ARCHITECTURAL ACOUSTICS - Bharani - 17091AA043 SEM – VI

Q1) Describe briefly different categories of sound absorbent materials used

in building materials.

Q2)Calculate the total adsorption units required in the hall from the
following data

a) capacity of hall 400 persons

b) area of hall – 2000 cubic meter

c) required R.T - 0.8 sec

Q3) What is reverberation time, how it is calculated or achieved for different

spaces.

Q4) Explain how sound behaves in an enclosed spaces thus bringing out the
details to improve it.
Ans 1:

There are four main types of absorbers in acoustic materials. They are:

o Porous absorbers
o Membrane absorbers
o Resonance absorbers
o Micro-perforated absorbers
Porous absorbers:

− Porous absorbers are porous materials

− Mineral wool, textiles, clothing, curtains, carpets and certain types of foam plastic
all fall into this category.
− The sound-absorbing effect stems from the fact that the sound energy can penetrate
the material on hitting the surface. Here, the sound energy is converted into heat
energy, so that only a small part is reflected in the form of sound energy.
− In other words, the material has absorbed some of the sound.
− Porous absorbers are most effective in slowing down air particles with a high sound
velocity.
Membrane absorbers:

− Membrane absorbers, also known as panel and diaphragmatic absorbers

− They utilize the resonant properties of a membrane to absorb sound over a narrow
frequency range.
− A membrane absorber consists of a flat panel made of wood, metal, gypsum board,
or plastic material that is arranged in front of an enclosed air volume. The air volume
is partly or completely filled with mineral wool or foam. The air volume is partly or
completely filled with mineral wool or foam.

Resonance absorbers:

− A resonant absorber is a vibrational system that “runs” on sound pressure

− Resonate absorbers are the most powerful of low-frequency absorption technologies
− They work best in areas of high room sound pressure not high sound velocity areas
like porous absorbers that handle middle and high frequencies.

Micro-perforated absorbers:

− Micro-perforated absorbers consist of a perforated plate with a multitude of tiny

holes arranged in front of an enclosed air volume.
− When excited by a sound wave the mass of air in the holes oscillates in front of the
elastic air volume.
− Micro-perforated absorbers are effective over a relatively broad band of frequencies.
 − The perforated portion of their surface only adds up to a few percent, and no
additional frictional resistance is required.
− Absorption is entirely due to the viscous friction of the air in the holes.
− It originates in the respective acoustical boundary layer, that is in the area where the
velocity profile changes.
− The holes of micro-perforated absorbers are so small that this boundary layer
extends over the entire cross-section of the holes.
− The thermal conductivity of the plate material is important, because a significant
part of the frictional heat generated in the air is carried off by the plate. Micro-
perforated absorbers can be made from different materials, including transparent
acrylic glass.
− Basic construction of a micro-perforated absorber: perforated plate, air layer, rigid
back panel

Sound generated in an auditorium is absorbed in four ways:

a) in the air,

b) at bounding surfaces,

c) in furnishings,

d) by the audience.

Air absorption:

− A small amount of sound is absorbed in the passage of direct and reflected sound
− through the air of a room. This is caused by the fraction of the oscillating molecules
or air
− and, although negligible at low frequencies.

Surface absorption:
 − Absorption takes place whenever sound waves strike the bounding walls or surfaces
or a
− room, and it occurs in a number of different ways, as follows:

a) by friction at the surface,

b) by ‘absorbing’ in porous materials,

c) by molecular friction in resilient materials,

d) by molecular friction in a material during resonance,

e) by transmission ‘through’ the wall by resonance,

f) by conduction through the structure.

− It follows that smooth, hard, dense and heavy materials absorb least sound.
− Rough, soft, porous and light materials absorb most. The structure on which
− surface finishes are applied will naturally affect the total absorption occurring,
− A further type of absorption is provided by special acoustic materials based
− on the “Helmoltz principle’. These are perforated or slotted materials backed
− by porous materials, such as wood or glass fibre. Absorption takes place by
− the resonance of the pocket of air in or behind each perforation.

Absorption by furnishings:

− Sound is also absorbed by furniture, curtains and any other such items which
− are present in the room. Coefficients of absorption are published for a limited
− range of furnishings, and manufacturers of theatre seats in some cases publish
− figures for the seat as a whole.

Absorption by the audience:

− The absorption of the audience itself is in most cases the largest single factor of a
− absorption in a room, and is mainly due to the absorption of their clothing. Because
of
− this, room acoustics change perceptibly in accordance with the number of people
− present on various occasions. Since, however, each member of the audience is
− covering, and making inoperative, the absorption of a seat, a well upholstered seat
will
− partly take his place acoustically, when he is absent. The introduction of highly
− absorbent seating will thus greatly reduce the variation in acoustic conditions due to
− changing numbers of audience.
− Sabine standard source
Ans 2:

a) Capacity of the hall :400 persons

b) Volume of the hall : 2000cu.m

c) Required R.T-0.8 sec

Given,

− The capacity of hall as 400 persons

− Volume of the hall =2000cu.m
− Required R.T –0.8 sec

By sabine’s equation,

T60 = 0.16V/A

− T60 represents the Reverberation Time

− V represents the total Volume of the room
− A represents the total Absorption of the room

The absorption of the room = 0.16 V/T60

Absorption of the room = 0.16(2000)/0.8

= 400

Total absorption required for the hall =400

Ans 3:

− Reverberation, in psychoacoustics and acoustics, is a persistence of sound after the

sound is produced.
− A reverberation, or reverb, is created when a sound or signal is reflected causing
numerous reflections to build up and then decay as the sound is absorbed by the
surfaces of objects in the space – which could include furniture, people, and air.
− This is most noticeable when the sound source stops but the reflections continue,
their amplitude decreasing, until zero is reached.
− Reverberation is frequency dependent: the length of the decay, or reverberation
time
− In comparison to a distinct echo, that is detectable at a minimum of 50 to 100 ms
after the previous sound, reverberation is the occurrence of reflections that arrive in
a sequence of less than approximately 50 ms
− Reverberation is not limited to indoor spaces as it exists in forests and other outdoor
environments where reflection exists.
Reverberation time:

− Reverberation time is a measure of the time required for the sound to fade away in
an enclosed area after the source of the sound has stopped.
− When it comes to accurately measuring reverberation time with a meter, the term
T60 [5] (an abbreviation for Reverberation Time 60dB) is used
− Reverberation time is frequently stated as a single value if measured as a wideband
signal
− Basic factors that affect a room's reverberation time include the size and shape of
the enclosure as well as the materials used in the construction of the room. Every
object placed within the enclosure can also affect this reverberation time, including
people and their belongings.

−
Calculation of reverberation time:To find the reverberation time (T60) of a room we use the
equation:

T60 = 0.16V/A

− T60 represents the Reverberation Time

− V represents the total Volume of the room
− A represents the total Absorption of the room
 −
Ans 4:

An enclosed space is a room or area bounded on every of its sides. The materials for
enclosure may be classified into two:

− Those that allow sound rays to pass through and

− Those that do not allow sound rays to pass through.

Areas bounded with materials that allow sound rays to pass through tend to enjoy good
acoustic as the effect of indirect sound from reflection is reduced within the space. In this
space, sound from external source can pass through the material into the enclosure as
background noise. The vibration of some of the materials can be a source of noise within the
space and this can be a bane to the achievement of clear and audible speech and music.

The effect of indirect sound may be pronounced in spaces enclosed with materials that do
not allow the passage of sound rays through them. Adjustments to the material to aid
diffusion will improve the acoustic of the space. Some of these materials can absorb sound,
reducing the effect of indirect sound.

On encountering barriers posed by the enclosure, sound waves are likely to behave in the
following ways:

1. Reflection

2. Absorption

3. Refraction

4. Diffusion

5. Diffraction
6. Transmission

Reflection:

This occurs when the wavelength of a sound wave is smaller than the surface of an obstacle.
In the case of an enclosed space, the sound waves hit every side of the enclosure
continuously until the sound energy reduces to zero. The amount of waves reflected
depends on the smoothness, size, and softness of the materials of enclosure. The angle of
incidence of sound rays is equal to that of the reflected rays only if the surface of the
reflector is flat. But when it is curved, the angles are different.

Absorption:

When sound waves hit the surface of an obstacle, some of its energy is reflected while some
are lost through its transfer to the molecules of the barrier. The lost sound energy is said to
have been absorbed by the barrier. The thickness and nature of the material as regards its
softness and hardness influences the amount of sound energy absorbed.

Refraction:
This is the bending of sound when it travels from one medium into another medium. The
difference in the composition of the two different media bends the sound i.e. the angle of
incidence changes into an angle of refraction as it travels into the new medium

Diffusion:

This is the scattering of waves from a surface. It occurs as a result of the texture and
hardness of the obstacle is comparable to the wavelength of the sound. The direction of the
incident ray changes when it strikes the surface of the obstacle. Satisfaction is achieved
when sound is heard in all direction at equal level.

Diffraction:

When the wavelength of a sound wave is smaller or equal to the size of the obstacle, the
sound rays tend to bend round the edge of the obstacle thereby turning the edge to a sound
source.
Transmission:

In this phenomenon, sound wave is carried by molecules of the obstacle through vibration
and reemitted at the other side irrespective of the medium. It can be structure borne, air
borne or impact sound.

Reverberation and Echo:

Reverberation: This is the persistence of sound in an enclosed space as a result of

continuous reflection or scattering of sound after the source has stopped. It is one the most
prominent behaviours of sound in an enclosure. It occurs when sound waves hits a surface
and are reflected toward another surface which also reflects it. Some of the sound is
absorbed with this continuous reflection which gradually reduces the energy of the sound to
zero. The phenomenon can affect the audibility of sound in an enclosure, especially if the
reverberation time, which is the time taken for the sound pressure level to diminish to 60
dB below its initial value is considerably long.

Echo: this occurs when the reverberation time is long enough to cause a distinct repetition
of the direct sound. This condition is an advanced form of reverberation where the sound is
heard clearly and repeatedly after some time until it fades.
FACTORS THAT AFFECT THE BEHAVIOUR OF SOUND IN AN ENCLOSED SPACE.

− The way in which sound behaves in an enclosed space depends on many factors
which include:
− Reduction in its intensity of sound – This can results due to the distance between its
source and the receiver.
− Absorption of direct sound by the audience – The listeners of the sound absorb some
of the sound in the process of hearing.
− Absorption of direct and reflected sound by surfaces – The walls, ceiling and floor of
the enclosure absorbs and reflect sound waves thereby controlling the way the
sounds behave.
− Reflection of sounds from right-angled corners - Sound incident to a right-angled
corner of room will be reflected back towards source if surfaces are acoustically
reflective. This can in turn produce echoes especially in large spaces.
− Dispersion of the sides of an enclosure - Reflections can be controlled by making one
surface dispersive i.e. not at right angle to each. This would have affected the
reflection of the sound thereby affecting its behaviour.
− Edge diffraction of sound - Edge diffraction results in the curvature of part of a sound
wave around the edge of a barrier. This causes the obstacles to scatter the sound
waves making it behave like a source of sound.
− Sound shadow - Any barrier interrupting a sound wave will create a shadow,
synonymous to light rays. However, because of edge diffraction some sound will
creep into this but such penetration is frequency dependent - high frequencies are
less diffracted than low frequencies. Such problems can occur in auditorium with
balconies.
− Primary reflection – This depends on the angle of incidence which is equal to the
angle of reflection. Also, the nature of sound reflector is important.
− Panel resonance - Sound waves can propagate "through" a solid material by panel
vibration. The sound does not actually penetrate the material but rather causes this
to vibrate and act as a sound source itself. The panel will be vibrated by both direct
and reflected sound waves.

DESIGN FOR GOOD ACOUSTICS

Best possible direct sound:

Minimize the distance to rear seats by adopting square rather than oblong plan
proportions, in so far as sight lines permit. Economical arrangement of seats and gangways,
and the introduction of balconies, also reduce the distance to rear seats, but sound shadows
under balconies must be avoided.

Controlled reinforcement by angled reflectors

Reflectors can be brought nearer the source, can be smaller, and can be arranged to
project sound towards the rear rows of seats, by setting them at an angle to the source. The
resulting reflections will follow more closely upon the direct sound, inasmuch as the
reflector is nearer the source. As will be seen below, however, a ceiling reflector and an
angled reflector can be combined in one design to further reinforce sound in rear seats.

Progressive reinforcement by multiple reflectors:

Direct sound can be reinforced progressively towards the rear of an auditorium by the
use of multiple reflectors. An example is shown, fig 24, in which the rear four rows of seats
receive three overlapping reflections, the next four rows two reflections, the next five rows
one reflection, and the front four rows direct sound only.

Progressive reinforcement by shaped reflectors:

A similar progressive reinforcement of sound can be obtained by shaping the ceiling

reflector so that the reflected sound waves are progressively stronger towards the rear of
the auditorium.

The example shown would be appropriate to a cinema with the amplifier behind the
screen. In the longitudinal section, sound rays are shown projected from the source at equal
angles. After reflection they are, however, closer together at the rear than at the front of
the room, indicating a strengthening of the sound waves towards the rear. Alternatively, the
reflector may be ‘broken’, as shown at the top of the drawing, so that a proportion of the
sound is dispersed. This would improve the quality of reverberation in the auditorium and
allow for ventilation grilles and indirect lighting.

Correct period of reverberation:

Reverberation gives tonal quality to sound, but must not be excessive. Excessive
reverberation reduces the clarity of music and speech by filling in the gaps between notes
and syllables. Where reverberation is long, the earlier part is strong enough to cause a
merging of consecutive sounds and has the same ‘blurring’ effect as near-echoes, described
above. However, more reverberation is acceptable for music than for speech and more for
organ and choral music than for orchestral music.

Quality of reverberation:

Reverberation should provide a background tone and should decay evenly. To effect this:

− ensure strong direct sound and closely following primary reflections,

− avoid opposite and parallel plain surfaces which can set up strong inter-reflections,
− surfaces not used as reflectors should be either absorbent or dispersive, or both,
− absorbent and dispersive surfaces should be well distributed.
Adequate resonance: Resonance gives richness of tone to music and speech. In certain
instances, resonance reinforces sound; for example, a staged platform emits resonant sound
which would otherwise be conducted away by one of more solid construction. While all
auditoria benefit from the use of suitable resonant material, in rooms for music the use of
wood paneling is essential. The value of the resonant material is in the following order of
effectiveness:

− staged platform with panelled apron,

− panelling around and in contact with the platform,
− side wall panelling near the platform.

Wood panelling of various thicknesses and sizes responds over a wide range of
frequencies. Materials which respond at one frequency only are quite unsuitable.

Materials: In the design of an auditorium few of the finished need be chosen solely for their
acoustic properties. The main should rather be to choose materials which are desirable from
other points of view, both functional and aesthetic, and employ them appropriately for
acoustic purposes. Plasters, panelling and curtains all play their part in an acoustic design,
though they are not thought of as acoustic materials. Where special acoustic materials are
employed certain practical and aesthetic considerations should determine their choice:

− many acoustically absorbent materials are easily damaged and should not be
employed within reach,
− fire resistance has often to be taken into account, and materials which are vermin
and rot-proof
− acoustically porous materials may also absorb moisture and the effects of expansion
and contraction must be considered,
− Materials with a high coefficient of absorption will obviously be more economical
than those which require use in larger quantities. Some of these materials may,
however, be found to have a high absorption only over a limited frequency range,
− Some materials may have to be rejected on grounds of appearance in the first
instance, or because their appearance suffers in the process of fixing or the passage
of time.