Chapter 1: Project Background

Small music practice rooms for non-amplified musical instruments are essential requirements in the
teaching of music in music education facilities. The requirements for wall partitions and doors sound
insulation performance for music practice rooms are usually the primary consideration and generally well
understood. The focus is on the sound quality within the music practice room as perceived by the music
student and teacher. The size, shape and finishes of the small music practice rooms decided at the design
phase would determine the final cost, floor areas utilized and resulting acoustic quality of the built music
practice rooms. This paper reviews the various options for the design of music practice rooms for specific
musical instruments and for multi-purpose use. The determination of music practice room sizes,
proportions, shapes and finishes and their potential impact on the sound quality of the rooms are
discussed. Issues regarding standing waves, room modes and the even distribution of the modes in small
music practice rooms are also addressed. The various methods of varying the reverberation times and
diffusivity in the music practice rooms with the use of alternative room elements and finishes are reviewed.

The Project

The main focus in the design of acoustic treatment is the customer’s satisfaction, which we achieve by the
most optimal solution. For this we have to take several factors into account: room, purpose of the room and
also the price. Depending on the type of premises we suggest different types of acoustic tiles and bass
traps.

Project Objectives

 To attenuate airborne sound transmitted between spaces through internal walls and floors.
 To develop standards and guidelines to facilitate design that provides.
 To design, create spaces and environments that are comfortable and supportive of the educational
delivery process.

1
General Objective

To be able to design an acoustic room that will meet the standards, specifications and requirements
compulsory by the American National Standards Institute (ANSI) and Ceilings and Interior Systems
Construction Association (CISCA) that will cater to the clients of the proponents.

Specific Objectives
 To determine the floor areas utilizes and resulting acoustic quality of the build music practice
rooms.
 To design an acoustic room for learning and teaching spaces.
 To specify the cost of materials and equipments.
 To determine the proportions, shapes and the potential impact on the sound quality of the room.

The Client
The assumed client of this design will be Miraculous Medal School, Annex Building.

Project Scope and Limitations

The proponents will design a small music room where it is located in Muntinlupa. It is intended to provide a
framework for new facilities and for modernization projects. The standards and guidelines presented relate
to the technical design of facilities and need to be used in conjunction with professional judgment to ensure
they are followed to the extent that they are appropriate. It is intended that School Boards and their
consultants retain control and ultimate responsibility for the educational requirements, design and
construction within the allocated funds
The proponents will be ignoring the actual construction of the acoustic design as well as its operation. The
installation of equipment, electrical design, civil design and other outline that is necessary to put up a small
music room.

2
Project Development

Gathering
START Forming and Information and
Creating Ideas Research Materials

Reverberation Material and Drafting

Time Equipment Floor Plan
Consideration Selection Designs

Equipment & Final Design END

Material Revision

Figure 1.1: Project Development Flowchart

Figure 1.1 shows the flowchart of the project development of designing acoustic room. The first step for the
proponents is to create ideas on designing acoustic room, familiarize themselves about acoustic system
and collect everything to be familiarized about acoustic system. The second step is to gather information
and research the materials that will be used in this project. After gathering information and researching
materials, the proponents will outline the initial layout and the floor plan designs. Since drafting floor plan
design is significant, selecting materials and equipment must be considered. After that, the next step is to
consider the reverberation time. This describes how long the sound persists after the source has stopped
emitting it.

3
 Chapter 2: Design Inputs

Design Parameters

Site Selection

The acoustic design of a school starts with the selection of the site, a noise survey of the site and planning
the layout of the school buildings. Economic sites for new schools with easy access to transport often suffer
from traffic noise and pollution. Where school sites are adjacent to busy roads they will require the use of
intelligent design, zoning, noise screening and, if necessary, sound insulating building envelopes together
with mechanical ventilation or acoustically designed passive ventilation

Design Considerations

While it is acknowledged that all projects are unique and therefore require specific and individual attention.
There are number of generic design considerations, which typically apply to all or most projects. The
following is not intended to be a total list but rather should be considered a starting point from which the
specific project design evolves:

 Building design should reflect function, a simple design is preferred, shape of building should
minimize length of perimeter walls and number of roof levels.
 Design should consider flexibility of space use.
 Design to meet the present needs of the School Board and to recognize that future need changes
should as much as possible, be achievable through adaptive reuse.
 Design using systems and equipment that are attainable within the timelines of the project.
Analyze their cost implications to maintain a proper balance of costs among all the elements of the
design.
 Consider the need for school buildings to support community oriented activities.
 All school buildings are to be accessible as per code requirements.
 Facilitate a Quality Assurance Program. Quality management is an important aspect of the
process equiring verification that what has been designed and what has then been constructed,
achieves the criteria originally established.

4
  Design to consider low fire hazard, good resistance to misuse and vandalism, and good security
against illegal entry.
 Consider using value analysis to undertake decisions considering longer term operation and
maintenance implications.
 Roofing should be designed for access by maintenance staff and for future replacement.

Noise Control

High noise levels can cause auditory masking of low level details within recordings that reduce soundstage
depth and timbral color by:

• Obscuring the way in which sound decays within a recording venue. Each recording venue has a
characteristic acoustic signature that can be lost if noise levels are too high. Listening to classical
music, it might be difficult to differentiate a performance in the Disney Hall relative to the Carnegie
Hall. Standards for concert halls and recording studios are typically RC15 ‐ 20 and one could
argue that a reproduction environment should have an equal or lower noise floor than the
recording venue if the acoustic signature of that venue is to be reproduced faithfully.
• Obscuring the low level harmonics that give each musical instrument its characteristic timbre. One
might find it difficult to differentiate a Bosendorfer from a Steinway piano. There is a direct
relationship between the noise floor of a space and the ability to perceive the highest levels of
audio micro‐detail.

Reverberation Time

Although some reverberation within a space can aide in speech distribution, longer reverberation times
will cause a build-up of noise and degrade speech intelligibility.

The maximum reverberation time for core learning spaces with internal volumes of greater than 10,000
cubic feet should not exceed 0.6 seconds. For core learning spaces with internal volumes of more than
10,000 but less than 20,000 cubic feet the maximum reverberation time is 0.7 seconds. Reverberation

5
 time for spaces with more than 20,000 cubic feet of internal volume is not specified, however,
guidelines are given in Annex C of the standard.

The reverberation time within an existing space can be tested with special equipment. Calculations can
be done in order to determine what the reverberation time will be in a proposed new space. An
explanation of the formulas and how they work can be found in Annex C of the standard. Variables that
affect the reverberation time include the volume of the space and the amount of sound absorption
within the room. In order to determine the amount of sound absorption, a material's absorption
coefficient multiplied by the surface area for that material must be calculated. Once the amount of
absorption for each material has been calculated, the sum of these will give the total amount of sound
absorption within the room. Laboratory-certified sound absorption coefficients should be available from
the manufacturer of the material.

It is the designer or architect's responsibility to ensure that a space meets the required reverberation
times by providing the appropriate amount of absorptive materials.

Project Site Location

Figure 2.1: The Location of the Client

6
Materials, Tools and Equipment

Carpet

Figure 2.2

A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is
generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of
twisted tufts which are often heat-treated to maintain their structure. Carpets are used for a variety of
purposes, including insulating a person’s feet from a cold tile or concrete floor, making a room more
comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or color to
a room.

Vinyl Tile

Figure 2.3

Vinyl tile is a flooring material that is generally inexpensive, easy to install, and easy to maintain. Made
primarily from polyvinyl chloride resins and plasticizers, these flooring tiles are waterproof and very durable.

7
Drywall

Figure 2.4
Drywall is also known as plasterboard, wallboard, and gypsum board. It is a panel made of gypsum plaster
pressed between two thick sheets of paper. It is used to make interior walls and ceilings. Drywall
construction became prevalent as a speedier alternative to traditional lath and plaster.

Leather Recliner

Figure 2.5

A recliner is an armchair or sofa that reclines when the occupant lowers the chair's back and raises its front.
It has a backrest that can be tilted back, and often a footrest that may be extended by means of a lever on
the side of the chair, or may extend automatically. When the back is reclined, a recliner is also known as a
reclining chair, lounger and an armchair. Modern recliners often feature an adjustable headrest, lumbar
support and an independent footstool that adjusts with the weight and angle of the user's legs to maximize
comfort. Additional features include heat, massage and vibration. Some models are wheelchair accessible.

8
Studiotips Superchunk

Figure 2.6

The Studiotips SuperChunk is an evolved design derived from the idea of stuffing the cavity of a Studiotips
Corner Absorber.
The SuperChunk is accomplished by cutting up mineral fiber panels into triangles and then stacking them
so as to fill the entire corner from floor to ceiling. Panel thickness is immaterial, but the thicker they are the
fewer you have to cut, and thicker ones may be cheaper per volume.

Theater Upholstered Chair

Figure 2.7

Upholstery is the work of providing furniture, especially seats, with padding, springs, webbing, and fabric or
leather covers. The word upholstery comes from the Middle English word upholder, which referred to a
tradesman who held up his goods.
Musical Instruments

9
 Figure 2.8

A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object
that produces sound can be a musical instrument; it is through purpose that the object becomes a musical
instrument. The history of musical instruments dates to the beginnings of human culture.

Mixing Console

Figure 2.9

The mixing desk or mixer is the center of the broadcast studio. Every piece of sound equipment in the
studio is connected to the mixing desk. The mixing desk is used to control the sound from each piece of
source equipment. It is the tool that allows us to combine or mix the sounds from microphones, CD players,
MD players and other source equipment together of mixer will determine how your studio is built and how it
will work. Because each piece of equipment in the studio connects to the mixer, it is vital that your mixer
has enough connections.

10
 Chapter 3: Project Design

Introduction

In this chapter, the designs for music room will be discussed.

In designing acoustic room, there are factors that need to be considered. The music room facilities need to
be considered alongside things like power and network requirements, containment, ceiling heights, lighting
grids, raised floor height, proposed furniture layouts and etc. This early engagement will allow time for user
group visits to existing locations, research into new or untried technology and systems, development of
system and furniture design options and indicative budgets. The time required to undertake these tasks
and the follow on user discussions on system options should not be underestimate.

Acoustic Performance
It is essential to the delivery of best acoustic performance that the acoustical design is considered when
upgrading, refurbishing or designing any new or existing space. Acoustical performance must be
measured using the Speech Transmission Index (STI). The design sound levels and reverberation times for
building interiors is recommended.

Reverberation Time

 The maximum reverberation time for core learning spaces with internal volumes of greater than
10,000 cubic feet should not exceed 0.6 seconds.
 For core learning spaces with internal volumes of more than 10,000 but less than 20,000 cubic
feet the maximum reverberation time is 0.7 seconds.
 Reverberation time for spaces with more than 20,000 cubic feet of internal volume is not
specified, however, guidelines are given in Annex C of the standard.
Formula:

RT (60)= 0.05V/(ƩSα)

11
Where:
RT (60) = reverberation time (sec)
V = room volume (ft3)
S = surface area (ft. 2)
a = absorption coefficient of material(s) at given frequency
The “S” indicates the summation of S times for all room surfaces

Table 3.1:Absorption Coefficient Chart

Full absorption is 1 while full reflection is 0

Absorption coefficients of common building materials and finishes

Floor materials 125 250 500 1 kHz 2 4 kHz

Hz Hz Hz kHz
Carpet 0.01 0.02 0.06 0.15 0.25 0.45
Concrete (unpainted, rough finish) 0.01 0.02 0.04 0.06 0.08 0.1
Concrete (sealed or painted) 0.01 0.01 0.02 0.02 0.02 0.02
Marble or glazed tile 0.01 0.01 0.01 0.01 0.02 0.02
Vinyl tile or linoleum on concrete 0.02 0.03 0.03 0.03 0.03 0.02
Wood parquet on concrete 0.04 0.04 0.07 0.06 0.06 0.07
Wood flooring on joists 0.15 0.11 0.1 0.07 0.06 0.07
Seating materials 125 250 500 1 2 4
Hz Hz Hz kHz kHz kHz
Benches (wooden, empty) 0.1 0.09 0.08 0.08 0.08 0.08
Benches (wooden, 2/3 occupied) 0.37 0.4 0.47 0.53 0.56 0.53
Benches (wooden, fully occupied) 0.5 0.56 0.66 0.76 0.8 0.76
Benches (cushioned seats and backs, empty) 0.32 0.4 0.42 0.44 0.43 0.48
Benches (cushioned seats and backs, 2/3 occupied) 0.44 0.56 0.65 0.72 0.72 0.67
Benches (cushioned seats and backs, fully 0.5 0.64 0.76 0.86 0.86 0.76
occupied)
Theater seats (wood, empty) 0.03 0.04 0.05 0.07 0.08 0.08
Theater seats (wood, 2/3 occupied) 0.34 0.21 0.28 0.53 0.56 0.53
Theater seats (wood, fully occupied) 0.5 0.3 0.4 0.76 0.8 0.76
Seats (fabric-upholsterd, empty) 0.49 0.66 0.8 0.88 0.82 0.7
Seats (fabric-upholsterd, fully occupied) 0.6 0.74 0.88 0.96 0.93 0.85
Reflective wall materials 125 250 500 1 2 4
Hz Hz Hz kHz kHz kHz
Brick (natural) 0.03 0.03 0.03 0.04 0.05 0.07
Brick (painted) 0.01 0.01 0.02 0.02 0.02 0.03
Concrete block (coarse) 0.36 0.44 0.31 0.29 0.39 0.25

12
Concrete block (painted) 0.1 0.05 0.06 0.07 0.09 0.08
Concrete (poured, rough finish, unpainted) 0.01 0.02 0.04 0.06 0.08 0.1
Doors (solid wood panels) 0.1 0.07 0.05 0.04 0.04 0.04
Glass (1/4" plate, large pane) 0.18 0.06 0.04 0.03 0.02 0.02
Glass (small pane) 0.04 0.04 0.03 0.03 0.02 0.02
Plasterboard (12mm (1/2") paneling on studs) 0.29 0.1 0.06 0.05 0.04 0.04
Plaster (gypsum or lime, on masonry) 0.01 0.02 0.02 0.03 0.04 0.05
Plaster (gypsum or lime, on wood lath) 0.14 0.1 0.06 0.05 0.04 0.04
Plywood (3mm(1/8") paneling over 31.7mm(1-1/4") 0.15 0.25 0.12 0.08 0.08 0.08
airspace)
Plywood (3mm(1/8") paneling over 57.1mm( 2-1/4") 0.28 0.2 0.1 0.1 0.08 0.08
airspace)
Plywood (5mm(3/16") paneling over 50mm(2") 0.38 0.24 0.17 0.1 0.08 0.05
airspace)
Plywood (5mm(3/16") panel, 25mm(1") fiberglass in 0.42 0.36 0.19 0.1 0.08 0.05
50mm(2") airspace)
Plywood (6mm(1/4") paneling, airspace, light 0.3 0.25 0.15 0.1 0.1 0.1
bracing)
Plywood (10mm(3/8") paneling, airspace, light 0.28 0.22 0.17 0.09 0.1 0.11
bracing)
Plywood (19mm(3/4") paneling, airspace, light 0.2 0.18 0.15 0.12 0.1 0.1
bracing)
Absorptive wall materials 125 250 500 1 2 4
Hz Hz Hz kHz kHz kHz
Drapery (10 oz/yd2, 340 g/m2, flat against wall) 0.04 0.05 0.11 0.18 0.3 0.35
Drapery (14 oz/yd2, 476 g/m2, flat against wall) 0.05 0.07 0.13 0.22 0.32 0.35
Drapery (18 oz/yd2, 612 g/m2, flat against wall) 0.05 0.12 0.35 0.48 0.38 0.36
Drapery (14 oz/yd2, 476 g/m2, pleated 50%) 0.07 0.31 0.49 0.75 0.7 0.6
Drapery (18 oz/yd2, 612 g/m2, pleated 50%) 0.14 0.35 0.53 0.75 0.7 0.6
Fiberglass board (25mm(1") thick) 0.06 0.2 0.65 0.9 0.95 0.98
Fiberglass board (50mm(2") thick) 0.18 0.76 0.99 0.99 0.99 0.99
Fiberglass board (75mm(3") thick) 0.53 0.99 0.99 0.99 0.99 0.99
Fiberglass board (100mm(4") thick) 0.99 0.99 0.99 0.99 0.99 0.97
Open brick pattern over 75mm(3") fiberglass 0.4 0.65 0.85 0.75 0.65 0.6
Pageboard over 25mm(1") fiberglass board 0.08 0.32 0.99 0.76 0.34 0.12
Pageboard over 50mm(2") fiberglass board 0.26 0.97 0.99 0.66 0.34 0.14
Pageboard over 75mm(3") fiberglass board 0.49 0.99 0.99 0.69 0.37 0.15
Performated metal (13% open, over 50mm(2") 0.25 0.64 0.99 0.97 0.88 0.92
fiberglass)
Ceiling material 125 250 500 1 2 4
Hz Hz Hz kHz kHz kHz
Plasterboard (12mm(1/2") in suspended ceiling grid) 0.15 0.11 0.04 0.04 0.07 0.08
Underlay in perforated metal panels (25mm(1") 0.51 0.78 0.57 0.77 0.9 0.79
batts)
Metal deck (perforated channels,25mm(1") batts) 0.19 0.69 0.99 0.88 0.52 0.27
Metal deck (perforated channels, 75mm(3") batts) 0.73 0.99 0.99 0.89 0.52 0.31

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 Plaster (gypsum or lime, on masonary) 0.01 0.02 0.02 0.03 0.04 0.05
Plaster (gypsum or lime, rough finish or timber lath) 0.14 0.1 0.06 0.05 0.04 0.04
Sprayed cellulose fiber (16mm(5/8") on solid 0.05 0.16 0.44 0.79 0.9 0.91
backing)
Sprayed cellulose fiber (25mm(1") on solid backing) 0.08 0.29 0.75 0.98 0.93 0.76
Sprayed cellulose fiber (25mm(1") on timber lath) 0.47 0.9 1.1 1.03 1.05 1.03
Sprayed cellulose fiber (32mm(1-1/4") on solid 0.1 0.3 0.73 0.92 0.98 0.98
backing)
Sprayed cellulose fiber (75mm(3") on solid backing) 0.7 0.95 1 0.85 0.85 0.9
Wood tongue-and-groove roof decking 0.24 0.19 0.14 0.08 0.13 0.1
Miscellaneous surface material 125 250 500 1 2 4
Hz Hz Hz kHz kHz kHz
People-adults (per 1/10 person) 0.25 0.35 0.42 0.46 0.5 0.5
People-high school students (per 1/10 person) 0.22 0.3 0.38 0.42 0.45 0.45
People-elementary students (per 1/10 person) 0.18 0.23 0.28 0.32 0.35 0.35
Ventilating grilles 0.3 0.4 0.5 0.5 0.5 0.4
Water or ice surface 0.008 0.008 0.013 0.015 0.02 0.025

Room Layouts
Design 1
The first proposed design is that it provides flexibility for combinable room so users can easily share audio,
data and video in one large meeting space, or when divided, two separate meeting spaces.

Top View

Figure 3.1

14
Right Side View

Figure 3.2

Room Dimension:

Height 16 ft
Width 11.42 ft
Length 13.92 ft

Table 3.2: Dimension of the Room

Design 2:

The second proposed design is AVS 3000 that provides users with control at their fingertips to effortlessly
share digital content with local and remote meeting participants. Communication is so easy so users can
focus on their message and audience rather than the technology.

15
Music Room Layout

Figure 3.3

Side View

Figure 3.4

16
 3D View

Figure 3.5

Room Dimension:

Height 8
Width 12
Length 16

Table 3.3

Materials 250Hz 500Hz 1000Hz 2000Hz

Carpet 0.2 0.6 0.69 0.71

Drywall wall 2 layer 5/8” 0.08 0.05 0.03 0.03
Drywall wall 1 layer 5/8” 0.08 0.05 0.03 0.03
6” of 703 on wall 1.21 1.13 1.05 1.04
Studio tips super chunk 1.76 1.65 1.40 1.31
Leather Recliner 3.75 3.50 3 2.50
Theater upholstered chair 3.40 4 4.50 4.75
Table 3.4: Coefficient of Absorption of the Materials Used

17
 Chapter 4: Constraint, Trade-offs, and Standards

Constraints

SUSTAINABILITY

Sustainable construction can be defined as the creation and responsible management of a healthy built
environment based on resource efficient and ecological principles. It is the way construction sector
contributes to sustainable development, trying to match its three components: environment, economy, and
society. It is necessary to measure such issues has led to research on sustainability performance
indicators, assessment methods and tools.

DURABILITY

Where the physical behavior of pupils requires a high level of robustness and durability from room finishes
then due consideration should be given to the appropriate selection of materials in the acoustic design.

RELIABILITY

It is vital that solutions and components are chosen with a regard to achieving the greatest possible
reliability for AV systems, even they are viewed as non-critical systems. Components must be able to
maintain normal operation. The supplier must be able to support and supply spare parts during this time
period. The systems must be designed in a way that makes it uncomplicated to utilize basic functions even
if some of the central equipment is out of order.

ECONOMIC COST

As one of the major constraints in designing acoustic system, the location and spacing must be considered
and the design project must be planned thoroughly to avoid financial loss. Since there are expensive
equipments and components that will be used, it will consume a big part of the budget so the design must
consider the spacing for its efficiency.

18
Design 1
QTY DESCRIPTION UNIT PRICE
100 Carpet (20x20) 20,000.00 PHP
Drywall wall 2 layer 5/8” 10,000.00 PHP
Drywall wall 1 layer 5/8” 6,000.00 PHP
1 Fiber Glass 6” of 703 on wall 39,300.00 PHP
50 Studio tips super chunk (8x11) 32,902.70 PHP
1 Leather Recliner 10,098.00 PHP
1 Theater Upholstered Chair 17,498.00 PHP
Total Cost: 135,798 PHP
Table 4.1: Cost of the Materials

Design 2
QTY DESCRIPTION UNIT PRICE
100 Carpet (20x20) 20,000.00 PHP
30 Vinyl Tile (1x1) 457.5 PHP
10 Plywood (5mm) 7,500.00 PHP
50 Metal Panels (25 mm) 14,775.00 PHP
1 Leather Recliner 10,098.00 PHP
2 Table 2,350.50 PHP
Total Cost: 55,181 PHP
Table 4.2: Cost of the Materials

Trade-offs

Trade off decision is required for the selection of the material which will be used in designing the acoustic
room. This will also affects the reverberation time of sound.

Design 1 versus Design 2

Design 1: Materials Used

 Carpet
 Drywall (2 Layers)
 Drapery (18 oz/yd2, 612 g/m2, pleated 50%)
 Wood Tongue-and-Groove Roof Decking
 Studiotips Super Chunk

Figure 4.1

19
 Design 2: Materials Used

 Carpet
 Vinyl Tile
 Plywood (5mm(3/16") paneling over
50mm(2") airspace)
 Underlay in perforated metal panels
(25mm(1") batts)


Figure 4.2

Design Material Coefficient of Absorption

(@500Hz)
Carpet 0.06
Drywall 2 Layer 5/8” 0.05
Drapery 0.31
Design 1 Wood Tongue-and-Groove 0.14
Roof Decking
People-adults (per 1/10 person) 0.42

Carpet 0.06
Design 2 Vinyl tile or linoleum on 0.03
concrete
Plywood 0.53
Underlay in perforated metal 0.57
panels
Table 4.3: Comparison of the COA of materials of the design

Reverberation Time Computation

Design 1

Material 250HZ 500HZ 1000HZ 2000HZ

Carpet 0.02 0.06 0.15 0.25

Table 4.4: Coefficient of Absorption of Carpet for Design 1

Material 250Hz 500Hz 1000Hz 2000Hz

Drywall wall 2 layer 5/8” 0.08 0.05 0.03 0.03

Table 4.5: Coefficient of Absorption of Drywall

20
 Height 16 ft
Width 11.42 ft
Length 13.92 ft

Total Volume of the Music Studio

Total Volume of the Music Studio = Length x Width x Height

V=LxWxH

V = 13.92m x 11.42m x 16m

V = 2543 m3

Area for Walls

Aback = 12.6m x 9.6m = 120.96m2

Afront = 9.6m x 4.2m = 40.64m2

Aside1 = 9.6m x 13.8m = 132.48m2

Aside2 = 9.6m x 6.3m = 60.48m2

Aside3 = 8.4m x 9.4m = 80.64m2

Aside4 = 7.5m x 9.6m = 72m2

Atotal = 120.96m2 + 40.64m2 + 132.48m2 + 60.48m2 + 80.64m2 + 72m2

Atotal = 507.2m2

Area for floor

Afloor1 = 14.7m x 7.35m = 108.045m2

Afloor2 = 8.75m x 9.8m = 85.75m2

Area for ceilings

Aceiling1 = 14.7m x 7.35m = 108.045m2

Aceiling2 = 8.75m x 9.8m = 85.75m2

Absorption of coefficient with respect to material @500Hz

Walls - Drapery (18 oz/yd2, 612 g/m2, pleated 50%) – 0.17

21
 Ceilings - Wood tongue-and-groove roof decking – 0.03

Floors - Wood parquet on concrete – 0.57

Computation for Reverberation Time

0.161(𝑣)
RT60 = 𝐴

0.161(1536)
RT60 = (507.2𝑋0.31)+ (193.795𝑥0.14)+ (193.795𝑥0.04)

RT60 = 1.28722 seconds

Design 2

Material 250HZ 500HZ 1000HZ 2000HZ

Carpet 0.02 0.06 0.15 0.25

Table 4.6: Coefficient of Absorption of Carpet for Design 2

Height 8
Width 12
Length 16

V=LxWxH

V = 16m x 12m x 8m

V = 1536 m3

Area for Walls

Aback = 12.6m x 9.6m = 120.96m2

Afront = 9.6m x 4.2m = 40.64m2

Aside1 = 9.6m x 13.8m = 132.48m2

Aside2 = 9.6m x 6.3m = 60.48m2

Aside3 = 8.4m x 9.4m = 80.64m2

Aside4 = 7.5m x 9.6m = 72m2

22
Atotal = 120.96m2 + 40.64m2 + 132.48m2 + 60.48m2 + 80.64m2 + 72m2

Atotal = 507.2m2

Area for floor

Afloor1 = 14.7m x 7.35m = 108.045m2

Afloor2 = 8.75m x 9.8m = 85.75m2

Area for ceilings

Aceiling1 = 14.7m x 7.35m = 108.045m2

Aceiling2 = 8.75m x 9.8m = 85.75m2

Absorption of coefficient with respect to material @500Hz

Walls - Plywood (5mm(3/16") paneling over 50mm(2") airspace) – 0.17

Floors - Vinyl tile or linoleum on concrete – 0.03

Ceilings - Underlay in perforated metal panels (25mm(1") batts) – 0.57

Computation for Reverberation Time

0.161(𝑣)
RT60 = 𝐴

0.161(1536)
RT60 = (507.2𝑋0.17)+ (193.795𝑥0.03)+ (193.795𝑥0.57)

RT60 = 1.22121 seconds

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Standards

ISO 354:200
Acoustics, Measurement of sound absorption in a reverberation room

When a sound source operates in an enclosed space, the level to which reverberant sound builds up, and
the subsequent decay of reverberant sound when the source is stopped are governed by the sound-
absorbing characteristics of the boundary surfaces, the air filling the space, and objects within the space. In
general, the fraction of the incident sound power absorbed at a surface depends upon the angle of
incidence. In order to relate the reverberation time of an auditorium, office, workshop, etc., to the noise
reduction that would be effected by an absorbing treatment, knowledge of the sound-absorbing
characteristics of the surfaces, usually in the form of a suitable average over all angles of incidence, is
required. Since the distribution of sound waves in typical enclosures includes a wide and largely
unpredictable range of angles, a uniform distribution is taken as the basic condition for the purposes of
standardization. If, in addition, the sound intensity is independent of the location within the space, the
sound distribution is called a diffuse sound field, and the sounds reaching a room surface are said to be at
random incidence. The sound field in a properly designed reverberation room closely approximates a
diffuse field. Hence, sound absorption measured in a reverberation room closely approximates the sound
absorption that would be measured under the basic conditions assumed for standardization.

The purpose of this International Standard is to promote uniformity in the methods and conditions of
measurement of sound absorption in reverberation rooms.

This International Standard specifies a method of measuring the sound absorption coefficient of acoustical
materials used as wall or ceiling treatments, or the equivalent sound absorption area of objects, such as
furniture, persons or space absorbers, in a reverberation room. It is not intended to be used for measuring
the absorption characteristics of weakly damped resonators.
The results obtained can be used for comparison purposes and for design calculation with respect to room
acoustics and noise control.

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The ANSI S12.60-2002 (American National Standard Acoustical Performance Criteria, Design
Requirements, and Guidelines for Schools) provides a minimum standard for acoustic performance of
general education classrooms and secondary spaces.
• Use wall, floor, and ceiling assemblies with a minimum STC rating of 45 in adjacent corridors, 50
STC for general adjacent enclosed classrooms, and 60 STC in louder adjacent rooms (e.g., music
room, gymnasium)
• Reverberation times in unoccupied, furnished classrooms with a volume under 10,000 cubic feet
may not exceed 0.6 seconds. Classrooms between 10,000 and 20,000 cubic feet may have a
maximum reverberation time of 0.7 seconds.
• Background noise in unoccupied classrooms should not exceed 35 dB(A)
• Understand that the noise isolation requirements for ANSI S12.60-2002, while similar to other
standards, may be more stringent
• Understand that HVAC units are currently being designed that may help my help to meet ANSI
12.60-2002 standard for a 35dB(A) maximum background noise

Technical Requirements

Partition Wall Construction

 Use additional layers of gypsum or plywood to partition walls and ensure their gap-free
construction to increase the STC and reduce interior noise in classrooms.
 Extend partition walls from the structural floor to the structural ceiling of a classroom to ensure
sounds cannot travel above or below walls into adjacent spaces.
 Mount sound-absorbing materials in front of an air cavity and use batt-insulation in the cavities of
walls to improve sound-absorbing performance.

Materials and Surfaces

 Consider using acoustically-treated furniture to reduce interior noise in classrooms. However, be

aware that some acoustically-treated furniture may be unhygienic.

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  Install carpeting in classrooms to reduce ambient noises of movement (e.g., movement of chairs
and desks, shuffling feet).
 Use dense, acoustically treated doors with rubber or gasket seals to reduce sound transmission.
 Consider using carpeting and acoustical ceiling tiles in hallways to reduce noise.
 Consider using a suspended acoustical ceiling to provide sound absorption to reduce interior noise
within the room.

Instructional Equipment

 Locate instructional equipment in areas of classrooms that will minimize their background noise
 Install rubber padding under mechanical instruments.
 Specify computers with low operating noise ratings to minimize the amount of background noise
they create.

Reducing Reverberation

Excessive reverberation can cause echoes that interfere with speech intelligibility. Smaller
classrooms generally have shorter reverberation times than large classrooms. However, sound waves may
be reflected more frequently and can create a masking effect. It is important to develop design strategies
that minimize reverberations to improve speech intelligibility.

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Definition of Terms

Acoustics - the science of sound. It determine its character with respect to the quality of the received
sound.

Airborne sound - sound or noise radiated directly from a source, such as a loudspeaker or machine, into
the surrounding air.

Attenuation – term used to indicate reduction of noise or vibration, by whatever method necessary, usually
expressed in decibels.

Average Room Absorption Coefficient (α) – total room absorption in Sabins or metric Sabins, divided by
total room surface area in consistent units of square feet or square meters.

Background noise level - prevailing noise level in a specified environment measured in the absence of
the noise being studied.

Continuous equivalent noise level, Laeq – the steady noise level (usually in dBA) which, over the period
of time under consideration, contains the same amount of sound energy as the time varying noise.

dB (A) - the A-weighted sound pressure level.

Decibel (dB) - degree of loudness. A unit for expressing the relative intensity of sounds on a scale from
zero for the average least perceptible sound to about 130 for the average pain level.

Diffraction - The process whereby an acoustic wave is disturbed and its energy redistributed in space as a
result of an obstacle in its path.

Direct sound - Sound that reaches a given location by direct, straight-line propagation from the sound
source.

Directivity Index (DI) - The difference between sound pressure level in any direction in the acoustic far
field and the average sound pressure level in that field.

F (fast) time weighting - Averaging time used in sound level meters. Fast setting has a time constant of
125 milliseconds and provides a fast reacting display response allowing the user to follow and measure not
too rapidly fluctuating sound.

Field measurements - Measurements carried out on site.

Filter - a device that transmits signals within a certain band of frequencies but attenuates all others.

Free field conditions - An environment where there is no reflective surfaces

Frequency- Repetition rate of a cycle, the number of cycles per second.

Impulse noise- a transient signal of short duration.

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Insertion Loss (IL) - The reduction of noise level at a given location due to placement of a noise control
device in the sound path between the sound source and that location. Usually rated in octave bands or
1/3-octave bands.

Noise – unwanted sound.

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 Chapter 5.Final Design

Between the two designs discussed in this paper, we will see the most appropriate design for creating an
acoustic room specifically the mini-theatre which benefits the upcoming students who will take the course of
acoustic room designs. Based on the standards and constraints we used, the final design is also seen in
this chapter and as results for the trade-off.
In this chapter we therefore conclude that Design 2 materials will be used pertaining to the computation of
the reverberation time with their corresponding coefficient of absorption.

Room Layout

Figure 5.1 Final Room Layout

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List of Materials of Design 2

 Carpet

A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is
generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of
twisted tufts which are often heat-treated to maintain their structure.
 Vinyl Tile

Vinyl tile is a flooring material that is generally inexpensive, easy to install, and easy to maintain. Made
primarily from polyvinyl chloride resins and plasticizers, these flooring tiles are waterproof and very durable.

 Plywood

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a type of strong thin wooden board consisting of two or more layers glued and pressed together with the
direction of the grain alternating, and usually sold in sheets of four by eight feet.

 Underlay in perforated metal panels (25mm(1") batts)

Perforated metal, also known as perforated sheet, perforated plate, or perforated screen, is sheet metal
that has been manually or mechanically stamped or punched to create a pattern of holes, slots, or
decorative shapes. Materials used to manufacture perforated metal sheets include stainless steel, cold
rolled steel, galvanized steel, brass, aluminum, tinplate, copper, Monel, Inconel, titanium, plastic, and more.

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CONCLUSION

The type of musical instruments and the potential loudness of the instrument are to be considered
first prior to the design of the small music room. The wall insulation properties to be determined based on
the instrument loudness and target background noise. The internal shape and dimensions of the small
music room to be determined in conjunction with the project architect. Where rectangular rooms are
proposed, it is recommended that the room be checked for room modes coincidence and room modes
distribution. Decide on the desired reverberation times of the music rooms and determine the type and
quantity of the absorptive materials to be applied inside the room. It is highly recommended that the ability
to vary the reverberation times in the room be incorporated as this will provide a versatile music room and
can be used for various musical instruments. It is recommended that diffusive elements be introduced into
the room, particularly on the walls to minimize specular reflections and flutter echoes.

RECOMMENDATION

In designing an acoustic room it is very important in considering the materials to be used in your
design, and also be sure to compute for the reverberation time for each material. In the end you will come
with the same value of reverberation time of what type of acoustic room that you have decided to create the
RT60 has the same value with its materials.

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References:

 ANSI S12.60-2002 (2002), “American National Standard Acoustical Performance Criteria, Design
Requirements, and Guidelines for Schools
 file:///F:/Acoustic%20Designs/INTANT%20-%20group%20of%20company.htm
 AV Design Reference Manual

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