Acoustics For Designers: S. Rajagopalan PH.D

ACOUSTICS
FOR DESIGNERS
(III YEAR ARCHITECTURE)
S. RAJAGOPALAN Ph.D.
9/27/2019 S. RAJAGOPALAN 1
• Based on Architectural Acoustic Theory
and Practice
• Will deal with physics and perception of
sound, characteristics and their influence
on design concepts
• Fact: Change is Constant
• Develop and attitude; mind training
• Problems as challenges NOT as hurdles
• (Feynman: radio repairs)
• Top-notch work from young minds; out of
the box thinking
• Triggers (blue skies ?)
• Intuitions: can come only from trained
minds.
• Communication, Distance, Propagation
• Amphitheatre
• Sound perception in spaces:
• Direct
• Reflected
• Mix of reflected: reverberant
• Delayed reflections: echo
• Required reflections: Ancient idea
• Rising Steps and stage reflectors
Sound Travel
• Fastest in solids. High velocities in Steel,
Concrete etc. But low in wood
• If speed is high, attenuation (absorption) is
low
• In liquids velocity is lower compared to
solids
• In gases the velocity is least
Octave Band Filters
• To determine composition of sound, it is

necessary to cut sound into bands
• An octave band is simple to use: the
centre frequency just doubles from band to
next one. (32,65,125,250,500,1000,2000,
4000,8000,16000) Band analysis is complete
information
Sound signal
Frequency
Some basics…..
• Velocity, Frequency and Wavelength
c or v, f and λ
c=fλ f is a number, λ is in units of
length, and c is in length/time
What changes with what?
When f changes does c change?
Human hearing range: 20 Hz to 20,000 Hz.
Basic contd……….
• Velocities:
In gases / air ~ 330 ms-1
In liquids ~ 2000 ms-1
In solids ~ 5000 ms-1
Do they change? Newton: c = (E/ρ)½
Importance of ambience: T and P
Echo
• Distinct and separated and sufficiently
loud. Fluttering and ringing
+10
Annoyance
0
-20
No annoyance
35 Time delay, ms 350
Decibel (dB)
• Dr. Weber suggested after several
experiments subjective response R is
proportional to the fractional change of
stimulus S:
δR ∞ δS/S
• Integrating: R = k log S
• Dealing with Intensity I and now
looking at it with reference to a
international standard intensity I0
dB……..
The logarithmic ratio is log I/Io in units of

Bel. The numbers being too small to
handle;
multiply by 10 and get deci-Bel (dB).
Intensity Lvl = 10 Log I/I0
• Intensity ∞ p2 = p2 / ρc, ρ is the
density, and c is the velocity in the
medium
• ρc = 410 rayls for air
• Threshold Intensity I0 = (2 x 10-5)2 / 410
which is = 10-12 w/m2
dB……..
• When we consider pressures created by
an acoustic signal: I ∞ P2 . Thus,
Int. Lvl.(SIL) = 10 log I/I0 = 10 log P2/ P02
= 20 log P/P which is the Sound Pressure
0
Level (SPL). Threshold pressure P0 is
2x10-5 N/m2
SIL = SPL in value.
How much SPL increase when I gets
doubled?
10 Log (I/I0) ~ 10 log (2I/I0) = 10 x 0.3
which is 3 dB.
When p is doubled? SPL increase =
20 log (p / p0) ~ 20 log (2p / p0)
= 20 x 0.3 = 6 dB
• Ex: The RMS pressure of sound signal is
200 N/m2. Sound Pressure Level?
SPL = 20 log10 200/(2 x 10-5) = 140 dB
How about Intensity? I = p2/ρc = 98 W/m2
Take I = 0.01 W/m2; SPL = SIL
= 10 Log I / I0 = 100 dB (still quite high)
Filter weightages
SPL meter to behave as human ear: apply A
filter
For additional frequency C
L
Recognition: FilterB E
B
For low frequency V
E A
Recognition: FilterC L
Frequency
Weighting
• A-weighting: the measuring equipment
will behave exactly like human ear. The
equipment normally would give a flat
response. To obtain how the human ear
perceives apply the following correction:
• 63Hz 125 250 500 1000 2000 4000 8000

• -25 -15 -8 -3 0 +1 +1 -1
Addition of noises from multiple
sources
• Combine to produce noise of higher level
• Two equally intense sounds will produce a
level 3 dB higher than the source level.
This is due to logarithmic addition.
dB W/m2
130 ---- 10+1 Threshold of pain
I
LI ------
10-12 Threshold of audibility

0 ----
Fletcher-Munson …
Equal loudness contours
Very high loudness
S
P
loudness
L
dB
Very low loudness
Frequency
Sensitivity of hearing
140 dB: Jet engine 20 M away; Painful & dangerous
Threshold of pain
>110
Speech + Symphony
25 dB
Threshold of Very faint
feeling 0 dB; Threshold of hearing
Max sensitivity at 4 KHz

• Say, a car horn reads 90 dBA at 3 M
distance. I?
• Use here the basic SIL = 10 log I/I0
• How much is the power of the source?
• Use: I = W/4πr2
• Siren source. Barely hear at
40M. How much Int at 20 M? 20 M
40 M
Find how far a noisy chiller be

-5
2 x 10 w/sq.m.
kept away from the building porch
(max. level allowed 40 dBA). Given measured value 95
dBA at 7M away.
95 dB
Not to exceed 40 dB
@7M
• I = W/4πr2; I1/I2 = (r2 /r1)2
Find how far a noisy chiller be
kept away from the building porch
(max. level allowed 40 dBA). Given measured
value 95 dBA at 7M away.
Intensity at 7M from chiller, calculate.
Calculate Intensity corresponding to 40 dB at porch.
Use inverse law to obtain distance of chiller from porch
Add dBs….
• Cannot be added arithmetically
• Intensities can be added arithmetically
• Square of pressures could be added
DIFFERENCE
5 9 16 19
0 1 2 3 4
3.0 2.5 2 1.7 1.5 1.2 0.5 0.1 0.05 CORRECTION
Scale for combining decibels

Example
• Two cars are producing individual SPL of
77 and 80 dB measured at the pavement.
What is the resultant SPL when they pass
together?
• Difference = 3 dB
• Corresponds to correction of 1.8 dB
• To be added to the higher level
• Total SPL = 80 + 1.8 = 81.8 dB
Yet another example….
• In a factory SPL with all machines running = 101
dB. One particular machine itself generates 99
dB. SPL of all other machines put together?
Difference 2 dB, corresponds to correction 2 dB
To be subtracted from lower value:
99 – 2 = 97 dB.
DECIBELS DECREASING WITH DISTANCE
90dB 84 dB 78 dB 72 dB
10 M 20M 40 M 80M
When two decibel values differ by add the value to higher level
0 or 1 3
2 or 3 2
4 to 8 1
9 or more 0
* Add levels of machines having 85 dB, 86dB, 90dB, 96dB, 104dB
Reducing with distance ?
• Intensity being power per unit area, when
distance doubles, intensity is ¼ th.
4πR2
*
d d
d 2d
R 2R
NR, dB Spherical spreading:
point source
Cylindrical spreading:
Line source
Distance from source
Performing arts Theatre
Is a collaborative form of fine art that uses live performers
to present the experience of a real or imagined event
before a live audience in a specific place, often a stage.
A “theatre” serves to define the performance and audience

spaces.
The performers may communicate to the audience through

combinations of gesture, speech, song, music, and dance
Noise exposure
120 dB : not allowed
Prepared by OSHA of USA
115 dB Upper limit after careful research
90 dB have created this
80 dB
criterion for exposure.
Decibel levels are
measured by Sound
Level Meters (SLM)
4 8 24 Impulsive noise like gunfire
duration per day or impact noise from
heavy machinery not to
exceed 140 dB
ACOUSTIC MATERIALS
• Gypsum board: Fine gypsum powder compressed,
covered with special tough paper for protection.
Not fully tough. Breakable. Highly hygroscopic (humidity

absorbing, and hence limitations).
Upon water absorption change of properties. Solidifying
Under normal situations moderately absorbing (0.3).
Needs support grid.
Could be improved by adding glass fibre.
Absorption by general processes. Additiobnal absorption
provide by adding perforations and adding absorbers.
Wool media: Say, cotton wool, glass fibre-
wool.
Broadband absorption.
Vibrational form of energy transfer to fibre.
Concept of heat conversion and dissipation
to cause absorption.
Low weight and easy to handle.
But large volume due to low density.
Wood: Natural, Engineered, Ply, chip-board,
MDF board, Reinforced, Formatted in
different forms.
Additional support taken using superior
absorbers………………….
Good absorption in the MF and moderate
absorption in HF.
Poor LF absorption unless in thin sheets,
and by process of resonances.
Fabrics, carpets, Soft-boards (jute based,
banana fibre-based etc.).
Thin Wood-strips glued together (wood-wool
boards) and modified versions. (broad-band
absorption)
Compressed fibre-glass-wool, mineral-wool.
Rockwool. (important: density & thickness)
Good absorption at mid and high
frequencies.
Combinations of the above.
Even air can be used as an absorber.
Resonator.
Helmholtz resonator.
Air column resonance. Trapped air column.
Shapes………
Strong lateral sound

zones: Better IACC
Reverberation
• Origin from steady broadband source
Source stopped
Important for music
• L Echoes
e
v
e Shot Terminal decay:
l Important for
organ
Background noise
• Time, ms
Hall shapes
Focusing; Late arrival

Poor distribution
Floor level
SECTION: Prosc. op
Reverb……………
Absorption coefficient α; Average α’
Balance is reflection: 1-α’
Yet another reflection: (1-α’)2
Yet another: (1-α’)3
Reverberation time is for 60 dB decay
After n reflections: (1-α’)n I0 = Io 10-6
…..Leads to 0.16V / -S log (1-α’)
Expanding (1-α’), RT = 0.16V/SA
Reverb……..
Correction due to air absorption: xV where x
is the air-absorption / unit volume
X has dependence on RH
Calculation: V, S and A.
S will be ∑areas. A will be ∑absorptions
Absorption = abs. coefft. X area
Reverberation Time
Level Source stopped
Echoes
60 dB
R.T Time, ms
SWL
Sound Power levels of ventilating fans:
PWL or SWL = 10 log W / W0; Wo = 10-12 watts
= 10 log W + 120
Intensity I = W/4πr2 and so SIL=SPL= 10 Log I / I0
10 log W / (4πr2/10-12) = 10 logW +120-10 log 4πr2
= SWL – 20 log r – 11
If source is near a reflecting surface

SPL = SWL – 20 log r – 8
Sound Power level of fan = 61 + 10 log W motor run at full power,

where W is the wattage in watts of the motor.
SWL
= 10 log W + 120
10 log W / (4πr2/10-12) = 10 logW +120-10 log 4πr2
= SWL – 20 log r – 11

Sound Power level of fan = 61 + 10 log W motor run at full power,

where W is the wattage in watts of the motor.
Noise Criteria
SPL,dB Pivoting criteria for acoustically
sensitive ambients. For example,
for auditoriums NC30.
NC80
Recording studios: NC10
Concert halls: Best NC10
Normal NC20
NC60
Offices: NC35 to NC40
Bedrooms: NC30
NC40 Classrooms: NC25 to NC30
Hotel bed: NC25 to 30
NC20
Restaurants: NC 40 to 45
20 75 600 2400 4800
Churches: NC25
75 150 1200 4800 9600
DEAD ROOM
Characterized by very very low RT.
High noise isolation to provide low noise
intrusion
Provide high A, small V. Eq. for RT

High wall- and roof- (floor) isolation for noise
Decay shape and sharp & high slope
Sharp loss of intensity and heavy loss of
reflections
LIVE ROOM
Behaviour exactly opposite to a dead room.

Characterized by long duration reflections
Mostly for laboratory purposes/calibration
Needs very low A and high V. Eq. for RT
Poor loss of intensity. Low slope value
No loss in reflections.
Ideally, ever remaining energy.
ARTICULATION INDEX
• Basic theory path breaking work: Lochner
& Burger: J. Soun & Vib 1964.
• Modulation ACCEPT
• Carrier and mixing

• Propagation NOT ACCEPT
• Medium and attenuation

• And……….
• Modulation loss
• Loss of clarity and intelligence
• For symphony music: 0.4-0.5
• For organ: 0.3
• For drama, academic: 0.6 and above
Criteria
Deafness risk criteria: 150 dB results in
instant hearing damage.
140 dB for < 1 minute exposure
For more than 5 hours working/day, Wilson
report suggests: 38-150 band (100dB),
150-300(90); 300-600(85); 600-1200(85);
1200-2400(80); 2400(80).
Temporary threshold shift: recovery
overnight.
Reflection, Absorption…
• Reflection, Absorption and Transmission
Transmission loss
or
Sound Reduction
STL or R = 10 log (1/t); t= transmission coefficient
If t= 0.001 then STL = 30 dB
For composite partition, Addable
S1t1 + S2t2 + …. = S tav property
Published TL value does not include flanking paths
Fixing method may be different from lab method
Partition size can affect TL value; for ex. Resonance
Lab reverb condition may not exist in actual field situation
STL contd………..
Level diff between two rooms is
SPL1 – SPL2 = TL – 10 log S – 10 log A
S is partition area; A = abs. in receiving room
Does not include flanking transmission
Ex: Discotheque noise level = 88 dB in 1 KHz band; Calculate
expected level for the same band for 10m x 5m partition of TL/R =
47dB. Absorption in the receiving room estimated is 32 m2.
SPL-SPL’ = 47-10 log50 – 10 log 32 = 45 dB
Receiving room level = 88-45 = 43 dB. Similar calculation for other
band levels for estimation for predicting overall Noise reduction.
Examples: STC of items
• #150 mm solid concrete with 12 thk plaster
• on both sides: STC52 to STC53
• #115 thk high density brick wall plastered: STC44
• #10 mm plywood: STC21
• #12 thk gypsum board: STC27
• #2 layers of 12 thk gypsum board firmly joined: STC30
• #0.8 mm thk Lead sheet (banned item): STC31
• #50x100 studs, 15 thk gypsum board on either side
staggered screw-fitted: STC32
• #Lightweight concrete block 200 thk: STC45
• #Above concrete block with 15 thk gypsum board
• On resilient channels: STC51
• #100 mm RCC slab: STC42
REALITY
• Lab vs. reality

• Reported STC values are measured in a lab
under ideal conditions. In practice, real-world
values are 5-10 points worse. So, a lab-
measured standard construction STC 25 wall
still might look OK, but in practice it may not be
as good. To get the intended effect, a real-world
STC 30-35 wall (5-10 points better) is needed.
And to get the effects of a lab-measured STC 50
wall, a real-world STC 55-60 wall is needed.
STC
• As for TL, the higher the STC,
the better the sound insulation.
In laboratory test, the only path
between rooms is through the
wall or floor being tested, but
not true in buildings
STC
• Modern Sound Transmission Class rates
the Transmission Loss curve at speech
frequencies from 125 Hz to 4000 Hz.
• Uses a standard contour as reference.
• Drawback: Not good for frequencies below
125 Hz, where many mechanical
equipment noise exist.
STC graph
• T
r STC Class value
a
n
s
m
i
s
s
i
o
n
L
o
s
s
,
d
B
• 125 Hz 400 1250 4000 Hz
COMPOSITE TL
• TL1 = 10 log (1/t1) TL2 = 10 log (1/t2)
• Calculate t1 and t2.
• Areas S1 and S2.
W
• Total value of area A= Summation of S
• Sum of Sxt i.e. B = S1t1 + S2t2
• Composite TL = 10 log (A/B)
TRANSONDENT FACINGS
• Sound transparent facings, say, like

sheets with large perforations
• Lower the open area in the facings, lower
the HF energy attenuation
• e.g. perforated sheet metal, expanded
metal, punched or pressed metal
• 6 mm holes @ 10mm boundary separated
gives ~40% open area
• 6.5 dia holes @ 8 mm separation = 65%
Transondent…….
• Protection and concealing or porous
absorbers
• Concealing sound diffusers or resonators
• Combined with cavity can act as resonator
absorbers for selective absorption
• Thinner the facing, more efficient MF and
HF attenuation.
• Higher the % open area, better HF abs.
Transondent……………
• Approximately, critical frequency fC for
circular perforations above which
efficiency drops off is: fC = 1000P/D where
P is the % open area, and D is the dia
mm. E.g. 25% open area, 6 mm dia perf
has fC = 4KHz.
MASS LAW
• For Homogeneous building materials (e.g
wood, glass, concrete…) the transmission
loss (TL) increase by ~5dB for each
doubling of surface weight (wt./area).
STC
5 dB
m 2m
Surface weight wt/area
Mass Law……….
• 3 thk float glass = STC26
• 6 thk float glass= STC30
• 50 thk solid core wooden door with
gaskets and drop seal = STC32
• 50 thk hollow core, no gasketing=STC17
• It is the initial doubling that provides most
practical improvement.
• High STC needs complex designs
Coincidence dip……….
• Sound isolation efficiency depends on
stiffness as well as mass. Less stiff layer
has much better TL performance,
especially at MF and HF range.
TL Ribbed material >15 dB dip
For stiff materials
Improvement due to altered response

to bending waves at grazing angle
Frequency
Good transmission loss due to.
• Heaviness of material (mass based TL)
• Limpness (flexibility, say Lead !!!)
• Airtight (trap based)
Reflection Patterns
• Flat reflector
• Concave reflector
• Convex reflector
SPREAD
Useful ceiling areas
Average ceiling ht = (6.2 x RT) in Meters
Useful reflections are those coming from the
same direction as the source and delayed
by less than 30 ms.
CLASS ROOMS
• Raked up
• Ceiling slope
• Diffusive walls
• Scattering/absorbing backwall
Volumes etc……..
• D:H (balcony overhang) recommendation
• Concerts 1:1
• Drama, Opera: 2:1
• Volumes: 7.5 – 12.5 per seat for speech…
• 20 to 30 per seat for concert halls (treat
hall & stage as one unit)
SPL Meter
Mic Attenuator
Pre- Pre-Amp DISPLAY

Filters
Amp
Ext. filters Rec. O/P Calibrate

source
Block Schematic
PERCEIVED NOISE LEVEL, PNL
• of a particular noise is the SPL of band
900-1100 that sounds as noisy as the
noise under comparison.
• Noisiness: in noy; Graph available on
SPL vs frequency at various noys.
Compute ΣN and Nmax
• International table available for conversion
from noys to PNL.
• Especially important when considering
noise survey around airports
Average peak noise level
= 10 log (1/N)Σ10L/10
Here L is in perceived units of PNdB
Noise & Number Index (NNI) = Avg.PNLevel + 15 logN-80
Risk criteria contd….
When exposed to intense noise, recovery
becomes slow; next day’s exposure is on
top of the residual damage. Leads to
“persistent” threshold shift and leads to
“PERMANENT threshold shift”.
Ear muff solution: Maximum attenuation in
HF region.
SPEECH INTERFERENCE
CRITERIA
Necessity for speech communication will set
a severe limit on max. levels of ambient
noise.
Arithmetic mean of SPLs at 600-1200,
1200-2400, 2400-4800 known as Speech
Interferebce Level SIL. Distance between
speaker and listener is also important.
Examples:
SIL examples
Max. sound levels(dB) of ambience to ensure good
speech intelligibility
Distance Normal voice Raised voice Loud voice Shout
0.1 73 79 85 91
1.0 54 60 66 72
3.0 45 51 57 63
8.0 35 41 47 53
16.0 29 35 41 47
Note: In the case of female voice all levels should be reduced by 5 dB
Vehicles noise
Increase in noise is almost 1.5 dB per year
mainly due to increase in number of
vehicles
Limit to noise reduction in individual vehicles
and hence alternate methods to be used
Time based measurements due to large
fluctuations. AT 1 M from facade of bldg.
Traffic noise index TNI = (4xL10) – (3xL90) - 30
Noise from HVAC systems
Main source of noise: motion of fan blades, turbulence,
velocity of air, air cutting exit grill elements.
Additional paths: through walls of duct (duct breakout),
airborne noise from fan, fan casing and motor
Regenerated noise increases rapidly with flow velocity,
bends, change of duct cross-section, obstacles
Fan blade passing frequency = (RPM/60)Nn

N = number of fan blades, n = harmonic number
HVAC noise…..
Oct band
levels
Axial flow fans
35 dB
Centrifugal fans
63 1K 8K
• Spectral distribution for axial and centrifugal fans
SWL
= 10 log W + 120
10 log W / (4πr2/10-12) = 10 log W +120-10 log 4πr2
= SWL – 20 log r – 11
HVAC….
Main steps in control of noise from ventilation
system: Correct choice of fan; Correct
installation of fan; Use of extra noise
attenuation; proper coupling to duct.
flexible Duct
Noise control of plant rooms
Duct running through noise-sensitive areas
Duct insulation (internal & external)
Attenuation/m R1 = (P/S) α1.4. P= perimeter
and S = cross-section area
Break out
Break-in
Noise
source
Grille attenuation
Reduction of sound at the opening is
dependent on the grill area and room
absorption
R2 = 10 log A / S A= absorption
S = grill area
Since A varies with frequency, a number of
calculations are required.
HVAC………….
Attenuation due to bends:
Depends on f, duct size, lining
Attenuation at right angled bend for lined square ducts
Octave band 0.1 m2 area 1 m2 area
----------------- ---------------- -------------
125 1 3
500 3 8
1K 6 16
4K 17 18
8K 18 18
Silencers
Absorptive
Acoustic energy is converted into
Heat by absorbing process. Much efficient at MF and HF.
Reactive
By providing mismatch of impedance and destructive
interference. Absorption depends on dimensions of pipes
and chambers of silencer. Quite efficient at low
frequencies. Multiple chambers can enhance absorption
Many silencers use both mechanisms to get good effect.
• Problem on HVAC noise:
blower
Duct
SWL r SPL
BASE
• SPL = SWL – 20 log r – 8

• A 90 degree bend = 6 dB
• Additional noise reduction by means of
– Plenum
– Absorptive linear silencer
– Grill attenuation
Assume NC value to be the SPL value

Outdoor barriers: Earth berms
Earth berms covered by grass or other sound absorbing
plant material can be effective isolators (5 to 10 dBA)
Effectiveness reduces: tree on top or reflective top surfaces
like asphalted cycle path, or walkways at MF and HF.
Planting tress can hardly provide acoustical shielding
Thin wall barrier: Diffraction, transmission paths.
Earth berm AND thin-wall barrier is the best combination
Partition on tip…. For thin barriers:
HF gets good attenuation
LF gets least reduction
Traffic etc.
Noise Control Program
Plan & Predict Measure levels
Apply criteria Assess target noise
Is there a noise problem? NO exit
Assess noise reduction required

Design control measures
Apply noise control measures
Assess effectiveness
Is there a noise problem? YES
Manage and maintain noise control solutions
Regular noise survey checks
Floor / ceiling / roof isolation
Ceiling isolation
Wood joists Basic floor

Combo of EPDM based
isolating layer
glasswool, 32 kg/cu.m, 50 thk

dry, mud-free, washed sand
isolation membrane
Concept of Floating floor
Wooden plank/panel, >18 thk
3 thk neoprene rubber pad

Wooden framework
firmly fixed to floor
Basic floor
Say, cable
Quantitative Measurement Techniques
Acoustics: (i) Absorption by surfaces etc.; (ii) Isolation by various media
(i): ABSORPTION: most important for interior acoustics & control.

(ii): ISOLATION: Most important for creation of appropriate ambience (NC & STI)
(iii): NOISE LEVEL: Actual existing sound pressure levels (SPL)
Simplest is the Noise Level measurement using SPL meter.

Brief description of SPL meter is expected here.
For good measurements use microphone with full audio response of 20 Hz to 20KHz.
A better quality measurement would include “Octave band” SPL measurements
where noise level of each octave band is displayed in the form of bar graphs.
Measurements may be needed in time intervals. This will provide data on how noise
varies with time.
Always use A-weighted filter.
Logging of the SPL data over time to understand the ambience and for later analysis.
This could be done through a chart recorder or memory storage.
B L A CK CURTAIN
WHI TE CURTA I N FOR PROJECTION
ROD FOR B ANNE RS / SCENES
L IG HT B AR
CURTA I N FO R LIGHT BAR
L IG HT B AR
L IG HT B AR
S TA GE FOREG RO UND
CURTA I N LINE
STAGE
HALL
L IG HT B AR
BLACK CURTAIN
WHITE CURTAIN FOR PROJECTION
ROD FOR BANNERS/ SCENES
LIGHT BAR
CURTAIN /APRON FOR LIGHT BAR
LIGHT BAR
CURTAIN /APRON FOR LIGHT BAR
LIGHT BAR
CURTAIN /APRON FOR
WOODEN CLADDING
LIGHT BAR
(BIRCH WOOD OR
LIGHT BAR ALTERNATIVE)
COMPOSITE TL
• TL1 = 10 log (1/t1) TL2 = 10 log (1/t2)
• Calculate t1 and t2.
• Areas S1 and S2.
W
• Total value of area A= Summation of S
• Sum of Sxt i.e. B = S1t1 + S2t2
• Composite TL = 10 log (A/B)
Ceiling line……..
Rear wall Rear wall
Rear wall
Cinemas:
Difference in basic philosophy. How the sound must be
heard by the audience is already decided.
Audio spectrum is truncated to roll off at 10 KHz onwards.
Low R.T. of the order of 1 sec. Good quality NC value.
Loud sound levels: use of multiple loudspeakers.
High level of contrast to provide bright viewing.
Treated surfaces to be non-light-reflective.
Sidewalls in total remains highly absorbing. Effect speakers
Rear wall must be highly absorbing.
Raked up seating to avoid grazing absorption (3 dB/row)
SOUND REINFORCEMENT SYSTEM
• Microphones…..Mixing…..Processing…
• ...Amplification….Delivery
• Mics: Dynamic coil: coil moving in a magnetic

field. Condenser type: One electrode vibrating
produces a changing voltage. (needs
battery/power)
• Audio Mixer: Analogue, Digital
• Multiple inputs. One or more combined
outputs. Mainly contains a set of pre-
amplifiers with very low distortion.
• Processors help in shaping the output
signals received from the mixer: say,
frequency emphasis, signal level control,
signal splitting and separation, control of
echo feed etc.
• Set of amplifiers (to increase the power of
the signals), and set of Loudspeakers for
actual delivery into space.
Absorption measurements:
• Usually done by accredited laboratories using approved calibrated equipment and as
per procedures laid out in IS.
• Absorption due to a material (of given dimensions) is usually assessed by measuring
accurately the reverberation time of the enclosed space where it is kept.
• RT = 0.16 V/A. Absorption A = area of material x abs. coefft.
• The technique involved is to start up a broadband noise and stop it suddenly and
monitor the decay of sound level as a function of time.
• RT is evaluated by measuring the time needed
for 60 dB decay.
Level
Time

Impact Insulation
Erratic & Random; short duration; sharp rise
time and decay.
Solution: Mass and Isolation
Carpet on soft underlay
100 to 200 concrete structural slab
Carpet on soft underlay

50 to 100 concrete slab floated
Isolation pad
Concrete structural slab

Tips
#Low frequencies bend round obstacles
(Need well sealed solutions eliminating noise
leaks)
#High frequency sound is highly directional

and easy to reflect.
(Solution to avoid direct sound)

Tips………
#Close to the source, HF is more annoying.
#Far from the source, HF annoys less
#Sound sources to be sited away from reflecting
surfaces.
#Change in pressure, force or speed lead to noise.
(a metal strip held on a vice can be bend noisily using a
hammer or quietly using a plier)
#Low mass and low fall heights give less noise
(use height adjustable conveyor and with a number rubber
flaps inside container)

Tips……
#Structure-borne sound travels long
distances (winding machineries like lift
mechanisms be isolated)
#Structure borne vibrations need large
surface to convert to airborne sound
(isolate circulating pipes)
#Mount machineries on massive foundation
#Damped structures give out less noise

Tips………….
#Resonances amplify (use damping layer
for both mass and damping)
#Resonance transferred to higher
frequency are easier to damp (stiffening
webs to create smaller areas and the use of
damping medium)
#Use of flexible mountings: springs, cork pads,
expanded polystyrene, foam-rubber, rubber
pads or other devices

Tips……….
#Avoid structure borne-noise via
connections
#Insulation of single walls / panels depend
on surface density
#Single walls have region of poor insulation:
coincidence
#Stiffness and weight are both beneficial
#Porous materials are good absorbers
Tips………..
#Perforated panels need not reduce effectiveness.
#Thin sheet 15% perforation; increased
percentage for thicker sheets
#Panel absorbers are effective at LF
#Isolating screens should be combined with
absorptive ceilings
#Expanding ducts can reduce noise
#Expansion chambers are effective at LF

Tips…………
#Pure tones can be reduced by interference
#Unused spaces be used as plenums which
can have absorber surfaces
#Airflow attenuators effective over a wide
range
#Profile chambers / spoilers can avoid wind
generated tones

Tips……..
#Avoid air flows over cavities
#Jet noise can be reduced by extra air
stream
#Convert LF to HF for easier attenuation
#Sudden large pressure changes cause
cavitation

Noise Control Program
Plan & Predict Measure levels
Apply criteria Assess target noise
Is there a noise problem? NO exit
Assess noise reduction required

Design control measures
Apply noise control measures
Assess effectiveness
Manage and maintain noise control solutions
Regular noise survey checks

Acoustics For Designers: S. Rajagopalan PH.D

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Acoustics For Designers: S. Rajagopalan PH.D

Hochgeladen von

Copyright:

Verfügbare Formate

ACOUSTICS

• To determine composition of sound, it is

35 Time delay, ms 350

The logarithmic ratio is log I/Io in units of

• 63Hz 125 250 500 1000 2000 4000 8000

10-12 Threshold of audibility

Very low loudness

Max sensitivity at 4 KHz

Find how far a noisy chiller be

3.0 2.5 2 1.7 1.5 1.2 0.5 0.1 0.05 CORRECTION

Scale for combining decibels

* Add levels of machines having 85 dB, 86dB, 90dB, 96dB, 104dB

A “theatre” serves to define the performance and audience

The performers may communicate to the audience through

Not fully tough. Breakable. Highly hygroscopic (humidity

Strong lateral sound

Focusing; Late arrival

Level Source stopped

If source is near a reflecting surface

Sound Power level of fan = 61 + 10 log W motor run at full power,

If source is near a reflecting surface

Sound Power level of fan = 61 + 10 log W motor run at full power,

Provide high A, small V. Eq. for RT

Behaviour exactly opposite to a dead room.

• Carrier and mixing

• Medium and attenuation

• Lab vs. reality

• Sound transparent facings, say, like

For stiff materials

Improvement due to altered response

Pre- Pre-Amp DISPLAY

Ext. filters Rec. O/P Calibrate

Note: In the case of female voice all levels should be reduced by 5 dB

Fan blade passing frequency = (RPM/60)Nn

• Spectral distribution for axial and centrifugal fans

• SPL = SWL – 20 log r – 8

Assume NC value to be the SPL value

Assess noise reduction required

Wood joists Basic floor

glasswool, 32 kg/cu.m, 50 thk

3 thk neoprene rubber pad

(i): ABSORPTION: most important for interior acoustics & control.

Simplest is the Noise Level measurement using SPL meter.

WHI TE CURTA I N FOR PROJECTION

ROD FOR B ANNE RS / SCENES

CURTA I N FO R LIGHT BAR

CURTA I N FO R LIGHT BAR

Rear wall Rear wall

• Mics: Dynamic coil: coil moving in a magnetic

9/27/2019 S. RAJAGOPALAN 102

100 to 200 concrete structural slab

Carpet on soft underlay

9/27/2019 S. RAJAGOPALAN 103

#High frequency sound is highly directional

9/27/2019 S. RAJAGOPALAN 104

9/27/2019 S. RAJAGOPALAN 105

9/27/2019 S. RAJAGOPALAN 106

9/27/2019 S. RAJAGOPALAN 107

9/27/2019 S. RAJAGOPALAN 109

9/27/2019 S. RAJAGOPALAN 110

9/27/2019 S. RAJAGOPALAN 111

Assess noise reduction required

9/27/2019 S. RAJAGOPALAN 112