's a lot of creative ways people have been thinking about doing this so be creative but we really don't want to see the contents of the condensation to be put on the any longer because we know for sure that will carry a viral load and then evaporation will do some things there uh your storage area should be managed to limit the number of students at a time into a room and anyone who enters should bring an alcohol wipe in wipe it on the surface open the storage areas get what they need close it wipe it down again discard the disinfectant wipe afterwards uh teachers should consider using a portable amplifier to keep their voices at a low conversational volume we do know that the louder you speak the more aerosols you produce and we're hypothesizing that's because of your vocal cords vibrating the louder you speak the more they vibrate the more aerosols you're able to project and move forward students should also ask all questions in a little conversational volume with a mask and then teachers we assume you're going to be talking the most in the class so as a result we would suggest putting the most efficient mass possible which is readily available which are those blue surgical masks uh n95s would be recommended but we have supply chain issues and so we're not really going to recommend those at the current time uh although so generous accelerations is if your existing hvac system can be fitted with hepa filtrations we really recommend that to happen even if you can add hepa filter we recommend more hepa filter air purifiers being placed in the room that's appropriate for the size of your rehearsal space and there's plenty of those on the market at the current moment the other thing we want to do is look at the range rate of air change that you have and the faster you can change the rate of air change per hour there's a formula here you'll see on the screen to figure that out but the faster you can make that happen the um the faster you can have rehearsals occur between rehearsals in order to kind of clean the room out the one thing that we're researching right now which we hope to have by the end of the month is what happens if we increase from like an average of three air change rates per hour to 10. does that then change the modeling for how long your rehearsal can be we don't know this yet but we're looking into it and we hopefully will know in the next couple of weeks and then i would really recommend having a conversation with your facilities management and your custodial staff whoever runs the hvac systems within your building to find out how many error change rates per hour you have can you increase those uh and if you can't uh you know what's the options of getting hepa filtration added to your um your hx system or adding more air purifiers into your room so if you have a 3 000 square foot room if you go to lowe's and get a 1 500 square foot to buy two of those or hepa air purifier you need to buy two of those for the size of your room the other thing we want to double check too is the volume of your room because most music rooms have much higher ceilings in your typical room that hepa filter and those will be bought for so you want to definitely check the volume and make sure that the volume of room even though it may say a thousand square feet on the box um you know you're gonna see rolled out a thousand square feet with a nine foot ceiling and i've got 20 foot ceilings so your volume's gonna be a little bit bigger so something that's a little bit of math for us to figure out as far as which hepa filters to buy but something that facilities management should be able to help with also right now the best practices we have is to maintain outdoor rehearsals as possible so if um we are looking at this and we know the summer is very hot across most of the country uh including florida and so also severe weather is a thing so if it's going to rain or anything else and then sun exposure issues as well because typically on a marching band you'd rehearse in the morning you'd go inside to the air conditioning have more rehearsal and then you come back after dinner when it starts to cool down again and go back out for more field rehearsal so if you feel you need to have a tent to limit exposure to the elements we recommend a tent somewhere like this where it's really high has a really high pitched and then pitched ceiling to it and then no sides uh obviously the breezier the day the better so it's going to move the clean air through there a little bit easier so and we have some more marching band guidance here um as far as what you can do again really recommending those bell covers with the multi-layer eye denier uh nylon material and then um following those cdc guidelines as well to really try to reduce the amount of risk you have in producing aerosols inside of the band in choir rooms we also do have an nfhs guide returned to the high school marching band so if you need to check that out i know kathy has access to that there's a risk estimator tool here that's been put on uh by the university of colorado boulder and it can help project kind of what uh what can occur inside your classroom and this is good so you can actually put the volume of your room in there and then you can change the air rate the air change rates per hour and then really determine like how much the viral risk will go so that's a very important thing to do as well with that i believe we can go ahead and take some questions this is uh kathy i don't i don't see any questions in the chat box but i did have people send some questions um and one of them was how often um how often do would you need do you need to um i guess wash or clean the masks and um the bell covers right so that would be a thing where we kind of want to make sure that the students are going to do self-care which we all know how well that occurs right but we want to make sure that they're washing their stuff daily in order to make sure that it's clean um now i know this is hard to do because i know like for example i have a middle school son and getting him to wash his mask or just give me his mask every day to wash for him is sometimes a challenge and so but we really do want to make sure that some of that is put on the student's responsibility and have it washed daily another question is are the clarinet bags actually necessary and i know you answered that but there's so much information that you know i thought i'd go ahead and ask that question yeah so we don't really know that yet um we don't know if they're necessary we're not exactly sure um because when in that test we use the clarinet bag to see if we could catch all the aerosols right that's that was really our goal and then measure it from there right now i don't know if we need to have clarinet bags on everybody in the band for one it's it's it gets a little bit funky right if we have to have all those bags on there and it's gonna get hot and it's gonna there's a lot of issues that go with that so we have a lot more study to do so right now we're not really recommending the clarinet bag just because we don't know one how effective it is and two how practical it's going to be in a real world setting things that were we're waiting to test out some more okay another question that came in and again you you answered it but how much time do we need between classes in the rehearsal room for the um you know the air conditioning uh to clean the uh the rehearsals rehearsal space and that that's that whole thing with the volume and the height and hepa filter yeah so it really depends on how many air change rates per hour you're able to produce so right now the recommendation is if it's if you only have three air change rates per hour we are looking at about um 60 minutes between rehearsals which is a really long time and i totally understand so before people uh panic on the call you know we're looking at is can you increase that air change rate per hour to your hvac system which some of many modern buildings uh are able to just increase the air flow there if you're not able to do that can you add some hepa filters which would increase the uh the air change rate per hour and you can the more you can get that air change rate per hour to go through uh the shorter that time will get so if you can go from like three to ten well now we're going from an hour to 15 to 20 minutes right um and so the trade-off though is you're gonna have some some additional sound that will occur from that because it seems to be louder but again it goes to this thing like i always i'm looking at covert as the binary choice right so my binary choice is well i can't have banned or acquired because my air rate's not enough because it's too loud or do i have to deal with some louder hvac for the moment until i figure out this whole covert thing i'm going to deal with a louder hvac system for the moment right so when we're looking at those two options it kind of is what it is but i'd much rather have the ability to have more classes and do it in a safer manner than just not have them at all another question is an indoor school classroom sectional rehearsal in 90 minutes with no mass with 12 people playing woodwinds safe um i know the main thing we've talked about many times it has to do with the um with masks and so you you want the mask name now we're talking about the time and then again that falls back on to when the air change uh takes place in a room and how quickly and how long you could have those um i know that there are schools uh uh school districts and schools in florida right now that are going to a four by four which they didn't have before those are 90-minute classes um and that's and the thing about that is of course we're talking about it for music classes and theater and that sort of thing debate um but regular classrooms also 90 minutes of students talking in a writing science classroom or math class or any of them um can you just address that just uh briefly sure yeah i mean the big thing is like what i mentioned before is our our environmental engineers really want to have that the most effective mitigation we have is keeping the aerosols as close to the source as possible so you talk about putting 12 15 people in a room uh with no masks on for 90 minutes just a couple things are going to happen one thing is going to happen is that you're going to have the source be uncontained it's just going to go out there and then that eventually is going to accumulate throughout the room as that accumulation effect continues to increase we're going to start having that increased risk of virus if someone is like asymptomatically exposed then they're going to have that risk of viruses in the room and as we watch those modeling components that we saw the longer you're in that room unmasked the more likely it is that the ambient level of aerosol has a higher chance of carrying a viral capacity to it um so if you're talking 15 people in say um you know standard classroom which about four you know 500 to 750 square feet uh it won't take long for that to compile with 15 people in it and so that's why for music side we're really talking 30 minutes uh but for a regular classroom we have not tested that but i mean if you kind of just look at the models we had here you can kind of think of like wow there's a difference in aerosols they're producing a little bit less by talking but if you have 15 people talking on mass that is still going to increase the size especially if you don't have proper distancing measures and those kind of things in play and and the one thing um with our educational specifications out of our tallahassee department of education at one point the room size for regular cautions was 850 to 900 square feet for the regular classroom so that's not the same for um music classrooms or the visual arts costumes of the others performing spaces so could you tom tell us what's to come where where are we you know we know um this this is the information that came out on july 10 but we know that there's a lot more information to come and just tell us how that's going to kind of play out so that we can continue to be um informed yep so what we're going to be doing is um we'll have all of the rest of the the band instruments done all of us the vocal side done plus some theatrical things done and we'll have um i'm trying to think you'll have speaking done and i think all the aerobic component done so i'll be almost done with all the different stages and here's why it takes so long is everyone is tested three times with the same process every time to ensure that we're getting consistent results and so that just takes a lot of time in the lab also these experiments are very taxing on the performers uh because they're putting them in a 10 foot by 10 foot room that's sealed off uh and then basically turn into a near vacuum because we're sucking all the air out of it um as far as the aerosol air goes and so they're getting uh a near vacuum thing and so when they're playing and then we're making him play basically a collegiate level solo for eight straight minutes uh and they're making him play it four times with different mitigation techniques and then we're making him do it three times in a row and so it's very taxing on the people who are doing the experimentation so we all need to write them a thank you note um but because of that it takes just some time and so that's really kind of why it's taking the time it's taking so we should have all that stuff done here by the end of the month and then we'll be uh putting out a more public uh release of all the information that we did the first go around on the first go around we really wanted to focus on our coalition members who supported and made this study really happen um and we didn't want to go 100 open on the first round with the public because we needed to get the reaction from the coalition first um this next go-around and we also didn't have all the data we wanted to to kind of start throwing out and so with this with more complete structure we'll be having a more public um release of all of that information and we'll make sure that everyone knows in advance so we invite weekly will the coalition be uh will go out to the coalition first or or not yeah so we'll have um a lot of information going to the coalition first uh but then we'll probably do like a giant webinar for everybody so that way um so cathy you can go ahead and invite everyone from florida and say all right we're all going to hear it log on this time and away we go um oh i had another question um could you talk a little bit about the elementary the grades three through five and what's being tested there for mitigation purposes yep so in grades two through five we're going to test singing humming and recorder uh recorder we think we're gonna be able to use the same mitigation techniques as we use for the flute and the clarinet uh probably more so the flute and the clarinet because there's no vibration on the recorder as far as the the read against the mouthpiece and then we'll be using the mask for the students and then we're looking at humming and seeing if there's a difference in the humming aerosols that are produced with without mask and so maybe that's mitigation because we all know like those little little ones like i have a second grader and for her to wear a mask all the time is is really challenging for her even though she's a good sport and just does it um but if we could figure out a way to make it so um we can hum instead of sing maybe that'll help out some of those really little kids to have a break from the mask but we don't know that yet so we're going to be testing that out as well okay well um i i don't still don't see any other questions um at this point um i really thank you thank you so much when you and um and mark for heading this up for for us i think there's some valuable information here for um everyone on the call if you go to the nshs national federation highschools.org then you'll have all the information and one of the things that we've done on our website for the music associations in here in florida is the link to it rather than us download information we would rather keep it on the nfhs and we just provide the link so that you could go there to their website in case they're up they'll continue to update the information um more readily than i think most of the other places if we were to download so that's how you'll get the information we continue to have information put out in our e-blast um our monthly e-blast and on our website so and i will say too that uh kathy that's a good point because we are constantly updating everything that's on that website all the time as we get new stuff from the researchers we also launched two new tools today on that website so if anybody on here has a question uh we do now have a submitted question feature on the aerosol study page and then we also uh have an faq blog that we've started and so uh mark and i are finding out we're getting five to six hundred emails a day just on the aerosol study and the world we're only two people that can't we can't handle that right and so what we'll be doing is answering most of the questions through the faq blog and then getting most of those questions submitted through the research or through the uh ask a question feature on that website both of those functions should be up and running now they're now up and running now to be running by about six o'clock eastern time tonight i think they are i think i saw them a little bit earlier i didn't click on it but i do believe that it is up there now so well i want to thank everyone um we will continue as an association to keep you apprised of of any of the information of this study i do know and also the the final piece of the study that doesn't come out to what november december where after it's embedded by the other researchers and that sort of thing so this is preliminary um but these are some things that you can kind of think about talk about and i know the music supervisors throughout the state meet weekly and they've been having a lot of conversations that might be helpful for their for their independent individual schools so i thank everyone and james you've been fantastic and i really love working with you with nfhs and so i appreciate that and i thank everyone and we'll keep you posted thank you so much have a good evening all right thank you everybody