BUILDING SERVICES – IV

(ACOUSTICS AND NOISE

CONTROL)
18ARC73
 MODULE 1: Introduction to Sound and Room Acoustics

•Introduction to Sound: Origin and nature of sound, its

characteristics and measurement– Amplitude, frequency, period, wavelength,
velocity of sound, sound pressure, sound intensity, decibel scale, sound and
distance – inverse square law. human hearing, auditory range for humans
(Frequency and Intensity – threshold of audibility and pain), pitch (association
with frequency), tone, loudness (association with amplitude and intensity),
Phon.
•Room Acoustics: Reflection - Nature of reflection from plane,
convex and concave surfaces, diffraction, Absorption, Echoes, focusing of
sound, dead spots, flutter echo. Room resonances, Reverberation -
reverberation time (RT) calculation using Sabine’s and Eyring’s formulae.
Effect of RT on speech and music.
 BROAD INTRODUCTION TO ACOUSTICS

• Acoustics is an exact and practical art dealing with a

science of sound and sound is the effect of vibration in a
medium having mass and elasticity. It is the sensation felt
by the ear resulting from fluctuations in the pressure of the
air.

• ACOUSTICS is concerned with the transmission of sound

from the orator to the audience clearly and distinctly.
Hearing is often the decisive sense for precise
communication of ideas between individuals and is
practically dominant when visual conditions are poor.
BRIEF HISTORY (1930)
Early days of Greeks : They used to augment the sound by using hard
reflecting surface behind audience and timber rostrums.
first scientific study---- by helmholtz----1826 ( resonators )
By lord raleigh ----------------- 1879 ( theory of sound )

By W.C. Sabine-
He is the pioneer who put science of acoustics on firm and sure basis. He
designed Fogg Art museum at Howard University (London),Symphony Hall,
New Boston ( U.S.)

CONCLUSION
Architectural acoustics is control of sound in and around the building. Make
provisions earlier in design to avoid later corrections, since source of sound
could be increased or decreased, path can be made less or more effective,
remove noise or create tolerance.

IT SHOULD BE SCIENTIFIC, AESTHETIC, FUNCTIONAL AND

PRACTICAL.
 DEFINITION

• TECHNICALLY SPEAKING, SOUND IS DEFINED

AS A VIBRATION IN AN ELASTIC MEDIUM.

(air, water, physical object, etc.) that has the ability to return
to its normal state after being deflected by an outside force
such as a sound vibration. The more elastic a substance, the
better it is able to conduct sound waves. Lead, for instance, is
very inelastic and therefore a poor sound conductor. Steel, on
the other hand, is highly elastic and an excellent sound
conductor.
 IMPORTANCE OF ACOUSTICS IN THE BUILDING DESIGN.
• The subject of acoustics besides being fascinating is also complex one. Its
application must combine knowledge of theory as well as practical
experience. Whether it is a theater, cinema hall, school, conference hall,
parliament, assembly hall, recording or broadcasting studio wherever sound
is produced and listened to must undergo what is called as “ SOUND
CONDITIONING “ OR “ACOUSTICAL TREATMENT” before they are
rendered for the purpose which they are meant.
• Architect must know which material to use, advantages and disadvantages
of various materials so as to make a choice. Like all other sciences
“ACOUSTICS” has spread itself into all activities of life and has important
role to play in modern building and architectural practices.
• Professionals can work on architectural design of the best halls for artistic
performances, the speech perception and transmission, etc. Whether it is
speech or music, they seek to maximize their ability to convey information
and minimize the effects of noise.

ANY PROJECT IS DEEMED INCOMPLETE WITHOUT ACOUSTICS

NATURE OF SOUND
SOUND IN SPHERICAL FORM
 NATURE OF SOUND

• Sound is generated by vibrating source and will travel in all

directions from the source in a manner somewhat
comparable with effect of water waves around the point
where the stone is dropped. These are spherical waves which
diminish with increasing distance from the source. Sound
does not travel in vacuum. It travels faster in solids and
liquids than in the air.
• SPEED OF A SOUND : 1130’-0”/S OR 340.00 M /SECOND
• SPEED OF A LIGHT : 186000.00 MILES OR 300000.00 KM/SEC.
SPEED OF SOUND IN ----WATER : 5000’/S, WOOD : 13000’/S(along fibre)
STONE: 12000’/S, STEEL : 166500’/S

AUDITORY RANGE FOR HUMANS:The frequency range for the human ear
extends from 20Hz. To 20,000Hz.(human audible range ) Human speech
ranges between 125 and 4,000 Hz.
 BASIC TERMINOLOGIES - PROPAGATION OF SOUND

• Sound can be generated by striking a tuning fork. As it moves in one

direction, it compresses Air molecules (particles) next to it. They, in turn,
pass on the reaction to adjacent particles of air. As the tuning fork vibrates
in the other direction, it leaves a void or rarefaction. creating alternately
“COMPRESSED AND RAREFIED “ fields due to “TO and FRO” movement.
This rarefaction follows behind the compression. Then, in turn, is followed
by another compression, and then another rarefaction and so on.
• This cycle is passed on to the next adjacent molecules traveling outwardly
from the source. (Chain reaction of vibration). Originally disturbed
molecules do not continue to move away but make back and forth
movement within limited zone and simply transfer their energy to next
molecules. This pressure disturbance created by tuning fork can not be
seen by naked eye but finally sound reaches a human ear drum to vibrate
and through complex mechanism creating a sensation of hearing in the brain.
DISPLACEMENT AMPLITUDE AND PARTICLE VELOCITY

DISPLACEMENT
AMPLITUDE
Max. distance the
individual particles moved
form their equilibrium
position.

PARTICLE VELOCITY:
The velocity with which
particles move back and
forth about their
equilibrium position.
Particle velocity =
Displacement Amplitude x
Frequency.
DISPLACEMENT, PARTICLE VELOCITY
PROPAGATION OF SOUND AND WAVE LENGTH
WAVE LENGTH

This is the distance

traveled by the sound
during the period of one
complete vibration and is
denoted by Greek letter
Lambda (i.e.dist.bet
.similar phases) Higher the
frequency shorter the wave
Wave length
length and vica versa
WAVE LENGTH
 WAVE LENGTH IN ACOUSTICS

If wave length is greater than the obstacle it is bent around the obstacle
known as DIFFRACTION.
‫= גּ‬ V Where ‫ = גּ‬Wave length in meters
f V = Velocity of sound in air
f = Frequency in Hertz
What is the wave length of a sound of 20 Hz and 20,000 Hz.?
340 340
‫ = גּ‬------- = 17.00 M ‫ = גּ‬----------- 17 mm
20 20,000
DIRECTIONALITY OF SOUND SOURCES:
•When the wave length of sound is very large in relation to the dimension of
the source energy it is radiated uniformly in all directions ( low pitched
vowels- spread uniformly)
•When the wave length of sound is small (high pitched sounds) it is
confined to relatively a narrow beam (like light)
 FREQUENCY, PITCH AND TONE.
• The number of vibrations completed per second is termed FREQUENCY.
Frequency is measured in terms of hertz (Hz). One Hz is equal to one cycle
per second.
Musicians refer to this as PITCH. Frequency is an objective (fact) measure
whereas PITCH is subjective (imaginary). Unit is Hertz (Hz) or cycles/second
or cps.or by symbol Hz. (The hertz is named after the German physicist Heinrich
Hertz, who made important scientific contributions to the study of electromagnetism
cycles per second was largely replaced by hertz by the 1970).
Musical note is a combination of many pure notes, whereas common sounds
like speech, music, noise etc. are much more complex than pure tone.
BELOW 20Hz.--- INFRA RANGE (elephants)--ABOVE 20,000Hz.--------
ULTRASONIC (bats )
TONE, in acoustics, sound that can be recognized by its regularity of vibration.
A simple tone has only one frequency, A complex tone consists of two or
more simple tones, called overtones. The tone of lowest frequency is called
the fundamental; the others, overtones. The frequencies of the overtones may
be multiples of the fundamental frequency, in which case they are called the
second, third, fourth, etc., harmonics of the fundamental tone, A combination of
harmonic tones is pleasant to hear and is called a musical tone.
 FREQUENCY BANDS

• For measurement purposes the audible frequency range Is divided into

convenient (20 to 20,000 Hz.) sub-divisions like octave bands—1/2,
1/3,1/10 of octave band.
• What is "frequency band"?
• Frequency bands are groupings of radio frequencies that are used by
mobile networks to communicate with mobile phones. The frequency bands
that a phone supports determine to a large degree where and on which
networks it can be used. For example, T-Mobile USA uses the 1900MHz
band for its GSM network, while AT&T uses both 1900MHz and the newer
850MHz frequency bands. Europe and most of the rest of the world use the
900MHz and 1800MHz frequency bands for GSM.
• Designation Name Frequency---
• LW----- long wave153 - 279 kHz
• MW---- medium wave531 - 1620 kHz
• SW-----short wave2310 - 25820 kHz
 TONE

• Tone, in acoustics, sound that can be recognized by its

regularity of vibration.
• A simple tone has only one frequency, although its intensity
may vary.
• A complex tone consists of two or more simple tones, called
overtones. The tone of lowest frequency is called the
fundamental; the others, overtones.
• The frequencies of the overtones may be multiples of the
fundamental frequency, in which case they are called the
second, third, fourth, etc., harmonics of the fundamental tone.
• A combination of harmonic tones is pleasant to hear and is
therefore called a musical tone.
FREQUENCY BANDS(CONTD.)

Frequency range from 20 to 20,000 Hz-- Although it is possible to analyse a

source on a frequency by frequency basis, this is both impractical and
time-consuming. For this reason, a scale of octave bands and one-third
octave bands has been developed. Each band covers a specific range of
frequencies and excludes all others. The word "octave" is borrowed from
musical nomenclature where it refers to a span of eight notes.

As in music, an octave band convention was chosen. Each progressive

band has double the bandwidth of the previous. The center frequencies
assigned for the bands for the full range of human hearing are: 31.5, 63,
125, 250, 500, 1000, 2000, 4000, 8000, and 16000 Hz.

It is called an octave because in music, an octave contains 7 lettered notes

so at the 8th note it is exactly double the frequency.
Count them, there are 8 musical intervals (or 12
semitones, if you count the accidental notes).
 VELOCITY AND SPEED OF A SOUND
• VELOCITY OF SOUND:
It is a speed of a sound in a specified direction. (vector quantity)
Velocity = Frequency x Wave Length . Velocity of a sound depends upon the
elasticity and density of the medium in normal air temperature which Is
approx. 1130’-0” or 340m/second. This is extremely slow compared to light
which is 186000 miles or 3,00,000.00km./second.

SPEED OF SOUND:
Speed of sound and velocity of sound are often used interchangeable
though they are not same. Velocity of sound includes both SPEED AND
DIRECTION whereas SPEED OF SOUND is independent of frequency
intensity and changes in atmosphere.
• If a sound after reflection reaches an observer more than 0.058 second
(sound travels approx.65’ in this interval) they can be distinguished as
echoes.
 ULTRASONIC

• Bats fly at night because there are more insects out

at night and less competition for the bats as well as
fewer predators out at night. they are able to fly at
night because of echolocation. which allows them to
see in complete darkness.

• Bats use sound waves to locate their prey, so they

don't have to be able to see the insects they're
hunting. Flying at night gives them an advantage
over their prey because it's harder for the insects to
see them coming.
Solution 1: Echolocation
The bat emits a loud sound
(represented by the orange
lines) that travels out into the
environment until it hits
something (such as the insect
in this picture). When the
sound hits, it is reflected back
as an echo (the gray lines in
the figure). The bat can hear
the echo and use that to tell a
lot about the obstacle, such as
how far away it is, its size and
shape. This allows many of
these bats to capture flying
insects by hunting them down
BIOLOGICAL SONAR like a radar-guided
CALLED ECHOLOCATION missile. These types of bats
tend to have large ears and
small eyes, vision is not as
important to these bats
Solution 2: Excellent Vision

• Some bats have solved

this problem using their
eyes. These bats have
large eyes that are
capable of seeing well
even in almost total
darkness, but sounds
are not as important.
 INFRA RANGE

The lowest frequency of an

elephant rumble is 14 to 35
hertz.

From research in Namibia, Zimbabwe, and Kenya, researchers learned

elephants use infrasound for communicating over many miles. Elephant calls
are outside the pitch of most human ears
 ACOUSITICAL POWER

All the common sounds like music, speech and noise are complex because
they contain sound energy over considerably wider ranges of human audible
spectrum ( 20 Hz to 20 Kz ) Most sounds contain energy to some degree.
(sound energy is partially converted into thermal energy known as
DISSIPATION i.e. wasted or separated. Sound power (w) in watts describes
the energy of a sound source.
PEAK POWER IN WATTS
Conversation speech female 0.002
Conversation speech male 0.004
Piano 0.27
Drum 25.00
Orchestra 10.70
Air raid siren 37.00 K.watt.

Auditorium – 80’ x 50’x25’ (1.00.000.00cft.) requires 10,000.00

microwatts. (one millionth of watt).
 SOUND INTENSITY

Expressed in watts/cm2 (symbol I). It is a power (energy) radiated

(transmitted) through unit area perpendicular to the specified direction. If
a sound originates at a point in a homogeneous & undisturbed Medium
away from all reflecting and diffracting surfaces the sound is propagated
radically in all direction with spherical wave front. Since intensity of
waves falls off inversely as the square of distance, sound pressure also
falls off in the same manner. (AREA OF SPHERE = 4 II times x square of
the radius.)

• Sound intensity is defined as the sound power per unit

area. The usual context is the measurement of sound
intensity in the air at a listener's location. The basic units
are watts/m2 or watts/cm2.
DECIBEL SCALE
 DECIBEL SCALE
Sound pressure near an airplane propeller at top speed is million times more
than pressure near lips of a person producing a faint whisper. Since
acoustics deals with quantities extending over a wide range of sound, a
convenient method of measuring these quantities on logarithmic scale is used
which is known as decibel scale. Unit is bel and 1/10 of it is decibel.
The Decibel is not an absolute measure but a relative one- i.e. it always gives
ratio of TWO pressures.
A- 2 & 3 units
B- 20 & 30 units ratio is 2:3 This is the basis of decibel scale which is used to
reduce the range of numbers. “It is defined as 20 times the logarithm (to
the base of 10) of the ratio of two pressures. i. e decibel ratio = 20 log
P1/P2 where P1 & P2 are pressures being compared. It is customary to
compare pressures of all sounds with 0.0000Pa (This is arbitrary choice but it
approximates closely the minimum sound pressure that is audible to normal
human ear.)
 LOUDNESS AND LOUDNESS LEVEL
Loudness is the subjective response of the human hearing (imaginary )
mechanism (sensation) to changing Frequency spectrum ( sound pressure)
It is an observer’s auditory impression of the STRENGTH of a sound. It is
measured in SONES
In acoustics, loudness is the subjective perception of sound intensity. a
loudness of 1 sone is equivalent to the loudness of a signal at 40 phons or
40dbs.
LOUDNESS LEVEL:
Loudness level of a sound is measured by the “sound pressure level” of a
standard pure tone of specified frequency which is assessed by normal
observer as being equally loud. Loudness level in PHONES (unit of loudness
level) of a sound is equal to the sound pressure level in decibels of 1000 cps.
“REFERENCE PURE TONE” which is judged by listener to be equal in
loudness.
“PURE TONE” OF 1000 CPS. (As reference). Then adjusting” sound
pressure level” of tones of various frequencies until they are adjudged to be of
some loudness as that of arbitrarily chosen pressure level of “reference tone”
THRESHOLD OF AUDIBILITY

“A sound wave must have a minimum value of pressure in order to be heard”

And this value for selected observer who have good hearing, facing the
source plane progressive waves and listening with both the ears is called
“MIN.AUDIBLE THRESHOLD” for a free field.

The threshold of audibility at any specified frequency is the min. value of

sound pressure of a pure tone of that frequency which is just AUDIBLE.

A whisper is about 20 dB. A normal conversation is typically from 60 to 70

dB, and a noisy factory from 90 to 100 dB. Loud thunder is approximately
110 dB, 120 dB borders on the threshold of pain.
 THRESHOLD OF FEELING

An observer in the field of a free plane progressive wave will notice that as the
pressure of the wave is increased the resulting sound becomes louder and
louder until it attains a level at which the sound can be
“felt as well as heard”. This level is called “threshold of feeling”

Threshold of feeling at any frequency is the minimum value of sound

pressure of a pure tone which will cause a sensation of feeing to the ear. It is
measured in dynes/cm2 or watts/cm2.

Above this threshold the observer experiences a mixed sensation of sound,

feeling and pain. 20cycles and 20000 cycles are determined as lower and
upper limits of frequency of audibility respectively. These are average values
for young persons with good hearing. This upper limit decreases with
increase in age.
 THRESHOLD OF PAIN

• The threshold of pain is the SPL (Sound pressure level) beyond which
sound becomes unbearable for a human listener.
• Prolonged exposure to sound pressure levels in excess of the threshold of
pain can cause physical damage, potentially leading to hearing impairment.
• In brief, threshold of pain is the MINIMUM sound INTENSITY at which an
individual starts to feel pain. One main component of pain is its subjectivity,
meaning that a stimulus to two individuals can result in two different
reactions. So what could be painful to one person, can be less so to
another. It is an entirely subjective phenomenon.
• In sound, the pressure at which a particular sound becomes painful to the
listener is called the pain threshold of sound. The range could be said to be
from the threshold of hearing to the threshold of pain. Sound provides
highly protective mechanism during young age. However, this efficiency
decreases with age, and constant exposure to high volumes of sound can
lead to hearing impairments.
 INVERSE SQUARE LAW

• The loudness with which the sound is heard in the second room will be
weaker than the original sound for several reasons. First, all sound waves
attenuate in strength as they travel away from the source of the sound. For
example, whatever the strength of the original sound, 10 ft from the source the
sound waves will be about one-half as energetic as they were originally; 20 ft
from the source they will be about one-quarter as energetic; 30 ft away they
will be about one-eighth as energetic, and so on, until the sound becomes too
weak to be heard.
• Have you ever heard the sound of a car as it drives past you down the street?
The sounds of the engine and the tires on the road seem loud as it passes,
but soon become difficult to hear, even after just a few seconds. The sounds
of the car quickly fade because of the inverse square law.
• This simple mathematical relationship states that if you double the distance
between you and a sound, the sound will only be one-fourth as loud.
INVERSE SQUARE LAW

AREA OF SPHERE =
4 II times x square of the radius.)
BEHAVIOR OF A SOUND IN AN ENCLOSED SPACE

WHEN A SOUND WAVE IMPINGES (STRIKES) ON ANY

SURFACE IN A ROOM
1. Part is reflected
2. Part is transmitted
3. Part is absorbed
4. Rest is dissipated (wasted) as heat.

Most of the surfaces or structures vibrate as a whole or in parts under the

pressure of sound of waves (incl. masonry walls-not visible to naked eyes)
like diaphragms and radiate sound energy. As such effective means of
providing a high degree of sound insulation is affected by the combination of
rigid partitions and porous materials.
 REFLECTION OF SOUND

• Sound Waves proceed outwards from the source in ever increasing

concentric spheres and that the energy at any point becomes
progressively weaker as the distance from the source increases. Room
shape and surfaces act on sound waves in such a complicated manner
that an exact understanding of what is happening in any room is
virtually impossible.
• Sound is reflected in a similar manner as light i. e Angle of Incidence
= Angle of reflection. If source S is placed on one side of reflecting
surface it may be considered to have an image at an equivalent
distance on the other side of reflecting surface along the perpendicular
projection from S to the place analogous (similar) to the familiar optical
image.

• Hence study of Geometric and statistical method is a must.

REFLECTION OF SOUND FROM HARD SURFACE
REFLECTION FROM CURVED SURFACES
REFLECTION FROM CURVED SURFACES AND CORNERS
DIFFUSING AND FOCUSSING EFFECT OF CONVEX
AND CONCAVE SURFACES
SOUND DISTRIBUTION
DIFFUSERS
REFLECTION-ABSORPTION-DIFFUSION

• A sound wave can be controlled in one of three different ways – it can

be reflected, diffused or absorbed.

• Each of these reactions will depend entirely on the nature and

composition of the material it comes into contact with, and each can
be used to some extent in soundproofing.

• Below is a brief explanation of what happens in each case. Reflected

Sound is bounced off a surface. This usually occurs on flat, rigid
surfaces with a lot of mass like concrete or brick walls. Because the
sound wave can't penetrate very far into the surface, the wave is
turned back on itself. The sound bouncing back off the surface
creates an echo.
REFRACTION, DIFFRACTION, REFLECTION, ABSORPTION
REFLECTION-ABSORPTION-DIFFUSION
 ELIPTICAL AND CIRCULAR PLANS

ELLIPTICAL PLAN
ILLUSRATING AN ACOUSTICAL
DEFECT-SOUND FOCI

CIRCULAR PLAN – ILLUSTRATING

CIRCULAR PLAN MODIFIED BY CREAPING AND FOCUSSING
CONVEX DIFFUSING SURFACES EFFECT OF A SOUND
 DIFFRACTION OF SOUND (=braking up Refraction= bending)

• Disturbance of the sound field due to object or the change in direction of

propagational sound waves around an obstacle is called DIFFRACTION.
• Sound has an ability to flow around obstruction or through openings with
little loss of energy. Because of diffraction which causes the sound to be
bent around the corner, obstacles do not cast a complete acoustical
shadow. Sharp images and shadows can be formed by light.
• Wave length of light = 0.0004mm to 0.00075mm
• Wave length of sound = 17.00mm to 18.00meter
• “Diffraction will be marked for the low frequency sounds with long wave
lengths than for the short wave lengths of high frequency.”
• Because of the large disparity in the wavelength of light and sound the
light travels in straight line through openings and past obstacle whereas
sound spreads out very much in similar conditions.
 DIFFRACTION OF SOUND THROUGH OPENINGS.

When a plane wave falls upon a surface with an opening which is small
compared to the wave length of a sound it spreads out as a spherical wave.
But if opening is large compared to the wave length of the sound propagated
through it and there is only slight bending near the edges.

Sounds in speech ,
music which are made
up of wide range of
frequencies are
selectively diffracted
since the low
frequency components
will diverge widely
while high frequency
components will
DIFFRACTION OF DIFFRACTION OF continue in a relatively
SOUND AT SOUND PASSING narrow beam.
THE EDGE OF A THROUGH A
PARTITION SMALL OPENING
 DIFFRACTION OF SOUND FROM REFLECTIVE AND
ABSORPTIVE SURFACES.

• Decorative architectural treatment of rooms such as beams

columns, pillars etc. results in irregular discontinuities in the
boundaries of rooms which introduce complicated diffraction
phenomena. Discontinuity in the sound absorptive treatment of a
wall or irregularities in the shape of wall will diffract sound waves. As
such patches of absorptive material diffract or scatter incident sound
waves and aid in diffusing the sound throughout the room.
ACOUSTICAL SHADOWS

when an obstacle is large

in relation to wave length
of incident sound a sharp
“ shadow” similar to light
shadow is cast.

when an obstacle is small in

comparison to the wave
length of the incident sound
wave , the sound is
scattered in all directions.
ACOUSTICAL IMAGES In this figure are shown the three
FIRST ORDER IMAGES from three
nearby walls from a point source S.
These images go on increasing as
the first order will have second –
then second will have third and so
on- all of which will contribute to the
sound energy in a room.

In the reflected wave that appears to

come from I 2 3 will be beneficial for
audience’s seated nears the side
wall and so on.

Architects make use of law of

reflection for investigating the effects
of various shapes of a room on the
distribution of sound then design
interior surfaces that will give
beneficial reflections.
 WHISPERING GALLERIES-ECHOES
• WHISPERING GALLERIES : A phenomenon associated with
the reflections from curved surfaces especially in high
frequencies which travel or creep around a large concave
surface.
(Ex: St. Paul’s Cathedral in London, Gol Gumbaz at Bijapur.) It
could be heard up to 200’-0” wherein circular, elliptical
structures, curved surfaces are continuous for a long distance
•.
ECHOES : Reflected sound naturally travels more distance
than direct sound. If the distance between these two paths is
greater than 19.80M or 65’-0’ (0.058 seconds) reflected sound
could be heard distinctly as a separate sound which is known as
echo. Even if it is greater than 15.25 M or 50’-0’ it will create blur
or masking effect on original sound.
EXCELLENT VIDEO ON REVERBERATION AND ECHO
 FLUTTER ECHOES

• It occurs when a pair of walls are parallel with highly

reflective surfaces. An impulsive sound such as
handclap produces a multiple echo as the sound is
reflected back and forth between the parallel walls.
(more the distance, less is the effect).
It usually occurs in uncarpeted rooms where ceiling
and floor are parallel and highly reflective. This could
be avoided by using non-parallel walls or walls
broken with openings, shelves and hangings etc.
•
In short , the geometrical study of sound paths in
rooms is a valuable guide to practical acoustic design
wherein the shorter wavelength sounds play very
important part in the proper hearing of both speech
and music.
 ROOM RESONANCE

• The word resonance comes from Latin and means to

"resound" - to sound out together with a loud sound.
Resonance is a common cause of sound production in
musical instruments.
• Musical instruments are set into vibrational motion at
their natural frequency when a person hits, strikes or
somehow disturbs the object.

• Resonance - when one object vibrating at the same

natural frequency of a second object forces that second
object into vibrational motion.
 RESONANCE
• The tuning fork is the object that forced the air inside
of the resonance tube into resonance. As the tones of
fork vibrate at their own natural frequency, they create
sound waves in the resonance tube. These impinging
sound waves produced by the tuning fork force air
inside of the resonance tube to vibrate at the same
frequency.
• Resonance only occurs when the first object is
vibrating at the natural frequency of the second object.
So if the frequency at which the tuning fork vibrates is
not identical to one of the natural frequencies of the air
column resonance will not occur.
• But the location of the water level can be altered by
raising and lowering a water level to match to the
frequency at which the tuning fork vibrates. When they
match the tuning fork forces the air column inside of
the resonance tube to vibrate at its own natural
frequency and resonance is achieved. The result of
resonance is always a big vibration - that is, a loud
sound.
 SOUND FOCI-DEAD SPOTS
• SOUND FOCI : concentration
of sound or focusing effect of
sound that is created by
concave surfaces at one or
more places due to non
absorption is called sound foci.

• DEAD SPOTS : one can listen SOUND FOCI

well in all parts of a room or
auditorium except in a certain
spot or rows of seats. This is
because of localized
concentration of sound (sound
foci). These spaces receive DEAD SPOTS
insufficient sound because
most of the reflected sound is
concentrated else where.
These regions of deficiency are
called dead spots.
 ULTRASONIC AND INFRA RANGE SOUND

• BELOW 20Hz.--- INFRA RANGE (elephants)

• ABOVE 20,000Hz.-------- ULTRASONIC (bats )
• Bats use sound waves (ultrasonic) to locate their prey, so they
don't have to be able to see the insects they're hunting. Flying
at night gives them an advantage over their prey because it's
harder for the insects to see them coming.

• The lowest frequency (infra range) of an elephant rumble is 14

to 35 hertz.

• Can hear up to 4 km. distance in normal condition at day

time and up to 10 km. distance at night.
 REVERABERATION.

• Acoustical phenomenon of reverberation is inherent in every indoor space.

In a perfectly sound reflecting room (rather difficult situation to create ) a
sound once initiated in that space would continue forever perfectly reflected
between the wall, ceiling and floor surfaces; this LINGERING of sound
energy when SOUND SOURCE has ceased is Known as
• REVERBERATION.
• With each reflection sound energy is lost.
“Acoustical treatment” is to give “FINITE” length of time in which LINGERING
sound energy can be heard. This is defined as the Reverberation time, the
time required by the sound energy to decay 60 dbs.
• Or one-millionth of its initial intensity, (generally referred to the time at 500 or
1000 Hz.Or average of both.
REVERBERATION TIME
BUILD UP AND DECAY OF SOUND.
Reverberation is the smooth decay of sound as it reflects from surface to
surface in the room, gradually losing energy on each contact with
absorbing material. Some reverberation is always desirable to give it life
and character whereas echo is undesirable. Quality of sound can be
achieved by BALANCING the “early” and “late” sound energies.
Source of sound after buildup stops or begin to decay and this process
takes certain interval of time. The _TIME_ taken by the sound to decay
to one millionth of its initial value (i.e 60 dbs) is termed as
REVERBERATION TIME.
Reverberation is something quite different from echo. Echo is the distinct
repetition of a sound reflected from a distant surface

A whisper is about 20 dB. A normal conversation is typically from 60

to 70 dB, and a noisy factory from 90 to 100 dB. Loud thunder is
approximately 110 dB, and 120 dB borders on the threshold of pain.
 OPEN WINDOW UNIT
• OPEN WINDOW UNIT (OR SABINE UNIT NAMED AFTER W.C SABINE)
• Surface absorbing 25% of the incident sound has a coefficient of 0.25 and 4
times of this will be required to furnish100% absorption which is equal to
one open window unit or sabine unit. An open window, for example, has an
absorption coefficient of 1.0, since it can reflect nothing

ABSORPTON COEFFICIENT: Ratio of absorbed energy to the total

incidental energy of sound. In porous material sound penetrates deep into
pores and interstices which encounter friction which is converted into heat
energy resulting in absorption.

• All materials will absorb at least some of the sound energy that impinges
upon them. At the other extreme is an open window that will, as far as a
person inside a room is concerned, “absorb” almost 100 percent of the
sound energy “striking” it; an open window is a near-perfect sound
absorber.
 ABSORPTION COEFFICIENTS OF IMPORTANT MATERIALS

• ABSORPTION
COEFFICIENTS FREQUENCY Hz
125 250 500 1000 2000
• MASONRY WALLS
• Porous concrete blocks 0,05 0,05 0,05 0,08 0,14
• Standard brickwork 0,05 0,04 0,02 0,04 0, 05
• Ceramic tiles with smooth
surface 0,01 0,01 0,01 0,02 0,02
• Plaster on solid wall 0,04 0,05 0,06 0,08 0,04
• GLASS AND GLAZING
• 4mm glass 0,30 0,20 0,10 0,07
• 6mm glass 6mm 0,10 0,06 0,04 0,03
• Wood boards on joists 0,15 0.20 0,10 0,10
• timber wall paneling 0,18 0,34 0,42 0,59 0,83
•
• MINERAL WOOL AND FOAMS
• Glass wool 25mm 0,12 0,28 0,55 0,71 0,74
• Rock wool 50mm 0,15 0,60 0,90
• WALL TREATMENTS & CONSTRUCTIONS
• Cork tiles 25mm on solid
backing 0,05 0,10 0,20 0,55 0,60
• Cork board, 25mm 0,03 0,05 0,17 0,52 0,50
• 25mm thick hair felt 25mm 0,10 0,00 0,70 0,00
• Fibreboard on solid backing 0,05 0,00 0,15 0,00 0,3
• Acoustic plaster 25mm 0,03 0,15 0,50 0,80 0,85
• Curtains hung in folds 0,05 0,15 0,35 0,40 0,50
• Lightweight curtains 0,05 0,06 0,39 0,63 0,70
• Curtains (medium fabrics) 0,05 0,00 0,25 0,00 0,30 0,40
•
• FLOORS
• Smooth marble or
terrazzo slabs 0,01 0,01 0,01 0,01 0,02
• Wooden floor on joists 0,15 0,11 0,10 0,07 0,06
• Parquet fixed on concrete 0,04 0,04 0,07 0,06 0,06
• Linoleum stuck to concrete 0,02 0,02 0,03 0,04 0,04
• Carpet on wood floor 0,20 0,25 0,30 0,30
• Stone floor 0,02 0,00 0,02 0,00 0,05
• PANELS AND DOORS
• Solid timber door 0,14 0,10 0,06 0,08 0,10
• Acoustic door 0,35 0,39 0,44 0,49 0,54
• CEILINGS
• Mineral wool tiles, glued/
screwed to soffit 0,06 0,40 0,75 0,95 0,9
• Plasterboard 10mm thick 0,25 0,70 0,85 0,55 0,40
• Plywood, 5mm, on battens
• airspace filled in glass wool 0,40 0,35 0,20 0,15 0,0
• AUDIENCE AND SEATING
• Children, seated in plastic
or metal chairs 0,28 0,00 0,33 0,00 0,37
• Adults per person seated 0,33 0,40 0,44 0,45 0,45
• Empty plastic chairs 0,07 0,00 0,14 0,00 0,14
• Adults in plastic 0,30 0,00 0,40 0,00 0,43
• Adults in padded chairs 0,16 0,00 0,40 0,00 0,44
• Fully upholstered seats 0,12 0,00 0,28 0,00 0,32
• Auditorium seat, unoccupied 0,13 0,33 0,59 0,58 0,61
• Auditorium seat, occupied 0,37 0,48 0,68 0,73 0,77
• Orchestra with instruments
on podium per person 0,27 0,53 0,67 0,93 0,87
• Wood platform with large
space beneath 0,40 0,30 0,20 0,17 0,15
RECOMMENDED REVERBERATION TIME
SABINE AND EYRING EQUATIONS
In this study two classical equations, the Sabine and the
Eyring, for the prediction of RT were applied to the 41
churches measured.

SABINE EQUATION RT = 0.16 V / A

EYRING EQUATION RT = 0.16 V / [Aair - ST (1 - αavg)] -----

where:

V - Volume (m3); RT - Expected Reverberation Time (s);

A - Total Absorption (m2); αavg - Absorption Coefficient (avg.
all surfaces); Aair - Air Absorption (m2); ST - Surfaces Total
Area (m2).
 SABINE’S FORMULA

0.16 V WHERE
• R.T. = -------------
SXa V = VOLUME IN CUM

S = SURFACE AREA IN SQM

a = ABSORPTION COEFFICIENT
 ACOUSTICAL PROBLEMS
1. Calculate R.T. from the following data for a Board Room
having seating capacity of 100 when it is full & empty.
Sl.No ABSORPTIVE MATERIAL AREA ABS. COE TOTAL ABS

1 Concrete floor 200.00 sqm 0.02 4.00

2 Celotex fibre board 175.00 sqm 0.40 70.00

3 Carpets 150.00 sqm 0.15 22.50

4 Plaster to ceiling 150.00 sqm 0.20 30.00

5 False ceiling 210.00 sqm 0.10 21.00

6 Draperies 120.00 sqm 0.35 42.00

7 Fibre glass cloth 50.00 sqm 0.79 39.50

8 Air 600.00 cum --- ------

9 Empty chair 100.00 nos 0.18/C 18.00

10 Audience 100.00 nos 0.32/P 32.00

279.00

1. R.T. when full R.T. = 0.16V = 0.16 x 600 = 0.34

Sa 279
2. R.T. when Empty Sa = 279.00 – 32 = 247, 0.16 x 600 = 0.39
247
 2. From the following data calculate R.T. and additional abs. reqd.
Suggest special materials to be used to finish the remainder of the
required abs. Conference hall size = 15.00 x 25.00 x 6.00, Total abs.
reqd = Sa = 270.00

Sl .No ABSORPTIVE MATERIAL AREA ABS.COE. TOTAL ABS

1 Floor cork tile on conc. Floor incl. risers 375.00 sqm 0.05 18.75

2 Ceiling plaster 350.00 sqm 0.02 7.00

3 Window 6mm glass 35.00 sqm 0.04 1.40

4 Plywood panels 175.00 sqm 0.15 26.25

5 Perforated ply with 5mm mineral wool 45.00 sqm 0.75 33.75

6 Seats 500.00 nos 0.15 75.00

162.15
• R.T. = 0.16V = 0.16 x 2250 = 2.22 seconds
Sa 162.15
• Additional abs. required 270 – 162.15 = 107.85

• SOLUTION: To get the remainder of the abs. required following additional acoustical treatment
additional acoustical treatment is suggested.

• 1. Plywood panels 100.00 sqm 0.15 15.00

• 2. Perforated ply with 5mm mineral wool 60.00 sqm 0.75 45.00
• 3. Cushioned chairs (increased th.) 500.00 nos. 0.10 50.00

TOTAL : 110.00
• Reqd. R.T.= 0.16x225o
------------------- = 1.33
270.00
• This meets the requirement of additional absorption (5% margin allowed) which reduces R.T. to
1.33 second
 3. Calculate the total interior surface (S) and the no. of cushioned chairs
to be used to get optimum reverberation time of 1:00 at 500 cycles.

DATA: RT= 1.00 second, value of α= 0.23, volume = 2000.00 cum

ABSORPTIVE MATERIAL AREA ABS.COE. TOTAL ABS.

1. CORK CARPET 65.00sqm 0.05 3.25

2 MARBLEX FLOORING 345.00 sqm 0.04 13.80
3. WOOD PALELLING 180.00 sqm 0.06 10.80
4. CEILING 345.00 sqm 0.06 20.70
5. STAGE OPENING 7 8.00 sqm 0.40 31.20
6. REMAINING WALLS 2 25.00 sqm 0.06 13.50
7. UN-UPHOLSTERED CHAIRS 500.00 no.s 0.03/C 15.00
8. CUSHIONED CHAIRS ------------- 0.25/C
9. AUDIENCE 500.00 no.s 0.32/p 160.00
1238.00 268.25

TOTAL ABSORPTIVE (S) SURFACE REQUIRED FOR R.T 1.00

• S = 0.16 X 2000 = 320.00 , where as per data we are getting only

268.25 i.e 320.00-268.25 = 51.75

• it means we are short of 51.75 abs. which can be compensated by

providing cushioned chairs.

• No. of cushioned chairs required to get optimum R. T.

51.75 divided by 0.25 = 207.00 nos.
4. Calculate R.T. at 125Hz, 500Hz and 2000 Hz for a hall with following
data.
NOTE: floor coverage by audience reduces the absorption by 40% at
125 and 500 Hz and by 60% at 2000 Hz

Sl MATERIAL AREA IN SQM. 125 Hz 500 Hz 2000 Hz

No

1 Plaster on brick 265.00 0.02 5.30 0.02 5.30 0.04 10.60

2 3mm glass wool 43.00 0.30 12.90 0.10 4.30 0.05 2.15

3 Stage boards on joists 70.00 0.15 10.50 0.10 7.00 0.10 7.00

4 Wood wool glass 25mm 60.00 0.10 6.00 0.40 24.00 0.60 36.00

5 Ceiling plaster 310.00 0.20 62.00 0.10 31.00 0.04 12.40

6 Plate glass screen 96.00 0.10 9.60 0.04 3.84 0.02 1.92

7 Wood block floor 300.00 0.05 15.00 0.05 15.00 0.10 30.00

8 Audience 250.00 0.17/p 42.50 0.43/p 107.50 0.47/p 117.50

9 Air 2500.00cum - - - - 0.01 25.00

163.80 197.94 242.57

 125 Hz. 500 Hz. 2000.00 Hz.
163.80 197.94 242.57

Note: I.NO.7: Abs. is reduced by 40%

i.e. 40% of 15 = 6.00 - 6.00 - 6.00 - 18.00

R.T. @ 125 = 0.16 x 2500 = 2.53 0.16 x 2500 = 2.08 0.16 x 2500 = 1.78
157.80(163.80-6) 191.94(197.94-6) 224.57 (242.57-18)
Find out total absorption to be provided in a school auditorium
accommodating 800 persons.
Assumptions: Volume of the hall is considered as 3.50cum. per persons.

Optimum Reverberation Time = 1.25 seconds

Abs. Coe. Of cushioned chairs = 0.30 and unoccupied chairs = 0.16
Solution: The total absorption necessary to obtain optimum R.T.
S = 0.16V 0.16 x 2800 = 358.00sqm
R.T 1.25
Considering that the hall is 2/3full,
Absorption due to audience = 0.30 x 2/3 x 800 = 160.00sqm.
Abs. due to unoccupied chairs = 0.16 x 1/3 x 800 = 43.00sqm
203.00 sqm

Absorption to be provided by acoustical material 358.00 – 203.00 = 155sqm.

Suggestions

1. Perforated jolly boards 100.00 sqm x 0.55 (abs.coe.) = 55.00sqm

2. pulp boards 80.00sqm x 0.99 (abs.coe.) = 79.00sqm
3. Carpets, draperies, floor, untreated wall and ceilings etc = 21.00sqm
155.00sqm
 EFFECT OF R.T. ON SPEECH AND MUSIC
• Music is the other common victim of inappropriate RT60. A pipe organ sounds
like a huge harmonica in a very dead room it may be loud but no character.
• Speech and music are not the only sounds that persist in a reverberant room.
Every noise keeps going and going and going and all of these sounds keep
rattling around through the highly reverberant room.
• Elegant compromise is a careful balance between the acoustical design and
the sound system design that can preserve the musical acoustics desired, and
deliver the speech intelligibility required. Excessive RT60 is the number one
problem we see in spaces intended for music performance.
• Reverberation effects are often used in studios to add depth to sounds. 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.
• Rooms used for speech typically need a shorter reverberation time so that
speech can be understood more clearly. If the reflected sound from one
syllable is still heard when the next syllable is spoken, it may be difficult to
understand what was said. "Cat", "Cab", and "Cap" may all sound very similar.
 MODULE 2: Acoustical Tools, Measurements and Materials

• Acoustical Tools and Measurements: Use of SLM (Sound Level

Meter), AI (Articulation Index), STI (Speech-Transmission Index),
Speech Intelligibility. Sound Attenuation. Absorption coefficients
of acoustical materials, NRC value, NC Curves for various
spaces.
• Acoustical Materials: Porous materials, panel absorbers,
membrane absorbers, acoustical plasters, diffusers, cavity or
Helmholtz resonators. Role of functional absorbers, Adjustable
acoustics and variable sound absorbers. Acoustical correction
and retrofits to existing spaces.
 USE OF SLM (SOUND LEVEL METER)

• SLM / Noise Level Meter. A

sound level meter is a measuring
instrument used to assess noise
or sound levels by measuring
sound pressure. A sound level
meter uses a microphone to
capture sound.

• A sound level meter is used for

acoustic (sound that travels
through air) measurements. It is
commonly a hand-held
instrument with a microphone.
The diaphragm of the
microphone responds to
changes in air pressure caused
by sound waves.
NOISE MEASUREMENT USING SLM
• A sound level meter is a measuring instrument used to assess noise or sound
levels by measuring sound pressure. The sound is then evaluated within the
sound level meter and acoustic measurement values are shown on the
display of the sound level meter.

• With a portable sound level meter, industrial hygiene and workplace safety
professionals can measure sound levels in multiple locations to ensure
environmental conditions fall within recommended exposure limits (RELs).
Some sound level meter devices can be permanently installed for continuous
monitoring of sound levels at a work or job site.
• For occupational hygiene purposes, the sound pressure level is measured to
determine noise exposures. Various instruments and techniques may be
used. The choice depends on the workplace noise and the information
needed. However, the first step is to determine if there is a noise problem in
the workplace.
 AI (ARTICULATION INDEX)
• The Articulation Index (AI) is a tool used to predict the amount of speech that
is audible to a patient with a specific hearing loss. It range from zero to one,
representing the average speech signal that is audible.
• The closer the AI is to one, or 100 percent, the better the person should be
able to hear speech.
• It has a value that ranges between 0% (no speech understood) to 100% (all
speech understood).
• The speech range covers from 200 Hertz to about 6000 Hertz. When
Articulation Index is calculated, the background sound levels that occur within
this frequency range are given the highest importance, since they will interfere
with human speech.
• If the level of background noise is high enough, it will mask other sounds,
including human speech--in other words it covers it up, or blocks it.
• The human ear, due to the construction of the hearing organ (called the
cochlea), tends to aggregate sound into these frequency bands. These bands
are called octave bands.
• The sound levels of one third octave bands covering from 200 Hz to 6300 Hz
are used to calculate Articulation Index.
 STI (SPEECH TRANSMISSION INDEX).

• The Speech Transmission Index is an objective, physical measure of

speech transmission quality. The STI is a 0 to 1 index, this means that
perfectly intelligible speech, when transferred with STI of 1, will remain
perfectly intelligible. The closer the STI value approaches zero, the more
information is lost.

• The STI is extensively used in room acoustics, for instance to assess

intelligibility in auditoria, churches and conference rooms.

• The scientific principle on which the STI is based, is that information in

speech is represented acoustically in the form of modulations. A speech
utterance is essentially nothing more than a sequence of modulated tonal
and noisy sounds. Loss of these modulations translates into loss of
intelligibility. The STI is calculated directly from the Modulation Transfer
Function.
 AI, STI, RASTI.
• (AI) Articulation Index a measure of speech intelligibility influenced by
acoustical environment. The higher the number the higher the intelligibility of
words and sentences understood from 0-100%. An articulation index of less
than 0.3, generally suggests unintelligible speech and one over 0.7 indicates
excellent intelligibility.
• (STI) Speech Transmission Index is a measure of speech transmission
quality. The absolute measurement of speech intelligibility is a complex
science. The STI measures some physical characteristics of a transmission
channel (a room, electro-acoustic equipment, telephone line, etc.), and
expresses the ability of the channel to carry across the characteristics of a
speech signal.
• STI is a well-established objective measurement predictor of how the
characteristics of the transmission channel affect speech intelligibility.
• RASTI-method (Room Acoustic Speech Transmission Index) was developed
in 1979. Different instruments were developed for the measurement according
to this standard. A typical measurement time was 10 to 15 seconds. The
RASTI method only considers two octave bands 500 Hz and 2 kHz. Due to
the simplicity in use, the RASTI-instruments were used also for applications
beyond the main design goal – room acoustics. The RASTI-value is often
 STI—RASTI--STIPA

• STI - Speech Transmission Index is a method of measuring speech

intelligibility in noisy and/or reverberant locations. A number between 0
and 1 quantifies the speech intelligibility and is often implemented in two
versions RASTI (Room Acoustic Speech Transmission Index) and STIPA.
(Speech Transmission Index for Public Address)

• RASTI - Rapid Speech Transmission Index is an objective way of

measuring speech intelligibility. It is measured by placing a loudspeaker,
which transmits sound from the location of the person speaking, and a
microphone where the listeners are situated.

• STIPA - Speech Transmission Index for Public Address systems an

alternative to RASTI with public address and other electro-acoustic
devices in mind, was developed more recently resulting in a simple
number between 0 and 1
 SOUND ATTENUATION
• To make slender, fine, or small: The drought attenuated the river to a narrow
channel.
• To reduce in force, value, amount, or degree; weaken: Medicine attenuated
the fever's effect.
• To lessen the density of; rarefy.
• attenuation
• Decrease in intensity of a signal, beam, or wave as a result of absorption of
energy and of scattering out of the path of a detector---the inverse square of
distance effect.
Acoustic attenuation is a measure of the energy loss of sound propagation
in media. When sound propagates in such media, there is always thermal
consumption of energy caused by viscosity.
• When sound travels through a medium, its intensity diminishes with distance.
... Absorption is the conversion of the sound energy to other forms of energy.
The combined effect of scattering and absorption is called attenuation.
 STC
• Sound transmission class (STC) is a rating of sound isolation of a
building wall assembly. The higher the STC rating, the better sound
isolation the wall assembly is to achieve. STC is widely used to rate
interior partitions, ceilings/floors, doors, and windows.
• STC rating of 38-42 is considered good soundproofing for residential.
STC rating of 50-65 is professional, commercial soundproofing for
recording studios, etc. These terms and definitions are related to
Sound Transmission Class and will help provide the full picture of how
sound is measured.
• effective STC rating of 55 is recommended, and 60+ is ideal,
especially in rooms where there is going to be music related noise.
• When people are evaluating building materials and acoustical
products for sound reduction, they rely on the sound transmission
class or STC rating of the product. By understanding this rating of
materials, we know how much sound will be blocked from going through
those materials.
 SOUND REINFORCEMENT SYSTEMS
• A sound reinforcement system is the combination of microphones, signal
processors, amplifiers, and loudspeakers in enclosures all controlled by a mixing
that makes live or pre-recorded sounds louder and may also distribute those
sounds to a larger or more distant audience.
• In many situations, a sound reinforcement system is also used to enhance or alter
the sound of the sources on the stage, typically by using electronic effects, such
as reverberation, as opposed to simply amplifying the sources unaltered.
• A sound reinforcement system(SR) for a rock concert in a stadium may be very
complex, including hundreds of microphones, complex live sound mixing and
signal processing systems, tens of thousands of watts of amplifier power, and
multiple loudspeaker arrays, all overseen by a team of audio engineers and
technicians.
• On the other hand, a sound reinforcement system can be as simple as a small
public address (PA) system, consisting of a single microphone connected to a 100
watt amplified loudspeaker for a singer-guitarist playing in a small coffeehouse.
• In both cases, these systems reinforce sound to make it louder or distribute it to a
wider audience. In some regions or markets, the distinction between the two
terms is important, though the terms are considered interchangeable in many
professional circles
 SOUND REINFORCEMENT SYSTEM

• A basic sound reinforcement system that would be used in a small music

venue for the audience are to the left and right of the stage.

• The main loudspeakers ---A typical sound reinforcement system consists

of microphones, which convert sound energy such as a person singing
into an electric signal, signal processors which alter the signal
characteristics (e.g., equalizers that adjust the bass and treble,
compressors that reduce signal peaks, etc.), amplifiers, which produce a
powerful version of the resulting signal which convert the signal back into
sound energy .

• These primary parts involve varying numbers of individual components to

achieve the desired goal of reinforcing and clarifying the sound to the
audience, performers and other individuals.
 MASKING EFFECT OF SOUND.
• Audio masking is the effect by which a faint but audible sound becomes
inaudible in the presence of another louder audible sound,
• Masking is the process by which one sound is raised by the presence of
another sound. ... The loud sound has a greater masking effect.
• Sound masking is the inclusion of generated sound (commonly, referred to
as "white noise" or "pink noise") into an environment to mask unwanted
sound. ... Sound masking is applied to an entire area to improve acoustical
satisfaction, thus improving the acoustical privacy of the space.
• White Noise and Pink Noise---The technique to address privacy issues in
the open plan and closed office environments and reduce noise pollution is
called sound masking, which uses a mix of "white noise" and "pink noise".
• In sound masking, a precise electronic sound generator, providing shaped
"noise", is fed to an amplifier that supplies an array of specialised wide-
dispersion loudspeakers.
• To most people, white noise sounds high-pitched, but this is because the
number of frequencies (hertz) doubles with each rising octave.
HOW THE SOUND IS ABSORBED
• Ordinary building materials such as wood, brick, stone,
plaster, absorb something less than 5 percent of the
sound energy striking them. To be counted as an
acoustical material, a substance must absorb more
than 50 percent of sound energy. For this, the material
must have a porous, fibrous structure and thicker the
material, better a sound absorber it will be. This is
because the air molecules that carry the sound energy
can migrate deeply into the interior of the material,
where, as they repeatedly strike and bounce off the
surrounding fibers, their rapid, vibratory motion is
converted into heat by friction and the sound is
absorbed.
 SOUND INSULATION
• By sound insulation or absorption, we mean the ability of the wall and
ceiling to absorb impinging sound waves and prevent their being
reflected back into the room. This sound absorption is usually achieved
by the application of acoustical materials of some kind to the walls and
ceiling. These materials are capable of altering the general quality of
sound within the room, as well as reducing the overall sound level.

• ACOUSTICAL MATERIALS

1. prefabricated units.
2. acoustical plaster and sprayed on materials.
3. acoustical blankets.
4. Special sound absorptive materials.
GLIMSE OF ACOUSTICAL MATERIALS
All materials absorb some sound but
proper acoustical control requires use of
materials that have been specially
designed as sound absorptives – known as
“ACOUSTICAL MATERIALS”. Before
selecting , one should study the structural
strength, the amount of light it can reflect,
absorption of water, combustible or non-
combustible, decorative qualities, cost etc.
Sound is absorbed by a mechanism
which converts sound into heat.
blankets Materials such as mineral wool,
blankets have a multiple of small
deeply penetrating intercommunicating
pores. The sound gets converted into
heat by friction & resistance within the
pores and by vibration of fibres of the
material(95% abs). absorption by
porous material is more at high
frequency than at low frequency.
Absorption by panels is less at high
frequency and more at low frequency.
mineral wool
blankets
1. PREFABRICATED UNITS.

These are made of either

compressed cane or wood fibre
or mineral wool and are widely
used since they possess
uniform--------physical and
absorption characteristics
 ACOUSTICAL TILES
Made of mineral wool, compressed
cane, wood fibre or glass fibre. It is
usually suspended on wooden grid but
can be glued or attached to solid
surfaces.
Since these are prone to damages, they
are not recommended for walls that are
within human reach. Most outstanding
feature is it's built in absorptive value.
Since factory made product porosity,
flexibility, density, drilling of holes etc.
could be controlled as per requirements.
It could be used relatively on smaller
surfaces and can be painted to provide
high degree of light reflection with
attractive and decorative appearance.
There are many acoustical tiles
commercially available with different
trade names.
 WHAT IS ACOUSTICAL TILE?

• Acoustical tile is used in building to maximize the quality of

sound produced in the room. It also reduces unwanted
sound transmission coming from outside. These can be
hung from a suspended grid system on the ceiling, or can be
affixed directly to an existing ceiling, or can be fastened to
the surface of a wall.

• Theaters, concert halls and churches use it to make auditory

experience more pleasant. In addition, acoustical tile aims to
completely eliminate exterior noise such as traffic, allowing
audience to focus on what they've come to hear. This
sound-filtering capability is very useful in schools and office
buildings.
ACOUSTICAL TILES (COND.)
ACOUSTICAL CEILING TILES
TYPE –I CEMENT-LIME- GYPSUM-MINERAL AS BINDER

A. All mineral units composed of small granules or finely divided

particles with "PORTLAND CEMENT BINDER
AKOUSTOLITH TILE : R.Gaustavino) Co. Used in monumental types
( Churches). due to their masonry like appearances. Paint reduces
absorption quality.

B. All mineral units composed of small granules or finely divided

particles with "LIME OR GYPSUM BINDER".
MUFFLETONE (12"x12"x1"): ( Celotex Corpn.) These are cast gypsum
products in standard or fissured finish, light wt, rigid sound absorbing tiles
backed by corrugated paper. They have uniform fine textured surface.
Cemented to plaster board or concrete ceiling.

C. Units composed of small granules or finely divided particles of

mineral or vegetable origin with incombustible mineral binder.
SOFTONE: American acousti.inc
GYPSUM SOUNDPROOFING BOARD
ACOUSTIC MINERAL FIBER CEILING TILES
ACOUSTIC MINERAL FIBER TILES

Mineral Fibre Acoustic Tiles-

The Celotex range of mineral fibre
acoustic tiles has the twin advantages
of excellent aesthetics with good
sound absorption properties. The
special features of the mineral fibre
range include excellent sound
absorption, special anti-sag property,
superior moisture resistance, better
fire resistance, good light reflectance
and better relative humidity properties

This range is ideal for certain

applications like IT office, showroom
and shopping malls.
TYPE II--Units having mechanically perforated
surface arranged in a regular pattern.

A. Units having a perforated surface which acts as a covering &

support for the sound absorbent material. The facing
material to be strong, durable & substantially rigid.

• ACOUSTEEL : Celotex,Corpn.
• ACOUSTIMENTAL : National Gypsum & co.
• ARPHON : A.B. Arch ( Stockhome ,Sweden )
• ARRESTONE : Armstrong Cork & co.
• PERFATOTE : U.S.Gypsum & co.

• In this type of unit an absorptive pad, blanket, or rigid element

(compressed mineral wool) is covered by perforated sheet metal or board,
these can be repeatedly painted without impairing absorption, but care
should be taken to not to bridge the holes with paint. Used where they are
subjected to considerable wear & tear . They are incombustible, moisture
resistant --- hence used in swimming pools, kitchen etc.
PERFORATED TILES AND PANELS
 TYPE II-- (CONTD.)
b. Units having circular perforations extending into the sound absorbent
material.
• ACOUST-CELOTEX-Celotex Corpn.
These are made from felted cane fibre by a special process in the form of
light rigid tiles. Tiles may be painted repeatedly without much reduction in
sound absorptive properties. The presence of holes in porous materials with
air space act as HELMHOLTZ RESONATORS , further they increase
superficial area and increase the absorptivity of the material. Perforations
also help in concealing the screws when fixed to wooden backing . Size:
12"x12" & 24"x24" Th-1/2" to 1/4", Perforations - 1/8" dia,holes at 1/2" c/c,
1/8" bevel on all sides or tongue and grooved on all four sides.
c. Units having slots or grooves extending into the holes in the tiles.
AUDITONE : U.S. Gypsum Co. These are slotted wood fibre tiles which are
efficient. These can be painted repeatedly without loss of sound abs. These
can be nailed to joists or fixed with adhesive .Not recommended below
wainscot. 12"x12" or 12"x24".
TYPE III-- Units having fissured surface.

• CORKOUSTIC : Made of selected

cork particles .Cork is ground to a
specific particle size baked under
heat & pressure to form a block
.Natural resins in the cork hold the
particles together (no binder used)
.Blocks are cut to sizes beveled
painted with two coats of white raisin
paint. This tile is extremely moisture
resistant ,heat resistant ( air
conditioning & winter heating).
Though tough, resilient can be
slightly bent to curved shape (arches,
vaulted ceilings) sizes 6"x12" or
12"x12" and 1/2"th.
DECORATIVE CORK SHEET & TILES

Cork Decoration means creation and natural comfort. Pearl Decorative cork
sheets & cork tiles, with its high thermal and acoustic insulation properties, is
considered to be an ideal product against noise and temperatures, at the
same time providing an excellent Wall & Ceiling decorative panel, having
tremendous superiority and advantages when compared with other
materials.
DECORATIVE CORK SHEET & TILES

Natural pattern of cork lends

striking elegance and finish
to a room interior whether it
is used in its flooring or wall.
Our decorative cork line
includes cork wall and floor
tiles and memo boards.
Cork tiles are available in
varied designs and colors.
Apart from aesthetic value
the tiles act as good
acoustic and insulating
material. The tiles are easy
to install and maintain.
FISSURE TONE

Cast gypsum
products made in
fissured finish,
provide light wt.&
rigid sound
absorbing tiles. It
has fine textured
surface with fissures
varying in size &
location in each tile.
Sizes 12"x12"x1".
TYPE IV--

a. Units of this class are made of wood shavings ( or excelsion)

generally pressed together with a mineral binder. The wood fibres
may be fine, medium or course.

ABSORB-A-NOISE & ABSORB-A-TONE----Luse Stevenson co.

b. Units compressed of fine felted vegetable fibres or wood pulp.

ACOUSTLITE : Insulite co. Made out of compressed wood pulp ( sap wood) or
wood fibres Oil, Lead and other non porous paints are not suitable which close
surface pores ,used for control of noise , fixed by screws or nails to wooden
battens at required distance. Low cost and are available in 12"x12"x3/4'th or
4'x8'/10'/12' panels.

c. Units composed of mineral fibres.

QT Duct liner--Celotex co.

THE RAW MATERIALS WOOD FIBERS
ACOUSTIC BOARD
ACOUSTIC PANELS
PERFORATED ACOUSTIC PANEL
ACOUSTIC PANEL ABSORBERS
ACOUSTIC FOAM PANELS
• Wedge sound absorbers
have a profiled face which
increases the surface area
available for absorption.
Wedges can be an effective
treatment for flutter echoes
which can be particularly
problematic in rooms with
hard parallel walls.
 ACOUSTIC FOAM PANELS

Acoustic Weave Wall tiles

Sound proof tiles

ACOUSTIC FOAM PANELS
HIGH-DENSITY ACOUSTIC FOAM
ANECHOIC ACOUSTIC TILES
Commissioned by the
Performance Space and
supported by the Australia
Council for the Arts
Telepathy was exhibited in
the Carriageworks Bay 19.
The original commission
was instigated by Sally
Breen a former curator at
Performance space and
implemented by curator
Bec Dean. Materials
included custom anechoic
acoustic tiles, 16 mm
plasterboard, acoustic
blanket, plywood, timber
frame, 3 channel video
with transmitters.
FIBERGLASS/INSULATING WOOL: (OWEN
CORNING FIBERGLASS CORP TOLEO-OHIO)

• These fabricated thermal and acoustical material from various forms of

“FIBERLASS” insulation ( a mineral wool made of highly resistant glass
fibres) faced on one/both sides with a flexible material like paper, muslin
or glass cloth. Sound absorption depends on thickness and density.
Absorption is optimum for 2” to 3” thick with 4 lbs. density /cft. Thickness
varies from ½” to 4”. These are light in weight and used in broadcasting,
film and television studios.
• FIBERGLASS PF INSULATION BOARD
• It consists of specially processed and compressed fiberglass to which
thermosetting plastic is added to give rigidity. Th ¾” to 4” wt. 4lbs.to 10.5
lbs./cft.

• Sizes 24” X 48” boards which could be cut to any size and shape.
Painting changes considerably its abs. Coe.
FIBERGLASS
DAY LIGHT CEILING
• ACOUSTI-LUX: (Celotex Corpn. U.SA)

• Light weight dual purpose sound absorptive material. By using this

material diffused light is provided without glare. Panels are called
DAY LIGHT CEILING panels which are dry, washable and come in
single or double panels fabricated from 0.015 “th. White vinyl
plastic sheeting

• Size: 24” x24” and 12” x12”. With numerous colours. Generally
fixed on aluminum T’s with suitable hold on chips. (85% light
allowed)
FIBERGLASS- sewn sheets, resins
bonded and quilts.
• These are also glass wool products stitched between layers
of cloth. th: ¾” to2” in rolls. L-27’ and
W- 18” to 36”. Used in factories where look is not important.
(uncovered sewn sheets)
• The resin bonded slabs consists of glass wool lightly bonded
with Phenolic resin to form a semi rigid slab.
• Sizes: 27”X 42” Th; 1”. 11/2”. Used when good surface finish
is required. (studios, auditoriums), Resin bonded slab may
be used with perforated covering of slotted hard board or
metal.
• Quilts consist of mat of glass wool covered on both sides
with water proof paper and stretched through with strong
thread. th3/4” to1” in rolls of 3’x15, density = 5lbs./cft. Used
for floors & ceilings.
GLASS WOOL
FIBRE GLASS CURVED CEILING

CURVED CEILING
PANELS are manufactured
from high density dry felt
resin bonded fiberglass
wool
PERFORATED METAL MESH

Perforated metal mesh refers

to material marked with holes
of different shapes. To meet
different needs.

Perforated metal mesh

material used most are:
stainless steel cold-rolled low
carbon steel galvanized PVC
paper, etc..

can be used for building

stairs, balconies, for
mechanical equipment etc.
2. ACOUSTICAL PLASTER AND
SPRAYED ON MATERIALS:

• " Such materials are in the form of plaster applied to walls or ceilings
with a trowel or sprayed with an air gun."
• These are used 1) Where large surfaces are available
requiring less absorption coefficient.
2) When plain finish is required or curved
ornamental surfaces are to be treated.
• Because of its highly decorative character and less cost it is very
much useful for public buildings where high degree of absorption is
not required but catches smoke and dust .Even cracks may develop.

• It contains porous ingredient (plastic or chemical) mixed with an

adhesive material . Absorptivity is dependant on its thickness &
composition and the way it is applied and dried.
 TYPE 1 : ACOUSTIC PLASTER :
( National Gypsum CO. U.S.A)
• Composed of a
cementitious material
such as gypsum, Portland
cement .

• UNIFIL ACOUSTICAL
PLASTER : Unifil is an
inert (constant) feather
weight, granular substance
manufactured by exploding
a rare mica ore . Other
constituents are gypsum,
lime or cement.
• Could be used to interiors in
place of regular plaster.
ACOUSTIC PLASTER
SPRAYED-ON CEILING
TYPE 2 : Acoustic plaster which are
applied with a travel.

• ACOUSTIPULP: (Havwaiian Cane Products Ltd. ) Composed of asbestos

and cellulose fibre mixed with binders and preserving chemicals. It comes
in dry form, becomes a plastic material when water is added. It can be
applied just like a plaster to a thickness of ½ to ¾ “.
• TYPE 3 : Fibrous materials with a binder agent which are
applied by spraying or with a air gun or blower.
• LIMPET : (Keosbey & mattison co.) it consists of specially prepared dry
asbestos fibres which are conveyed through a flexible hose of 1 ¾ bore to
a spray gun which is surrounded by fine jets of water that makes fibres to
felt together before reaching the surface. Coating is then lightly pressed to
uniform thickness and density.
3. ACOUSTICAL BLANKETS:

• Materials used are wool, hair

felt, wood fibre and glass fibre.
Thickness- “½ to 4” or even
more fro special conditions.
Most absorptive at low
frequencies because of
thickness. Used in studio and
auditoriums for balanced
absorption. Some mineral
wool due to vibration in
buildings settle and to avoid
settling additional strength is
provided structurally with wire
mesh screen or hardcore cloth
on one side of blankets.
ACOUSTICAL CURTAINS
Acoustical curtains are both noise barriers
and noise absorbers. They are quilted fiber
glass blankets designed to absorb sound
and block noise from passing through them.
They are often called acoustical curtain
enclosures, acoustic curtains, acoustic
drapes, acoustical curtains panels,
industrial acoustic curtains, sound curtains,
soundproof curtains, sound blankets, noise
reduction blankets, noise control curtains.
Sound Curtains are a flexible, effective and
economical method of noise reduction in a
wide variety of Industrial noise control
applications and can be used to form
Sound Barrier Walls, Partial Sound Barriers
and Machine Sound Enclosures. The sound
barrier blankets offer both sound absorption
as well as noise reduction.
ACOUSTIC CURTAINS
4. SPECIAL SOUND
ABSRPTIVE MATERIALS
PANEL ABSORBERS:
Materials used: Pressed wood fibre or paper boards,
plywood or plane boards. ----------- used for ceilings,
wainscoting or even the entire walls of a room where low
frequency abs. is required. (Music studios, class rooms
and offices).

“Reduces the amount of additional absorption required for

optimum R.T.” Effectiveness of panel is influenced by the
presence of an enclosed air space back of it which affects
the abs. frequency characteristics of the panel . Abs. of a
thin panel can be increased by placing an absorptive
material such as mineral wool blanket in an enclosed air
space.
 HELMHOLTZ RESONATORS
The name comes from a device created
in the 1850s by Hermann von Helmholtz

• It is possible to produce a tone by blowing

across the mouth of a jug. As the jug is
emptied the resonant frequency will
decrease. The air in the mouth of the
resonator vibrates back and forth hence the
sound energy is absorbed. Air trapped in
the chamber acts as a spring. Absorption
can be increased by placing porous
material in the chamber. These are know as
HELMHOLTZ RESONATORS.

• Uses: In churches (Sweden) 100 yrs ago.

Use in the assembly hall of at the University
of Aarhus (Denmark). Also in the concert
studio of Danish Broadcasting Co. made of
concrete and located in the ceiling.
HELMHOLTZ RESONATER
 VARIABLE ABSORBERS

• Certain rooms especially broadcast studio and music rooms

use variable absorbers such as HINGED PANELS,
ROTATABLE CYLINDERS AND MOVABLE
DRAPERIES.

• In fact the treatment should provide the possibility of varying

the total absorption in the room over a wide range.
HINGED PANELS

They are provided

with absorbers on
one side and
reflectors on the
other. Operation
should be silent.
They cost less
easy to maintain
and could be used
on the flat or
splayed walls.

Hemholtz Resonators combined with perforated panels on hinges. The effect of

varying volume of air behind a perforated panel is to alter the resonant frequency of
vibrating system. The perforations are covered by a layer of porous cloth. The volume
of air space can be varied simply by turning the panel or hinges. Increased absorption
can be achieved by introducing material in the space backing.
HINGED ACOUSTIC PANELS
ROTATABLE CYLINDERS

Incorporate various combinations of absorptives and reflectives. The convex

surface of each cylinder is made up of 3 different materials each extending to
the full length of cylinder and 120 degrees around it which projects through a
suspended plaster ceiling.
2” layer of fiber glass, covered with 1\4” perforated plywood. (Moderate
absorption at low frequencies more absorption at high frequencies).
1/8” unperforated plywood backed with 2” layer of Fiber glass. (Abs. at low
frequencies and less in high frequencies).
½” unperforated plywood. (Uniformly absorptive at all frequencies).
ACOUSTICAL DRAPERY

Draperies are very

absorptive at high
frequencies and less abs.
at low frequencies, hence it
is restricted to doorways
and prosceniums.

For better absorption they

should be made of heavy
material.

Movable draperies provide

convenient means of
altering total absorption in a
room.
 MODULE 3: Acoustical Design

• Acoustical Design of Auditoriums - Multipurpose Halls: History of

Greek, Roman theatres. Use of IS code 2526 - 1963 for design
and detailing of Auditoriums - Cinema Halls – Multipurpose Halls
- Halls for speech and music.
• Acoustical Design and Detailing of Other Spaces: Open air
theatres, Halls for Indoor Sports, home theatres, recording
studios, open plan offices, etc. Need and use of sound
reinforcement systems, sound masking systems and speech
privacy.
OPEN-AIR THEATERS

HISTORY AND DEVELOPMENT OF

GREEK AND ROMAN THEATERS

The theater (derived from the

Greek word OEaTPOV }–
a place for the seeing) was
initially place for seeing than
hearing.
 GREEK THEATERS

• The spectators stood on the hill side and watched the action (usually
dancing) which took place on the cleared place or stage on the foot hill.
• Later this was developed into circular area called orchestra with two third
area covered by rows of benches around it.
• Afterwards platform was added behind orchestra (Skene)
• All action took place on circular orchestra whereas skene was used as
utility, rest and recreational purpose only by actors.
• Further skene was developed into LOGEION which was elevated form of
stage used in Roman theaters.
• Greeks realized that the power of an average voice is inadequate to
provide distinct hearing in the distant part of a large open air theater hence
actors used large masks not only to emphasize characters but to enhance
or reinforce the power of voice (megaphone effect).
MASKS
MASKS
EARLY FORM OF GREEK THEATER WITH
SEPARATE SKENE BEHIND ORCHESTRA
GREEK THEATERS
GREEK THEATERS
GREEK THEATERS
GREEK THEATER (LOS ANGELES) 2007.
 ROMAN THEATERS

• It was usually located on the plane area outside city.

• It was the single unit i.e. Auditorium, orchestra and
stage all connected together.
• Auditorium and orchestra were reduced to semi circular
shape with semi circular benches.
• Skene became a large platform (LOGEION) well elevated
enclosed by side and rear reflective walls.
• The walls decorated with relief work and there were three
large doorways in the rear wall and one on the either side.
EARLY ROMAN THEATER WITH LOGEION
AND SEMI CIRCULAR ORCHESTRA

1 5

2 3 4
ROMAN THEATERS
ROMANTHEATERS
ROMAN THEATER
 THEATER AT ORANGE

In the Roman theatre the orchestra is a place to sit, instead of a performing

area as the Greeks had used it. The stage grows in importance and is
brought into direct contact with the audience. The auditorium is a semicircle,
often partially supported by a hill underneath as well as concrete vaulting.
Corridors under the tiers were used in case of rain. This is the best-preserved
Roman theatre.
THE ROMAN THEATRE IN ORANGE(50 AD)
ROMAN AMPHI-THEATERS

•The Roman amphitheatre was the centre of

entertainment in Rome, Ruins of amphitheaters
can be found all over the empire.
•The largest amphitheatre in the empire was the CoIosseum,
Rome which could seat up to 50,000 people.
•The amphitheatre was the place where people went to see
fights. These fights were between slaves, prisoners of war
or criminals, and sometimes wild animals.(bull fighting)
•These fights were so popular that schools were set up to
train ordinary men as special fighters known as Gladiators.
 AMPHI-THEATERS WERE USUALLY OUTDOOR
ARENAS WHERE ONE WATCHED SPORTING EVENTS.
ANCIENT ROMAN THEATERS & AMPHITHEATER
ALPHA-THEATRES ARE "THEATRES IN THE ROUND":
AMPHI- MEANS "AROUND" IN GREEK.
 COMPARISION

GREEK THEATER ROMAN THEATER

 PROBLEM

In both Greek and Roman open air

theaters actors were frequently
disturbed by the converging
reflectors – since action took place
on the stage which was located on
the centre of curvature with elevated
rows of seats.
 SOLUTION

•Forms other than circular should be adopted

for the theater including the seating
arrangements.
•Or centre of curvature to be shifted to
convenient place.
•Risers inclined slightly backward to ten
degrees to reflect sound upwards.
•Risers retaining walls etc. to be covered with
shrubs, plants and bushes for absorption.
 THE DESIGN OF OPEN – AIR THEATER
The design of open-air theatre should include:
1. Selection of site
2. Orchestra shell
3. Sound amplification system.

SELECTION OF SITE: Quietness is most important. It should be

away from traffic both on ground and in the air. It should be
covered on all sides by natural slopes of surrounding hills, by
artificial embankments, and by a dense growth of trees. It should
be free from winds. Noise survey should be conducted to know
max and min. noise levels which in any case should not exceed
40 db. The slope of seating area should be 12 degrees. A seating
capacity of 600 should be regarded as the upper limit for theater
size when there is no sound amplification system . This
corresponds to max. depth of 75 feet and max. width of 85 feet.
ORCHESTRA SHELL
 ORCHESTRA SHELL
• It increases the average sound level throughout the auditorium
and provides a more uniform distribution of sound pressure over
the entire seating area. It also enables the performers to hear
each other more clearly. The simplest type of orchestra shell has
highly reflective vertical wall behind the stage. Sound will be
almost equally reinforced in all directions in front of the wall and
to all parts of the audience. The stage floor should be well
elevated and the auditorium floor should be sloped up towards
rear to permissible limits. The addition of vertical side walls to the
shell will reinforce the sound further. They should be non parallel
with splays or convex surfaces incorporated which will diffuse the
sound throughout seating area. (useful when sound amplification
systems are used). An overhead inclined reflector is a valuable
addition to a vertical wall behind the stage.
 EXAMPLE
• This following example is quite attractive, simple and free from focusing
effects. The angle made by the overhead inclination with the horizontal is very
important which should be 45 +(0/2), where 0 is an angle of inclination of
seating area. If the seating area in an auditorium is inclined at angle of about
12 degrees above the horizontal, then the overhead reflective surface should
have an angle of 51 degrees above the horizontal. (12/2+45).
• Sometime if the stage is quite large and seating is steeply inclined then
greater angle of inclination has to be provided for overhead reflector which
would apart from looking odd is also impractical and creates echoes. To avoid
this, interior reflecting bands are introduced in the ceiling which would make
required angle of 45+)/2 and also reduce angle of overhead reflector.
• In general concave surfaces such as cylinders, ellipsoids, spheres and
paraboloids should be avoided which are expensive to build and are
acoustically unsatisfactory since provide non – uniform distribution of reflected
sound in seating area.
SPEECH ARTICULATION TEST

• These are employed as a measure of how well speech

can be heard in the open air in order to determine the
limiting dimensions of open-air theatres. If a speaker calls
out 1000 meaningless speech sounds and an observer
hears 850 of them correctly, the speech articulation is said
to be 85% (85%= very good, 75%= satisfactory, 65%=not
acceptable). These tests indicate that an open – Air
Theater should be located in a site which is free from
winds. If such a site cannot be found then the theater
should at least be so oriented that wind will blow from
stage toward the audience.
RESULT OF SPEECHARTICULATION TEST
OPEN-AIR THETER WITH ORCHESTRA SHELL
OPEN AIR THEATER
HOLLYWOOD BOWL HISTORY
HOLLYWOOD BOWL SEATING
ORCHESTRA SHELL
OVER ALL VIEW OF ORCHESTRA SHELL AND
OPEN AIR THEATER
ORCHESTRA SHELL SOMEWHERE
UNDER THE RAINBOW
ORCHESTRA SHELL WITH ROTATING
CYLINDERS
EXAMPLES OF O.A.T.
 DESIGN OF HALLS USED FOR
SPEECH,DRAMA AND MUSIC
• Selection of site in a quiet surroundings.
• Noise survey to determine the extent of sound insulation
requirements and construction.
• Arrangements of rooms within the building for controlling
noise, including solid and air borne noise.
• Shape and size that will ensure proper diffusion of sound in
all parts of room for speech, drama and music.
• Proper selection and distribution of absorptive and reflective
material and construction that will provide optimum
conditions for the growth decay and steady distribution of
sound.
• Proper installation of sound amplification system.
 DETERMINING THE AUDITORIUM FLOOR AREA

• The required floor area of an auditorium can be calculated

by multiplying the intended number of seats by about eight
square feet (or 0.75 Sqm.)then adding the required aisle
space and the desired stage area. i.e. central aisle 1.5 M.
and side aisles 1.00 M.

• Once the required floor area has been calculated, the shape
and layout of the auditorium should be determined by
acoustic requirements and the calculation of sight lines. Of
course, there may be some architectural and engineering
controls on the available shape caused by site constraints or
certain construction methods, but these need to be
addressed along with the acoustic parameters.
 WORKING ON THE AUDITORIUM VOLUME

• Some of the most basic auditorium design parameters

have a significant effect on the acoustic environment,
which is why they must be discussed in the earliest design
stage.

• Consider width as 1 then the ratio of the length to width

for a typical auditorium should be between 1.2 and 1.7.
(i.e. If width is 1 then length could be 1.2---1.7)
1: 1.2—1.7
• Even more important is the ratio of auditorium height to
width, which should be between 0.4 and 0.7.
1: 0.4—0.7
AUDITORIUM VOLUME

EXAMPLE
1:1.5:0.5=100’X150’X50’(30mx45mx10m If the ceiling is too low, it
1:1.5:0.5= 70’X105’X35’(20mx30mx10m) restricts stage sound from
reaching the people at the
rear of the room. If too high,
sound reflected from the
ceiling arrives much later
than the initial direct sound
from the stage and affects
intelligibility. Actual ratios
should be an acoustically
informed decision based on
required seating, auditorium
dimensions, shape, layout
and internal angles.
 VOLUME PER SEAT
• The optimum vol./seat for a room is the lowest value consistent with the visual
and aesthetic requirements with the comfort of the audience and with regard
to appearance.
AUDITORIUM AND MOTION PICTURE ---1000 CAPACITY---125 CFT/SEAT
APPROX. 3.55 CUM/SEAT. EX: 15.30MX21.5 MX10.70M=3520 CUM.
• EXAMPLE: 50’X70’X35’---ie. IN THE RATIO OF 1:1.4:0.7
------------------------------------------------------------------------------------------------------
• 2000 CAPACITY ----------------175 CFT/SEAT
• MUSIC ROOMS--------------- 1500 CAPACITY -------- 100 CFT/SEAT
Lower vol./seat will reduce the cost of maintenance, air conditioning, cleaning,
lighting, redecorating etc.
If the seats, carpets, draperies etc. have been carefully chosen there may be
no need for additional acoustical material to control reverberation. Further
lower the vol./seat, the higher will the sound level in the room for a source of
a given power.
 PLANNING THE AUDITORIUM
1. Examine the site with respect to noise
(tolerable noise level is 30 to 40 db )
2. Limit the size of the auditorium
3. Design the shape (ref. to sketches in the next
slide)
4. Provide optimum R.T. in all parts of the
auditorium.
The optimum reverberation time for an auditorium or room of
course depends upon its intended use. Around 2 seconds is
desirable for a medium-sized, general purpose auditorium that
is to be used for both speech and music. A classroom should
be much shorter, less than a second.
 DESIGN OF A ROOM SHAPE
• Floor plan:
The seating should be arranged as near to the stage as possible
taking into account distribution of sound and visibility. Ratio of
width to length to is between 1 and 1.2(width): 2(length) have
been found satisfactory. Circular or elliptically shaped floor plans
give rise to focusing effects and non-uniform distribution of
sound and echoes. In order to bring audience as close as
possible to the stage and auditorium –floor plan should be
designed with diverging side walls. If path length is 65’ or
more between direct and reflected sound it gives rise to echoes-
--and between 50’ and 60’ produce blurring quality of sound
resulting in lack of intimacy .
• It is very important to use floor area which has the best
acoustical environment for SEATING.
THE AUDITORIUM'S PLAN SHAPE
 THE AUDITORIUM'S PLAN SHAPE

• Of these, the most solid choices are fans, rectangles and

modified polygons; square is acceptable if the auditorium is
large enough; while cruciform and round shapes are the
hardest to design for good acoustics. After all, the cruciform is
actually four rooms joined together in the form of a cross, so
sound from each section affects hearing in other sections. The
problem with round or partially round rooms is that the walls
will reflect the sound waves to focus on a particular point. This
is similar to the way a semicircular reflector in a flashlight
focuses light rays into a narrow beam. At the beginning,
architect must resist the temptation to depart from acoustically
tried and tested shapes in search of something unique that
runs the risk of favoring form over function.
 CEILING

• If ceiling of an auditorium is too high not only will the volume

per seat will be excessive but also long delayed reflections
from this ceiling will create echoes. Slightly tilted ceiling at the
end will reinforce the sound reaching rear portion of an
auditorium and also will prevent echoes.
• Concave surfaces such as domes, cylindrical arches and
barreled ceilings should be avoided wherever possible.
• In order to avoid flutter echoes, a smooth ceiling should not be
parallel to the floor. If both ceiling and floor are smooth &
highly reflective the flutter echoes will be very prominent.
 CEILING (CONTD.)

• The ceiling should provide favorable reflections of

sound and also aid in diffusion of sound .
• If adequate means of diffusion are furnished by the
floor and wall surfaces then the ceiling may be utilized
for reflection of sound.
• Ceiling height used for music and speech should be
about – 1/3 rd or 2/3rd of width of the room –lower ratio
for large halls and higher for small rooms. E.g. for
auditorium of size 100’ x 150’ – a ceiling ht. of 30’ to 35’
is adequate whereas for a room size of 18’ x 24’ ht. of
10’ to 12’ is optimum.
THE AUDITORIUM'S INTERNAL GEOMETRY
 BACONY RECESS

• Good design of a balcony recess requires a shallow depth

and a high opening. Depth should not extend twice the ht.
of the opening. In large auditoriums and theaters it is
advisable to break up the rear wall in order to provide
proper diffusion in the recess.
• Balcony wall should never be overlooked since it is quite
large. By tilting this surface downwards it is possible to
utilize the resulting reflections to increase the sound level
in the middle and rear portion of auditorium.
• The balcony soffit and rear wall should be designed so
that large portion of sound coming directly from the source
will be reflected towards audiences under the balcony and
remainder absorbed by rear wall.
CEILING FLOOR AND BALCONY SOFFIT
CEILING FLOOR AND BALCONY SOFFIT
SOUND REFLECTED FROM
INCLINED REAR WALL
 SIDE WALLS

• The side walls reflecting the sound are beneficial to those

seats where sound is inadequate by providing splays. But in
large auditorium if these reflected sounds are delayed
echoes may be created, in such cases the side walls should
be treated with rough surface to diffuse the sound or treated
with absorptive material. Flutter echoes usually occur
between side walls which can be avoided by diverging non
parallel or tilted walls or splayed walls.
SIDE WALLS
 ELEVATION OF SEATS (RAKING OF SEATS)

• Elevation of seats in order to provide a free flow of direct sound from source
to the listeners – since sound waves which graze audience are greatly
attenuated as audience contribute highly absorptive surface. The first few
rows can be level—since they have a good line for both sight and sound.
The higher the source is elevated farther back level can be extended.
• An angle of elevation should not less than 8 degrees. In a demonstration
lecture hall it should be at least 15 degrees. Steeper elevation is desirable
without making aisles too steep.
• Raked seating (also referred to as retractable seating, or stepped seating)
is simply when the seating is on an upwards slope away from the stage, in
order to give those at the back a better view than if the seats were all of the
same levels.
• A ‘raked stage’ however, is the opposite, with the stage designed to slope up
at the back to allow actors occupying the space at the rear to be seen with
equal clarity as those at the front. Raked stages were very popular in the
Middle Ages and early modern era, but have since been eclipsed by the
raked seating approach instead.
RAKING OF SEATS FOR AUDITORIUM AND BALCONY.
PLAN-SECTION OF A LITTLE THEATER
SECTION THROUGH LEGITIMATE THEATER
AUDITORIUM, KONGU ENGINEERING
COLLEGE COIMBATORE, INDIA
AUDITORIUM, KONGU ENGINEERING
COLLEGECOIMBATORE, INDIA
IMAGES OF AUDITORIUMS
IMAGES OF AUDITORIUMS
IMAGES OF AUDITORIUMS
WALT DISNEY CONCERT HALL
ARCHITECT’S NEST
ACOUSTICAL DESIGN OF SEMINAR HALL

Seminar rooms are used for staff training and staff information
delivery. Seminar rooms are sometimes also used as 'rooms for
hire' to suitable third parties and will typically need appropriate
fixtures and access to amenities. The space may also be used as a
general student teaching space.
This space is to be located adjacent to or near office / administration areas,
and will ideally also have proximity to reception and lobby areas.
• Design occupancy minimum 20 persons.
• Preferred 50 persons.
Approx:Area
0.8m2 per staff member, 40 m2 for 20 persons and - 100 m2 for 50 persons
- Carpet finish, acoustic tile ceiling.
- Curtains to internal spaces where necessary.
- Sliding or swing doors are acceptable.
- Larger seminar rooms may have an end table or suitable for catering
delivery and serving. Blinds or curtains for windows.
- Acoustic treatment within walls and ceiling spaces to be incorporated.

- Noise disruptions and an echo of your own voice can just make things
more miserable. When it’s the meeting room, it affects interviews,
presentations, deals with your clients. Your integrity is also at risk when
your walls can leak out critical information. The last thing you want is to
lose a client just because you could not hold a decent conversation. To
avoid such uncalled occurrences, soundproof seminar hall and improve
sound acoustics.
• Noise could be an outside noise coming through the windows or other areas
of seminar hall.
• It could be a reflection from glass doors, whiteboards, or large screens.
• It could be a reverberation from roof, walls & floor. In order to completely
address both outside noise and reverberation inside the room, you’ll need a
combination of soundproofing and sound-absorbing solutions.
• Soundproof your drywalls – by Installing sound-absorbing panels such
as those made from cement boards with the help of Rockwool can absorb the
unwanted noise and produce a soft sound.
• Use of heavy curtains –will improve the sound quality in a seminar hall.
• Use sound-absorbing material for ceiling – Acoustical ceiling tile is one of
the most effective sound-absorbing solutions.
• Install acoustic wall partitions – A partition wall is lightweight, easy to
install, easy to move around, and works like baffles.
• Add a layer of acoustic foam – Foams do a great job at absorbing sound
but are not aesthetically very pleasing as compared to other options. It can
be attached to ceilings or walls. Lay thick carpets on the floor-
ACOUSTIC PANELS
 LECTURE HALL
• In any educational set-up, the acoustical effectiveness of the internal
lecture hall spaces for teaching-learning could be achieved if such spaces
are designed to provide good sightlines and speech intelligibility.
(Intelligibility of speech is the percentage of speech that a listener
can understand).
• When the teaching-learning environment is acoustically designed, the
learning space becomes alive, speech intelligibility will be obtained and
good sightline is assured. Good sightlines enable students in the remote
parts of lecture halls to see the chalk or white board, and the teacher
without any obstruction.
• Firstly, the screen could be kept really high off the floor. However, while
that may eliminate people in the back rows from being blocked, it creates
a new problem for people sitting on the front row with an extreme viewing
angle. They are going to have to lean their head back the whole time.
• Secondly, it is to have the rows of seats at different levels. This will allow
you to keep the screen positioned low enough to provide a great viewing
angle for everyone. Speech intelligibility on the other hand is critical for
proper development of school activities and communication between
teachers and student.
• Adequate loudness and good distribution of sound depends on the room size,
shape and absorptive properties of surface finishes. The type of building
materials to be selected will depend on their sound absorption coefficient.
• Some materials, usually porous or thin panel materials such as plasterboard,
mineral and glass wool, textiles, carpets, as well as the people present in a room
space have deep sound-absorbing effect. But, hard surfaces such as concrete,
masonry, plaster, glass, etc absorb very little sound and are generally classified
as sound-reflecting surfaces. Large-volume spaces with lots of hard finishes
such as concrete, stone and plasterboard will have longer RTs, while spaces with
soft finishes such as carpeted floors, acoustically absorbing wall panels, curtains,
acoustic ceiling tiles and furniture with open-weave fabric covers will have
shorter RTs
• When the reverberation time is long or has high values, it becomes difficult to
distinguish sounds and understand speech because the syllables will overlap
and interfere with intelligibility. Therefore, long reverberation time is not
appropriate for the teaching-learning classrooms, because the reflected sound in
form reverberation will be longer than the ideal. RT of 1.00 second or slightly less
is proffered.
• Acoustically enhancing teaching and learning therefore involves good sightlines
for students to see the chalkboard and the teacher through the stepping of the
floors with appropriate risers and rows of treads.
 LECTURE HALL-TREATMENT
• These multi-functional rooms are used regularly as classrooms but often play
host to additional events such as guest speakers and presentations. Though
lecture hall uses may vary, speech remains the constant factor across
events. In order for speakers to successfully communicate with an audience,
there must be high speech intelligibility and low background noise.

• CONTROLLING ACOUSTICS IN CLASSROOMS

• Background noise and reverberation in classrooms can be effectively
controlled with acoustic treatments that provide predictable results.
• ACOUSTIC GOAL : Reduce disturbing noise levels so that students can
understand their instructors clearly.
• DESIGN OPTIONS : Fabric finishes for typical settings, or wood finishes for
spaces such as prestigious lecture halls.
• PRODUCT ATTRIBUTES : Sound absorbing and impact-resistant panels to
reduce noise levels in rooms. Special ceiling tiles to control noise.
Fabric Finishes
Acoustical absorbers control echoes and reverberation in
classrooms for better learning environments.
For areas that are in close proximity to students, include
requirements for impact-resistance.
• Sound-Absorbing Panels – Acoustic Treatment Options
• Decreasing reverberations times will help reduce background noise,
which will make listening easier. To achieve lower reverberation times,
side walls should be treated with sound-absorbing material. Acoustic-
absorption panels are one of the most popular choices for this type of
treatment.

• A common question is how should the acoustic panels or stretched

fabric wall systems be spread out? the best rule of thumb, is to spread
them as widely as possible, so that the treatment is never concentrated
in a single area. Furthermore, acoustic treatments in lecture halls
should not be placed unnecessarily high, since lower reflections may
have more effect than those reflecting high off of the walls.
• Sound Treatment for Mechanical Systems
• Mechanical systems are often the main source of intrusive noise in
classrooms and lecture halls. HVAC and other mechanical systems are
needed to keep the building running, but can often create a lot of noise.
• For new buildings, you can minimize noise by locating machinery away from
walls to avoid additional structure-borne noise from vibrations. If on an
existing building where machinery cannot be relocated, treat the parts with
sound-absorbing material to reduce noise at the source.
• Sound Reinforcement : For smaller rooms, the speaker’s voice is typically
loud enough on its own to suffice. With larger rooms, or speakers with weak
voices, a sound reinforcement system complete with speakers and
microphones may be required.
• Lecture Hall Acoustics : In an area that is so critical for speech comfort and
intelligibility, acoustic treatment must be considered during the design phase
of these classrooms. Ensure that you implement sufficient acoustic treatment,
and design geometries for clear vision and minimal reverberation.
• TECHNICAL INFORMATION ABOUT REVERBERATION
• T60, or Reverberation Time, is the number of seconds it takes for sound to
decay 60 decibels.

• Classrooms have one of the lowest T60 targets. The quieter the room, the
easier it is for educators to speak and teach and students to hear and
learn. The table at the right lists some commonly accepted T60 times for
different types of rooms.
• Room Type Optimal T60 (seconds)
• Classrooms 0.6-0.7
• Band Rooms 0.9-1.1
• Movie Theaters 0.9-1.2
• Choral Rooms 1.2-1.6
• Multi-Purpose Rooms 1.6-1.8
• Concert Halls 1.7-2.2
PLAN- SECTION OF A LECTURE HALL
 AUDIO VISUAL/MEETING ROOM
• Drop ceiling :The drop ceiling is a change that has to be made virtually to the
structure of the meeting room. The lesser the height lesser the echoes. Echoes
will create confusions in the meeting room. So, drop ceiling will be an excellent
idea for meeting room.
• Acoustic mats : The mats are a need but unnoticed decors in the meeting
rooms. If you do not like to add any kind of decorations, then acoustic mats are
best.
• Curtains and drapes: Curtains and drapes are another soft surface decors
which will reduce unwanted noise. The windows are usually covered in the
meeting rooms.
• Acoustic door panels: The door of a meeting room is always made strong and
appeal elegant. Now, to make them more important, there are acoustic door
panels manufactured. The panels will be placed on the surface of the door
making it easy for them to absorb the high-frequency sound waves. It will be a
great idea to include acoustic door panels for an acoustic effect in the meeting
room.
• Conclusion: Above is the guide on how to improve office meeting room
acoustics. They are easy and understandable to anyone.
• Soft furniture : The hard surfaces and flat surfaces help in the reflection of
sound waves. It is then the sound waves turn into echoes. They can also
cause noise. It would be good to avoid hard surfaces either by eliminating
them or by covering them. Soft furniture will help to absorb the sound.
• Acoustic baffle panels: These are hung for decoration. Now, these baffles
are available with acoustic nature. They are made of different layers.
• Cover cloths: The soft materials help a lot in preventing echoes and noise
pollution. It would be great to add more soft cloths and coverings.
• The chairs and table in the office meeting room require covers. Instead of
plastic coverings use cloths’ cover. So, add more of cloth covers to the
furniture at your audio-visual meeting room.
• Acoustic art panels: Artworks always bring joy to anybody. There is
nothing wrong in adding artistic works in an office meeting room. So, add
some art panels with acoustic layer in them. The artwork can be
customized according to the theme or the design of your audio-visual
meeting room.
• Sound Diffusion: Distance from Speaker to Listener

• It may sound evident, but keeping as short of a distance as possible

between the last row of audience seating and the speaker is essential.
Not only will this make listening easier for the entire audience, it will
also create better sight lines so that everyone in the room can both see
and hear the speaker.

• Staggering the sight lines between adjacent rows means that you can
diminish the slope of the floors needed to provide clear vision, which is
an essential component for clear auditory comprehension.

• Note the sloped floor to improve line-of-sight auditory comprehension, as

well as the staggered ceiling which minimizes ray diagram reflections. Most
importantly, plush seats and stretched fabric wall systems minimize excess
reverberation.
• Speech is most easily understood in rooms with what is known as “dry”
acoustics, in other words, rooms that reduce the reflection of sound off
multiple surfaces that causes reverberation. But while good, dry meeting
rooms acoustics are universally important, the causes of poor audio-
visual meeting room acoustics are various.
• Areas and surfaces that cause poor acoustics:
• Hard surfaces, like glass walls, white boards, and large screens.
• High traffic areas with a lot of ambient noise.
• Is there a lot of distracting ambient or outside noise coming into your
conference room from other parts of the office? Are there many hard
surfaces in the audio-visual meeting room, like a concrete or wood floor
or glass walls?
• The first step to improving meeting room acoustics is to identify what
your problems or concerns are. Then you can invest in the right solution.
• Drywall, also known as plasterboard is a panel made of gypsum.
Drywall partition is usually employed to build interior walls
• Drywall is the most commonly used for soundproofing. It is a fire-
resistant board, and a board of 5/8″ thickness can resist fire for an
hour, which concurrently makes it the best drywall to reduce noise.
Drywall is a construction material used to create walls and
ceilings. It's quick and easy to install, incredibly durable, and
requires only simple repairs when damaged. In the commercial
building, drywall is used to wrap columns to conceal steel beams
and is an easy and inexpensive way to top off masonry walls and
ceilings. It is also used to add fire resistance at walls and ceilings,
containing the spread of fire so people can evacuate safely during
an emergency. Drywall is made primarily of gypsum.
• Despite being used to make drywall, there's a large amount
of water in gypsum. The water is in crystalline form, which is why
the individual molecules of gypsum are dry. These crystalline water
molecules give finished drywall its fire-resistance.
• Consider these Sound Masking Options
• 1. White noise.
• A soft background sound, like the kind created by a small water feature
or a white noise machine, can cover the sound of outside noise and
improve audio- visual meeting room privacy.
• 2. Soundproof drywall.
• Sound proof drywall is more expensive than regular drywall but it carries
the extra benefit of increased mass density to block outside noise.
• 3. Soundproof curtains.
• While acoustic curtains improve the sound quality in a room, soundproof
curtains are made with heavy vinyl, that block and contain sound.
• 4. Acoustical ceiling tile.
• Acoustical ceiling tile is one of the most popular sound absorbing
solutions.
• 5. Hanging baffles.
• Acoustic hanging baffles are panels suspended perpendicular to the ceiling.
Baffles are best for high ceilings and can act as both a noise reduction and
aesthetic solution as they come in a variety of colors, shapes, and sizes.
• 6. Acoustic partitions.
• Partitions work like baffles but on the ground instead of the ceiling. They
also have the benefit of being lightweight and easy to move around, so your
acoustical solution can travel to wherever you need it.
• 7. Acoustic foam.
• While not as aesthetically pleasing as products such as baffles or partitions,
acoustic foam does the same job. Foam usually comes in square or wedge-
shaped tiles of varying sizes and thicknesses. It is attached to ceilings or
walls.
DOON INTERNATIONAL SCHOOL, BHUBANEWAR, ODISHA
 NOISE CONTROL IN FLATS

• NOISE CONTROL IN MULTI-FAMILY RESIDENTIAL BUILDINGS

• The problems range from noise transmission by noisy upstairs
neighbors, through adjacent party walls between neighboring units or
through windows.
• The noise control problems associated with floors and ceilings range from
voices of TVs and music to footfall noise and from plumbing noise.
• Many of the problems could have been prevented in the first place if good
acoustic design principles had been followed during the design and
construction process. After the fact, when the noise problems are
discovered, solutions can be very difficult and expensive to resolve and in
most cases, there is no easy solution.
• Unfortunately, what is specified by architectural sound design and what is
subsequently built do not always coincide if proper attention is not given.
Privacy needs freedom from intrusive noise from your neighbors.
• HOW TO ARRANGE ROOMS IN BUILDINGS FOR NOISE CONTROL
• First things first – we need to divide rooms into two groups: less sensitive
and more sensitive to noise. Less sensitive rooms include the kitchen,
bathroom, and the likes. More sensitive rooms are rooms like bedrooms
and living rooms.

The rooms must be arranged in such a way that the more sensitive
rooms are shielded from the noise and that the less sensitive rooms are
closer to the noise source, guarding the more sensitive rooms.
• HOW TO ARRANGE BALCONIES FOR NOISE CONTROL
• Balconies or terraces provide access to the outside environment, as well
as fresh air and daylight. They are one of the most desirable parts of an
apartment complex, but their improper arrangement can nullify all that
through the undesirable noise.

You have to have in mind where the building is oriented. Exposure to the
high traffic area would promote the noise entering the building – a
common problem for high-density cities. In such cases, measures that
reduce the impact of noise must be put in place.
• WALLS
Fortunately, airborne sound leakage can be easier to detect; as one can
do so by getting close to the wall, and listening for the sound coming
through the wall. The sound will become louder as you get closer to the
leak.
Equally important, party walls that extend to the roof or floor structure
above the drywall ceiling in a dwelling unit should be fully sealed.
• Sound that travels through the ceiling space and into the adjacent
dwelling next door is characterized as “flanking” transmission, through
the floor structure. Generally, the sound will follow the path of least
resistance, therefore in new projects it is wise to trace potential paths of
sound and ensure that the pathways are blocked off.
• WINDOWS
• Sound level intrusion through windows can be a source of annoyance. If
the window can leak air it can also leak sound.
• Interior spaces between the frame and the wall should be insulated and
sealed before the window casings are installed.
• It is a case of letting your ears do the walking and listening. If you detect
noticeable differences in the sound you may have found the problem; the
solution will be to remove the casing and insulate and caulk any leaks.
• Some times, the thickness of the glass may be the problem. In that case, it
may be necessary to install another layer of glass on the inside in a similar
fashion to the windows on the outside. Just make sure that the additional
pane of glass is well sealed into the opening.
• FLOOR/CEILING ASSEMBLIES
• Floor and ceiling assemblies can be the pathway for two types of sound
transmission, the first is the airborne transmission of sound and the second
is the passage of impact sounds such as footfalls on the floor above.
Assuming that the floor-ceiling assembly has been designed and constructed
to provide adequate airborne isolation, impact noise can still be a problem.
If the finished floor surface has been designed to accommodate carpeting,
will normally provide a good degree of impact sound isolation.
• On the other hand, when the finished floor is tile, hardwood flooring, or
ceramic tile the solution is to install an impact sound-absorbing flooring to
separate the finished floor from the subfloor structure. (floating floors).
• One of the most common sound isolation elements in floor-ceiling
construction is the use of a metal resilient channel isolator that is attached
to the underside of the gypsum board ceiling.
• Soundproofing floors and ceilings and a bit of furniture rearranging can have
a positive impact on blocking the sound.
•
INDIAN CONTEXT
• One of the best ways to soundproof ceilings in flats is to install
acoustic insulation into a false ceiling built underneath the
existing structure. This is a method commonly used when
soundproofing a flat as it produces great results.
• WHAT MATERIALS CAN BLOCK SOUND?
• Acoustic Membrane.
• Acoustic Mineral Wool Cavity Insulation.
• Fiberglass.
• Resilient Channels.
• Acoustic Hangers (Mounts)
• Soundproof Drywall (Plasterboard)
• Dense Board (OSB, Plywood, Particle Board, Fire Board)
• Soundproof Floor Underlay.
• 1. Get your walls and ceilings to
absorb or reflect sound!
• Sound travels in waves and can easily
creep into other spaces where it’s
unwelcome! To prevent this, you need
noise barriers or absorptive
materials. Nowadays, there’s a whole
host of things that you can do!
• Install acoustic tiles or panels,
• Clad ceilings with perforated
gypsum boards,
• Clad walls with MDF boards or
integrate MDF boards in the ceiling
when it can take the weight,
• Install fiberglass on the ceiling
giving the impression of a false
ceiling.
• 2. Avoid creating large hollow spaces in your house!
• As much as possible, avoid high ceilings, long windowless hallways,
and staircases because they cause sound to bounce around. Wouldn’t
you much rather get cozier rooms with lower ceilings, or install a false
ceiling?
• 3. Think through the placement of your rooms!
• Do you really want the puja room adjacent to the kitchen? Try meditating
or chanting in the puja room while someone is cooking food in the
kitchen. Imagine them using the mixer-grinder!
• Washing machines and dryers also emit sound when in use. We
recommend you keep your living and bedrooms away from your puja
rooms, kitchens, staircases, etc.
• 4. Sound-proof your windows and doors.
• Instead of going for large slider French windows in the balcony, get
doors installed that can be tightly shut, especially if that balcony faces
the road. Larger the window, more the sound entering your house!
If you still want to go for windows, double glaze them to restrict sound
as it is one more barrier for the sound waves.
• 5. Invest in good-quality heavy doors.
• Most doors, especially in apartments or houses are made of panels
which have a hollow core. It is better to replace them with heavy doors
made of wood with a solid core!
• 6. Retrofit your walls and ceiling with perforated panels.
• Reduce sound-seepage from the overhead apartment by using
perforated panels hidden inside your false ceiling. These sheets absorb
the sound waves and limit their transmission. Similarly, add a few
centimetres of these sheets onto your walls. For a professional finish,
you could go in for special acoustics ceiling and wall materials that come
with acoustics star ratings. The higher the star-rating, the more silence
you can enjoy!
• 7. Invest in wooden furniture.
• Place it against the walls from where you plan to reduce noise seepage,
for eg: against a common wall that is shared between the master
bedroom and the entertainment room. Or a wooden bookcase against a
wall shared with a noisy neighbour can help absorb some of the sound
coming through the walls, especially if the bookshelf is arranged.
• 8. Use heavy furnishings and carpeting.
• Carpets, in spite of their many flaws, are one of the most economical and
durable ways of dealing with sound. They all absorb sound effectively.
• 9. Change your furniture around.
• If you’re already in a house that has hollow spaces around the staircase,
or no false ceiling, just fill up the space aesthetically with heavy furniture.
Move other things around as well.
• One of the best ways to soundproof ceilings in flats is to install acoustic
insulation into a false ceiling built underneath the existing structure.
This is a method commonly used when soundproofing a flat as it
produces great results.
• HOW TO SOUNDPROOF AN APARTMENT
• Living in an apartment has many benefits, but living so closely to
multiple neighbours can mean more noise pollution.
• To prevent noise between rooms and between apartments, or if you're a
music fan and want to keep noise in, consider replacing your doors,
soundproofing your windows, blocking any gaps and soundproofing your
floors.
• Blocking noise between rooms in your apartment
• Adding materials such as foam panels to the walls can have a hugely
positive impact on reducing sound as it travels from room-to-room. If you are
someone that prefers to leave the doors of each room open throughout the
house then consider closing a door or two. This will create a barrier between
rooms, reducing the level of sound heard. Using weather proofing strips
around the four edges of the door will help to seal the gaps that sound easily
passes through.
• Soft furnishings will also help to absorb the sound as it arrives in the room.
• Stop outside noise coming in
• Windows that are made up of single panes do not only ensure
lower levels of heat insulation, but they fail to do much to
protect you against noise pollution too. Double or secondary
glazing instantly lowers the amount of sound travelling in from
outside, with estimates ranging anywhere between a 15-20%
improvement.
• Most rooms have at least one window, and any rooms that
feature more are usually the most susceptible to being exposed
to external noise. Replacing your doors with either composite or
solid alternatives is another good way to absorb the sound as it
passes through into the room.
• Replacing your door
• If the source of the noise is coming from outside, rather than
above or through the walls from the adjacent building, it will
help to add some additional features to the front door which
makes soundproofing doors in flats much easier to do.
• The gaps that are naturally in place around the edge of the
doors allow sound and noise to get through into a flat.
Replacing the front door with a composite or solid wooden door
is the best solution for absorbing the sound. Alternatively, you
can also purchase an acoustic door seal kit to help with lighter
weight doors.
• There are a number of these available on the market at largely
affordable prices and these adaptations can be performed
easily within the home. When soundproofing doors in flats they
help to block out the gaps around the edges of the door, helping
to stop the transfer of noise from outside.
• Soundproofing your windows
• Location of your home next to a nearby busy road, making constant noise
throughout the day can prove to be extremely irritating, but some simple
alterations can help to make a difference. Thankfully, soundproofing
windows in flats is a relatively easy job to undertake.
• Wooden windows act as solid barriers to lower the level of sound coming in
through the window. Shutters are not only a popular and stylish window
dressing but because they are made of timber, they also offer effective
noise protection. They are easy enough to open and close, while helping to
make life more bearable inside.
• Soundproof curtains, are made from thicker material which helps to absorb
sound travelling through the window. Buying longer curtains that reach the
floor will also reduce the gaps in which sound usually pass through and are
one of the most economical ways to improve quality of life when
soundproofing windows in flats.
• Blocking noise coming through ceilings and walls
• One of the best ways to soundproof ceilings in flats is to install acoustic
insulation into a false ceiling built underneath the existing structure. This is a
method commonly used when soundproofing a flat as it produces great
results. Depending on the amount of height you can afford to lose in the
room, this will dictate what sort of insulation can be used.
• For example, smaller rooms will make it more difficult to install acoustic
insulation slabs without impacting on the space below. Higher ceilings make
this an easier job to use a product such as Rockwool Insulation Slabs high
performance levels when it comes to sound absorption.
• How to soundproof a floor in an apartment
• The soft material will help to absorb sound travelling through the floor.
• Carpeted flats or apartments will already benefit from the natural insulation
the material provides, with wool and pile carpets offering particularly good
levels of sound protection. This makes soundproofing a flat a far easier job
to undertake.
• SUMMERRY :
• Easy way is to add acoustic insulation panels to the ceiling when
soundproofing a flat, which can be purchased in a range of different colours.
This can be done by simply adding adhesive material to position it in place
on the ceiling. Alternatively, applying direct-to-wall insulation panels to the
existing ceiling will help to reduce noise transfer.
• Soundproofing walls in flats can be done in several ways. Adding items like
bookshelves and furnishings adds another layer of protection that will help to
dampen the noise. You can also choose to add soundproofing foam to the
walls, which will have a similar effect. This might not be the most attractive
option but it will prove to be effective.
• Installing insulation slabs into the wall will offer far more protection and a
longer-term solution to the problem. Rockwool RW3 Acoustic Insulation
Slabs are one of the most commonly used products for acoustic sound
insulation in the home, placed in both external and internal solid walls.
• You may also decide to build a false wall which can be filled with acoustic
insulation slabs similar to Rockwool Insulation Slabs which is ideal for cavity
walls, as well as internal stud walls.
SOUND ABSORBING PANELS FOR FLATS
HANGING SOUND ABSORBER
ACOUSTIC WALL TILES
 MOTION PICTURE THEATERS
Concave rear walls, parallel side walls, parallel ceiling and floor, and
surfaces that give long delayed reflections in the seating area must be
avoided.

• Because the sound is produced by means of electro-acoustical equipment

, the acoustical design of a cinema is not completely dependent on
beneficial reflections from walls, proscenium, splays, and ceilings as in
legitimate theater. The ave. sound level of speech is 65 db. for dialogue
and a capacity of 1000 seats should have an amplifier of at least 20 watts.

• Lengths greater than 150’ should be avoided. (1/7 second) since it will
create lack of synchronism between sight and the sound. The floor should
rise steeply towards the rear, the loudspeakers and screen should be well
elevated. Splays and other functional deviations in the wall and ceiling
contours can be used to give proper diffusion of sound.
 MOTION PICTURE THEATERS (CONTD.)

• A relatively deeper overhang of balcony can be tolerated since the ave.

speech level is somewhat higher. The balcony soffit should slope
downward toward rear and should not be absorptive. Vol ./seat ---- 125 to
150 cft is good but lower vol. is still better. By this building cost is
reduced, load on A.C.is reduced, (smaller units both for A.C. & sound
amplification system)

• Treatment of the walls behind the screen with highly abs. material
prevents sound radiating from the back of the loudspeakers from being
reflected to the audience.

• Since the projection booth is potential source of noise , it should be

treated with fireproof acoustical material. Doors and windows must be
made sound proof.
MOVIE THEATER
MOVIE THEATER
MOVIE THEATER
 UNIT – III d. SOUND REINFORCEMENT SYSTEMS
• A sound reinforcement system is the combination of microphones, signal
processors, amplifiers, and loudspeakers in enclosures all controlled by a
mixing that makes live or pre-recorded sounds louder and may also
distribute those sounds to a larger or more distant audience.
• In many situations, a sound reinforcement system is also used to enhance
or alter the sound of the sources on the stage, typically by using electronic
effects, such as reverberation, as opposed to simply amplifying the
sources unaltered.
• A sound reinforcement system(SR) for a rock concert in a stadium may be
very complex, including hundreds of microphones, complex live sound mixing
and signal processing systems, tens of thousands of watts of amplifier power,
and multiple loudspeaker arrays, all overseen by a team of audio engineers
and technicians.
• On the other hand, a sound reinforcement system can be as simple as a small
public address (PA) system, consisting of a single microphone connected to a
100 watt amplified loudspeaker for a singer-guitarist playing in a small
coffeehouse.
• In both cases, these systems reinforce sound to make it louder or distribute it
to a wider audience.
 SOUND REINFORCEMENT SYSTEM

• A basic sound reinforcement system that would be used in a small music

venue for the audience are to the left and right of the stage.

• The main loudspeakers ---A typical sound reinforcement system consists

of microphones, which convert sound energy such as a person singing
into an electric signal, signal processors which alter the signal
characteristics (e.g., equalizers that adjust the bass and treble,
compressors that reduce signal peaks, etc.), amplifiers, which produce a
powerful version of the resulting signal which convert the signal back into
sound energy .

• These primary parts involve varying numbers of individual components to

achieve the desired goal of reinforcing and clarifying the sound to the
audience, performers and other individuals.
 BACKGROUND-NOISE
• Background noise is any sound that tends to distract or interfere with the
ability of the individual to hear or be heard. There are many different
types of background noises, ranging from those that are almost
undetectable to others that are extremely irritating.
• In some cases, background noise is not considered unpleasant at all.
For example, many restaurants utilize music playing softly in the
background as a way to create a more inviting ambiance for diners. The
idea is to set the volume of the music so that conversing in normal tones
is possible, but the music helps to relax customers and enjoy the meal.
• Under 25 dB—A low background-noise level usually found in quiet
suburban or residential communities. Traffic noises are absent, and so
are the sounds of mechanical equipment.
• 25 to 35 dB—Average background-noise levels, in which one can hear
light or distant traffic noises and perhaps low- level mechanical
equipment.
• 35 dB and up— Prominent Street and traffic noises, noisy central air-
conditioning equipment and noisy window- mounted air-conditioner units.
 BACK GROUND NOISE(CONTND.)
• In any room in which extreme quietness is required, these back ground
noise levels may themselves become a nuisance that must be dealt with
rather than ignored.
• In general, however, low-frequency sounds are less easy to suppress than
high-frequency sounds. The higher the sound frequencies, the easier they
are to suppress, which is why such low-frequency sounds as traffic noises,
jet aircraft, fan rumble, and air-conditioning noises are difficult to suppress.
Fortunately, our sense of hearing makes up for this characteristic of sounds,
in part, by being much less sensitive to low-frequency sounds.
• Low-frequency noise (LFN) is generally taken to mean noise below a
frequency of about 100 to 150 hertz. The human ear is not very sensitive at
these low frequencies. However, people living close to airports may
experience LFN. They may experience LFN as a distant rumbling noise,
structural vibration, or objects rattling in homes, at distances beyond
“significant noise exposure areas.”
• Furthermore, distant rumbling noise, structural vibrations, or objects rattling
in homes due to LFN can contribute to annoyance.
 BACK GROUND NOISE(CONTND.)
• Both the home and the workplace hold great potential for hearing background
noise of different origins. Conversations conducted in loud voices can be
considered background noise, as can the constant humming of office
machinery or home appliances. In some cases, the level of noise in the
background is low and thus will not be noticeable to people who are in the
space on a continual basis.

• Fortunately, there are a number of ways to remove background noise or at

least engage in some sort of background noise reduction. Fabrics sometimes
help to absorb sound, and will help to minimize the impact of subtle noises. In
the workplace, creating rules of conduct can help to remind people that
speaking above normal tones is not acceptable and disturbs others.
Restaurants can make it a point to adjust the music level to an acceptable
range and mute the volume on television sets.
• Examples of background noises : environmental noises such as
waves, traffic noise, alarms, people talking, noise from animals or birds and
mechanical noise from refrigerators or air conditioning or motors.
 MASKING OF SOUND
• Have you ever increased the volume of your music or television program to
“drown out” your noisy neighbors? Or have you noticed how difficult it is to
hear a conversation while eating in a busy restaurant?
• In other words, some sounds are masking – or covering over – the other
sounds. Masking is the process by which the threshold of hearing for one
sound is raised by the presence of another sound.
• If someone listens to a soft and a loud sound at the same time, he or she may
not hear the soft sound. The soft sound is masked by the loud sound.
• Open Office
In an open office settings (especially call centers), the noise produced by
coworkers can be very distracting to someone who is trying to concentrate. To
address this problem, sound masking systems emit a soft background sound
with the use of a loudspeaker system.
• Sound masking makes undesirable conversations and other noise distractions
less audible. The result: Employees are able to concentrate better.
 BACKGROUND NOISE MASKING SYSTEMS.

• In sound masking, a precise electronic sound generator, providing

controlled "noise", is fed to an amplifier that supplies an array of
specialised wide-dispersion loudspeakers.

• Noise Masking is the addition of natural or artificial sound (such as white

noise or pink noise) into an environment to cover up unwanted sound by
using auditory masking.

• Sound masking reduces or eliminates awareness of pre-existing sounds in

a given area and can create a work environment more comfortable, while
enhancing speech privacy so workers can better concentrate and be more
productive.

• A typical system is comprised of loudspeakers, amplifiers and a digital

sound processor which is programmed to shape the noise to suit the
particular environment.
 SOUND MASKING SYSTEMS

• Sound masking is the addition of natural or artificial sound into an

environment to cover-up unwanted sound by using auditory masking. This
is in contrast to the technique of active noise control
• Sound masking works by subtlety raising the ambient background
sound level, thereby reducing sound's dynamic range. This effectively
"masks" unwanted noise, makes speech unintelligible (creating privacy),
and makes the work environment acoustically comfortable.
• Masking is the process by which the threshold of hearing for one sound
is raised by the presence of another sound. ... When the masking and
masked sounds come at the same time, masking is simultaneous.
Upward spread of masking is low-frequency sounds masking high-
frequency sounds.
• And even if you are awakened, the soothing quality of white noise can
make it easier for you to fall back asleep. ... The researchers concluded
that the white noise was able to mask environmental sounds, help
patients fall asleep, and stay asleep even in a noisy hospital environment.
MASKING SYSTEMS BY SPEAKERS
WHITE NOISE MACHINE
WHITE NOISE MASKING MACHINES
PINK NOISE MASKIG MACHINES
 SPEECH PRIVACY
• Speech Privacy can be defined as the inability of an outside listener to
understand a conversation between two or more separate individuals.
Effective speech privacy is an essential aspect of any office as it allows
employees to: Conduct confidential conversations without being
overheard.

• Speech privacy operates on a scale of 0% – 100%, where 0% means

perfect privacy (no communication) and 100% means perfect
communication (no privacy). Most offices aim to achieve a speech privacy
level of 5%. At this level, most speech will be unintelligible to an outside
listener.

• It is an inability to understand conversations, although some words may

still be audible. Whenever speech levels exceed ambient noise levels
there will be some degree of communication. Where good communication
is needed, for example in a telephone system or in a lecture hall, the
speech to noise ratio is increased by amplifying the speech and reducing
the background noise.
 ACHIEVING SPEECH PRIVACY

• When the speaker’s voice is louder than the ambient noise in the room, the
speech becomes non-private. When the speaker’s voice is much lower than
the ambient noise, the listener will be unable to understand the speaker.
• When the speaker’s voice and the ambient noise are equal, speech privacy
will be at its most ideal level. In other words privacy of speech is achieved
when the speech level and background levels are equal.
• Communication occurs whenever the speech level exceeds the background
noise level. For privacy of speech in office situations the speech intelligibility
target is usually about 5%. This allows some words to be heard, but complete
sentences cannot be understood achieving speech privacy.

• The 5% level can be achieved in three ways:

• Reducing speech level so it is close to background noise levels.

• Increasing the ambient noise level so it exceeds the speech level.
• A combination of the two,
WHAT SYSTEM IS REQUIRED TO ACHIEVE
SPEECH PRIVACY ?

• When increasing the background noise level, a system is needed

which is capable of producing predictable and adjustable results,
i.e. a background sound level with precisely controlled frequency
spectrum and amplitude. Sound Masking systems were
designed and developed specifically for this function.

• The basic principle of sound masking is very simple, with sound

being generated electronically and introduced into the open plan
area through a number of loudspeakers. The low level
background sound which is thus produced is a combination of
frequencies carefully selected to mask speech and other noises,
typically from office machines to achieve speech privacy.
SPEECH INTELLIGIBILITY
• Speech Intelligibility is directly dependent on the level of
background noise, reverberation time and the shape of the
room. Different methods are used to evaluate speech
intelligibility, the most common method is the speech
transmission index. (STI). It is the percentage of speech units
correctly received out of those transmitted.

• Speech is our primary method of communication. It is therefore

important that uttered speech is received intelligibly. The
intelligibility of speech depends on the acoustical properties of
the enclosure in which the speech is transmitted from speaker
to listener. Another important factor determining the speech
intelligibility is the background noise level.
• Intelligibility of speech is the percentage of speech that a
listener can understand. If you can only understand half of what
is saying then their speech intelligibility rating would be 50%.
SPEECH INTELLIGIBILITY

• Speech intelligibility can be defined as how clearly a person

speaks so that his or her speech is clear to a listener . Reduced
speech intelligibility leads to misunderstanding, frustration, and
loss of interest by communication partners.

• Speech Intelligibility is directly dependent on the level of

background noise, reverberation time and the shape of the room.
Different methods are used to evaluate speech intelligibility, the
most common method is the speech transmission index.

• Speech Intelligibility : under Articulation Definition : percentage of

speech units correctly received out of those transmitted. Also
known as intelligibility●
SOUND AMPLIFICATION SYSTEMS.
• PRODUCT DESCRIPTION
• Filling a large space with sound is challenging and requires an
experienced team for the set-up, whether it is for a high school
musical, orchestra or live music venue. The goal is not merely whether
performers can be heard, but ensuring that what the audience hears is
what the performers intend. An effective sound reinforcement
configuration will allow as many of the audience members to hear the
same sound quality as possible. To achieve this, you need to have a
basic understanding of sound design for large venues.
• The interior components of the auditorium together with its size
decides the equipment required. Upholstered seats absorb acoustical
energy, as do drapes, curtains and other kinds of materials. A highly
absorptive smaller auditorium may require more amplification than a
large reflective one. Some of the surfaces that reflect sound are metal
surfaces, cement and wood.
• CHOOSE AMPLIFICATION AND SPEAKERS APPROPRIATE
TO ROOM SIZE.
• Based on the size of the auditorium, the amplification system is required
to produce several hundred or thousands of watts of power to drive
speakers so that the entire area is filled with sound using equalization
components. While small theaters require smaller integrated speaker
systems that include low, mid and high frequency drivers, very large
auditoriums may require component speakers where the bass (woofers),
midrange and high-end speakers are each in their own enclosures.
• Speaker systems require companion amplifiers that use crossovers to
divide the audio spectrum evenly.
• An equalizer can compensate for the acoustical properties by adding or
diminishing specific frequencies in the audio spectrum. Equalizers can
be used as stand-alone device or can be integrated into the sound
mixing console. These equalizers can also reduce the feedback from
microphones.
• In case of a live performance, the performers need to hear
themselves, the speakers or headphones available on stage
are monitors. Monitors also require their own amplifiers. In
some venues the sound is better when each performer wears
their own headphones as an open speaker could reflect off the
back of the stage towards the audience.
• Providing a quality mix to performers on stage can be the
difference between a memorable performance and a
forgettable one.
• In recent times, Digital mixers have made progress in quality
of the sound and cost when compared to a moderately priced
analog mixer.
• The auditorium sound system can be integrated with high-
performance professional audio, multi-channel audio mixer,
digital stage box and rope microphones on stage which helps
to conduct un-hindered events such as drama or music.
 MODULE 4: Noise reduction and Control

• Introduction to environmental noise control: Noise, its sources and its

classification - outdoor and indoor, airborne and structure borne,
impact noise, noise from ventilation system, community and industrial
noise. Noise transmission, Mass law and transmission loss. Maximum
acceptable noise levels. Design Principles – reduction at source,
reduction near source, etc.
• Constructional measures of noise control and sound insulation:
Enclosures, Barriers, Sound insulation (AC Ducts and plants),
Vibration isolation – control of mechanical noise, floor, wall, ceiling
treatment. Sound Isolation. Construction details of composite walls,
double walls, floating floors, wood-joist floors, plenum barriers, sound
locks, etc. STC (Sound Transmission Class) ratings.
NOISE IN INDIA
NOISE IN INDIA
SAVE
FROM
NOISE
 NOISE

• Acoustics has become more important since we are living in an

increasingly noisy world. Traffic noises and the roar of jet aircraft outside
the house have made life within more uncomfortable.
• DEFINITION
Until recently noise was defined as unpleasant and loud,
but the International committee on Standardization of
Acoustical terms has defined it as
SOUND NOT DESIRED BY THE RECEPIENT.
I.e. Unwanted sound.
They could be outdoor or of indoor origin.
• OUTDOOR SOURCE OF NOISE
• Although acoustical materials can do a great deal to reduce the intensity of
sounds that originate inside room, they are unable to do much with sounds
that originate outside a room and are transmitted into it.
• It will suffice here to note that outside airborne sounds enter a house by
inducing a vibratory motion in the windows, doors, and walls. These
Structures then transmit these sounds into the house. Acoustical materials
cannot do anything at all to prevent this mode of sound transmission.
• INDOOR SOURCE OF NOISE
• Acoustics has become more important since we are living in an
increasingly noisy world.
• Inside the house there is radio, television, and hi-fi equipment, innumerable
electrical gadgets that whine(crying sound), grind and the constant,
enervating,(weakening) low-frequency noise of heating equipment in winter
and air conditioners in summer.
 MAXIMUM ACCETABLE NOISE LEVEVEL

• Your ear can stand a maximum of 85 decibel as an average noise level

over a day, before it is damaged by the noise. Anything above 85 decibels
can damage your hearing. Normal conversation is typically situated in the
60-70 decibel range. The level at which employers must provide hearing is
85 decibels (daily or weekly average exposure).
• -----------------------------------------------------------------------------------------------------
• Noise levels above 140 dB are not considered safe for any period of time,
however brief. For children, no exposure above 120 dB.
• Normal conversation is about 60 dB,
• a lawn mower is about 90 dB, and
• a loud rock concert is about 120 dB.
• In general, sounds above 85 are harmful, depending on how long and
how often you are exposed to them and whether you wear hearing
protection, such as earplugs.
 ACCEPTABLE NOISE LEVELS FOR VARIOUS ACTIVITIES
• NOISE AVERAGE DECIBELS (DB)
• Leaves rustling, soft music, whisper 30
• Average home noise 40
• Normal conversation, background music 60
• Office noise, inside car at 60 mph 70
• Vacuum cleaner, average radio 75
• Heavy traffic, window air conditioner,
noisy restaurant, power lawn mower 80–89 (sounds
ABOVE 85 DB ARE HARMFUL
• Subway, shouted conversation 90–95
• School dance 101–105
• Sports crowd, rock concert, loud symphony 120–129
• Car races 130
• Gun shot, siren at 100 feet 140
 NOISE REDUCTION COEFFICIENT(NRC)
• For any given acoustical material, its NRC is obtained by
averaging the sound-absorption coefficients obtained at 125,
250, 500, 1000, and 2000 cycles. The resulting average is the
material’s NRC. NRC ratings are widely used, by manufacturers
of sound-absorption materials.
• A Noise Reduction Coefficient is an average rating of how much
sound an acoustic product can absorb. (How much quieter a
product can make your space.) Like a sponge absorbs water, an
acoustic product absorbs sound and the NRC tells us just how
much sound those products can soak up.
• The Scale : NRC ratings range from 0 to 1. An NRC of 0 means
that the product absorbs no sound. An NRC of 1 means that
the product absorbs all sound. The higher the NRC, the better
the product is at soaking up sound.
• An acoustic product with a .95 NRC rating means that 95% of
sound in the space is absorbed, while the other 5% is reflected.
NRC VALUE

NRC=0 NRC=0.5 NRC=1.0

At 0 NRC, there is At 0.5 NRC, only At 1 NRC, 100% of
no sound 50% of the sound the sound is being
absorption. The is being absorbed absorbed by the
sound bounces off by the acoustic acoustic product,
of a smooth surface product, while the and no sound is
and back into the other 50% is being being reflected
room, as shown by reflected back into back into the
the red waves. the room. room.
AIR BORNE and STRUCTURE BORNE.

• In residential environments it will either be air borne or structure borne noise.

Air borne sound is pretty simple - this is what we hear within the room. A
combination of air borne and structure borne noises need to be considered
for sound isolation. One may ask, "But if the room is sealed, isn't all the air
borne sound contained?" To a point the answer is yes, but it could become
both an air borne wave and a structure borne vibration in the next room.

• Let's look at structure borne sound. Have you ever been in a room on a
concrete slab where someone is bouncing a tennis ball 2 or 3 rooms away? If
you are standing on the same concrete slab with no breaks in it, you will hear
that tennis ball almost as if you were in the same room. You are not getting
any air borne sound transmission, this is all structure borne. Many people
think that having a high mass will stop all sound, but actually sound travels
faster in dense material than in air. The tennis ball experiment shows that
mass does not stop the sound at all, rather it transmits it to other parts of the
house—quite efficiently too.
 AIR BORNE NOISE.

• Along a continuous air path , through

openings i.e. through open doors and
windows , elevator shafts, telephone
outlets , ventilating ducts etc.
• By means diaphragmatic action of
partitions, by which sound can be
communicated from a source on one
side to the other side of the partition.
SOURCE ORIGINATING IN AIR HAVE
LESS POWER PERSISTING FOR A
LONGER DURATION
• ON THE OTHER HAND SOURCE
ORIGINATING FROM IMPACT
GENERATE IMPULSES OF SHORT
DURATION BUT LARGE POWER IS
PROPAGATED TO LONGER
DISTANCE.
AIR BORNE NOISE
AIR-BORNE NOISE FROM AIR-COOLED CHILLERS

Noise generated from

air-cooled chillers may
cause noise disturbance
to nearby residents.
It mainly comes from the
air flow noise resulting
from air turbulence at
condenser fans and
compressor noise during
running and on/off cycle
of refrigerant.
 SOLID BORNE NOISE/STRUCTURE BORNE/IMPACT NOISE

• The sounds we have discussed so far travel through the air, there is,
however, another class of sounds that is perhaps more irritating than
airborne sound. These are the impact sounds that travel through the solid
structure of a house, and especially through the floor-ceiling construction.
• Impact sounds include, for example, dropping of object on floor , scuffing
of feet, footfalls or slamming the door, machinery vibrations --- water pipe
hammering transmitted throughout a house by the water-supply pipes, and
fan and compressor noises transmitted directly from an air-conditioning
unit to the window and from there to the rest of the building structure are
all transmitted through rigid structures with almost no attenuation.
• As a result of a DIRECT IMPACT in one room large surfaces else where in
the building are set to vibrations radiating acoustical energy, also known as
IMPACT NOISE.
 STRUCTURE BORN NOISE

• SOURCE ORIGINATING FROM IMPACT GENERATE IMPULSES OF

SHORT DURATION BUT LARGE POWER IS PROPAGATED TO LONGER
DISTANCE.
• Structure born noise is often the hardest to deal with. You need a high mass
and an air space, so that there is no positive structural contact. In the case
of the hard floor above the listening environment you will need to decouple
the floor joists from the ceiling joists.
• Impact sounds include, for example, the sound of footsteps transmitted
directly through a floor-ceiling to the room below, the sounds transmitted by
a piano directly to the floor via its legs, water hammering transmitted
throughout a house by the water-supply pipes, and fan and compressor
noises transmitted directly from an air-conditioning unit to the window ledge
on which it is resting, and from there to the rest of the building structure.
IMPACT NOISE
ORIGIN OF NOISE FROM VENTILATING SYSTEM

• Principle source of noise are

1. motor and fan

2. turbulence caused by flow of air in the
transmitting system
3. outside sound transmitted to ducts
inside.
 NOISE TRANSMISSION
• It is the transmission of sounds
through and between materials,
including air, and musical
instruments etc.

• Example of airborne and

structure-borne transmission of
sound, where Lp is sound
pressure level, A is attenuation, P
is acoustical pressure, S is the
area of the wall [m²], and τ is the
transmission coefficient
• In building design Acoustic transmission in building design refers to a number
of processes by which sound can be transferred from one part of a building
to another.
• Structural isolation therefore becomes an important consideration in the
acoustic design of buildings. A tightly sealed door might have reasonable
sound reduction properties.
• The most important acoustic control method is adding mass into the
structure, such as a heavy dividing wall, which will usually reduce airborne
sound transmission better than a light one.
• Impact transmission - A typical example would be the sound of footsteps in
a room being heard in a room below. Acoustic control measures usually
include attempts to isolate the source of the impact, or cushioning it.
• For example carpets will perform significantly better than hard floors.
• Flanking transmission - a more complex form of noise transmission, where
the resultant vibrations from a noise source are transmitted to other rooms of
the building usually by elements of structure within the building.
 TRANSMISSION LOSS.
• When one subtracts the sound that is either reflected or absorbed, what
remains is the sound energy that actually passes through the partition. The
difference, in decibels, between the original amount of sound energy on
opposite sides of the partition is the partition’s transmission loss. A partition
that is very efficient in preventing the passage of sound has a high
transmission loss. On-the other hand, a wall that has a low transmission
loss is a poor sound barrier.
• There is a second method, however, of obtaining a high transmission loss in
a wall—.-building an air cavity within the partition. To be effective, however,
the two halves of the wall must not have any interconnection between them
whatsoever, since any such interconnection will transmit sounds across the
cavity. Wider air gap within a wall construction will prevent the transmission
of sounds more effectively through it.
• SOUND ATTENUATION AND TRANSMISSION LOSS : Source room
contains noise that is to be reduced in receiving room. Attenuation depends
upon barrier used between the two rooms. It also depends on so called
FLANKING PATHS that allow sound to bypass the principal barrier.
Difference in sound level i.e attenuation is expressed in decibels. The sound
level difference due to principle barrier is called transmission loss. (T.L.)
 TRANSMISION LOSS

60 dbs. 40 dbs.
T.L. = 20 DBS.
ISOLATION OF AIR BORNE OR STRUCTURE BORNE NOISE.

• Only two things stop sound - mass and space. You need mass to
contain the airborne sound, but then you also need space (an air gap
or similar unobstructed area) so that the structure borne sound can
not be transmitted. One could make use of sound isolation techniques
such as staggered stud walls and floors or resilient hangers and
channels hence, there is a high mass wall, an air gap, and then
another wall, making sound transmission difficult.
ENCLOSURES
MINI SOUNDPROOFED SERVER ROOM IN A BOX ENCLOSURE
 NOISE CONTROL BY SCREENING

• Obstruction by walls and partitions as barriers has a far greater

effect on propagation of sound and this effectiveness depends on
the effective height and location of the obstacle with respect to the
source and the receiver.

• These should be placed as close to the source as possible.

Particularly in order to screen the open space between source and
receiver, walls or partitions are used for this must extend laterally
over the site limits. Lowering the level of road has an appreciable
effect. To avoid reflections, walls or partitions on the loud side
should be covered with absorbent materials or inclined away from
the vertical. Avoid opening in the screens.
SCREENS
SCREENS
SCREENS
 BARRIERS
• A noise barrier (also called a
sound wall, noise wall, sound
barrier, or acoustical barrier)
is an exterior structure
designed to protect
inhabitants from noise
pollution.
• Noise barriers are the most
effective method of mitigating
road, railway, and industrial
noise sources –In the case of
surface transportation noise,
other methods of reducing the
source noise intensity include
encouraging the use of hybrid
and electric vehicles,
improving automobile
aerodynamics and tire design,
and choosing low-noise
paving material.
VARIOUS BARRIERS
• Sound barrier materials can include masonry,
earthwork, steel, concrete, wood, plastics,
insulating wool, or composites.
• Walls that are made of absorptive material
mitigate sound differently than hard surfaces. It
is now also possible to make noise barriers
with active materials such as solar photovoltaic
panels to generate electricity while also
reducing traffic noise.
• A wall with porous surface material can be
absorptive where little or no noise is reflected
back towards the source or elsewhere. Hard
surfaces such as masonry or concrete are
considered to be reflective where most of the
noise is reflected back towards the noise
source and beyond.
• Noise barriers can be effective tools for noise
pollution control, but Cost and aesthetics also
play a role in the choice of noise barriers.
• Sound waves bounce against a barrier back to the source. Sound
attenuation is a more common solution, which lowers the intensity of the
sound by absorbing it.
• Acoustic barriers should be around 2m high to sufficiently block out traffic
noise and prevent noise from rolling over the top.
• The denser the material, the more it’ll absorb noise.
• A noise barrier should extend all the way to the ground; gaps at the base or
in between sections will allow extraneous noises to enter underneath.
• Sound protection barriers should be constructed as close to the source as
possible, such as by the road or around an A/C unit.
BRUSH WOOD
FENCES

• Found to reduce noise if 600mm is used. It is ‘Rustic’ and aesthetic.

• Not suitable in fire prone areas.
HEDGES
METAL FENCES

• Sturdier than
wooden fencing
Cost effective
Easy to install in
backyard.
• Looks cheaper and
not as versatile
Least effective
noise barrier
WOODEN FENCES

• Easy to install – Cost effective and material is easily accessible

• Less effective as a noise barrier Shorter life due to damage /rot Not
suitable for fire prone homes(source)
 SOUND LOCK

• A vestibule or entranceway that has highly absorptive walls and ceilings

and a carpeted floor; used to reduce transmission of noise into an
auditorium, rehearsal room or studio, or from the area outside.

• Sound Lock allows you to limit the volume of your playback by detecting
the loudness and lowering it to the level you have set. So you no longer
have to bother with the loud action scenes and sound volume going
through the roof.

• Sound Lock adjusts the system volume per channel (up to 14 channels)
and generates a smooth sound output by lowering the volume during loud
scenes. It therefore enables you to watch movies without having to adjust
the volume manually every time it increases over the level of your comfort.
The application allows you to easily set the sound output limit by dragging
the bar to the desired level. Sound Lock displays sound output level for
every channel currently in use.
•
EXAMPLE OF A SOUND LOCK IN LITTLE THEATER
EXAMPLE OF A SOUND LOCK IN LEGITIMATE THEATER
 DOUBLE DOOR

• The transmission loss of a doorway can be increased considerably by

installing double doors. For example, between a doctor’s waiting room and
consulting room. One of the doors will be used as an ordinary door with the
second door usually being swung back against the wall where it is out of the
way. Both doors are closed at the same time only when the conversation
between doctor and patient is confidential.
• When double doors are installed, the air space between the doors should be
as wide as possible. The heavier and more solid the door construction the
greater its transmission loss, and installing rubber seals around the edges of
both doors will increase the transmission loss even more. A double-door
installation of this type can have an overall transmission loss of 45 dB and
more.
SOUND PROOF DOORS
SOUND PROOF DOORS
 WINDOWS
• Depends on the amount of outside noise, the total area of the windows in
the wall, and the amount of sound isolation desired. Under laboratory
conditions, an ordinary 1/4-in.-thick pane glass has a transmission loss of
about 25 to 30 dB. But when this glass is installed in a wood or metal sash
that can be opened and closed, the transmission loss drops considerably.
• A simple and inexpensive method of increasing the transmission loss of a
window is to permanently install sealant around sash. That is, the sealant
material around frame should be caulked(firmly fixing) to the window frame
to prevent any sounds leaking past the edges of the sash. A more
expensive method of increasing the transmission loss is to install a double
window having an air space at least 4 in. wide between the panes. The
transmission loss of such will be between 42 and 47 dB.
• When windows are permanently sealed, however, another way of ventilating
the room must be found. It then becomes necessary to install an air-
conditioning system . Whatever method of ventilation is used, the outside air
should never be obtained from an inlet installed in the same wall as the
windows. This would negate sealing the windows in the first place.
SOUND PROOF WINDOWS
 NOISE SUPPRESSION IN VENTILATING SYSTEM
1. MOTOR AND FAN : These are main source of noise which are transmitted through
air and solid borne vibrations. It increases with the increase in no. of blades of fan and
speed and obstructions. Air floating through ventilating system like bends, branches,
change of duct size, grills etc. produce eddy currents or turbulent flow.use suitable
motor, fans and grills. Proper mounting of motors and fans (isolating them from walls
and floors by using resilient mounts) can suppress the noise at its source and prevents
vibration that might be transmitted to ducts, walls or floor.
2. TURBULENCE CAUSED BY FLOW OF AIR IN THE TRANSMITTING SYSTEM:
The blower and the exhaust fans should be isolated from the ducts by a flexible sleeve
fabricated of canvas. It is better to use rubber, hose for piping connections.
3. OUTSIDE SOUND TRANSMITTED TO DUCTS INSIDE.
Ducts should be lined with absorptive material 2” thick at least to a distance 10 times
the dia. of the duct( muslin covered rock wool blanket or mineral wool or fiber glass )
also increases T.L. for sound entering the system from walls outside. Materials used in
the ducts must be moisture resistant , fire resistant and facilitate smooth flow of air.
 ACOSTICAL FILTER

• An acoustical filter in a duct consists of a combination of volumes and

masses i.e. chambers, short duct sections, perforations, which are
combined to suppress a range of frequency noise transmitted through
duct to the filter.

• Acoustical filters are used where extreme quietness is required. ( radio,

television and recording studios ) which suppress low frequency noise.
Abs. Coe. of duct lining is very poor at low frequencies hence , a
filter in ventilation system is used in combination i.e. filter to
attenuate low frequency and duct lining to high frequency.(ref.fig.)
ACOUSTICAL FILTER
FILTERS
GENERATOR ROOM ACOUSTIC

The Noise is controled by

providing Acoustic lining on
walls & ceiling, all ordinary
doors / shutters are to be
converted in to sound
proof doors. The proper Air
ventilation system and
cooling airflow required so
the engine does not
overheat. Axial flow fan of
required size & numbers
provided for proper Air
ventilation. Acoustic
louvers, splitter & Insulated
ducts are provided to
suppress the noise where
required.
ISOLATION OF MACHINE VIBRATIONS

• CAUSE OF SUCH VIBRATIONS SHOULD

BE REMOVED AT ITS SOURCE.

• by tightening the loose parts.

• proper balancing of rotary parts (vibrating
mounts )
• resilient mount made of rubber, cork, felt,
spring or similar products should be used
to prevent sound radiating to other parts.
RESILIENT MOUNTS-SPRINGS
RESILIENT MOUNTS-SPRINGS
MACHINE ISOLATION
MACHINE ISOLATION
ISOLATION HANGERS.
 COMPOSITE WALLS
• A wall built of a
combination of two or
more masonry units of
different types of
materials that are bonded
together, one forming the
facing of the wall and the
other the backup.

• Structural members that

are made up of two or
more different materials
are known as composite
elements. ... As a
material, concrete works
well in compression, but it
has less resistance in
tension.
COMPOSITE WALLS
EXAMPLES OF COMPOSITE WALLS
ALUMINIUM COMPOSITE WALL
 SOUND PROOF WALL CONSTRUCTION

• There are two methods of building a partition having a high

transmission loss:
1. make the wall heavy 2. build the wall in two completely
separate halves with an air space between.

• The heavier a partition—that is, the more mass it has per unit
volume—the more effective a sound barrier it will be. A solid 6-in.-
thick concrete wall or an 8-in.-thick brick wall make much more
effective sound barriers. The reason is that the impinging air
molecules find it much more difficult to induce a vibratory motion in
a massive wall than in a lightweight wall. Weight makes the
difference. However, there is a limit to how much one can increase
the weight of a wall.
DOUBLE WALL CONSTRUCTION..CAVITY WALL

A cavity wall consists of a hollow space between them. The

cavity walls normally consist of two skins, which should
be brick, cinder blocks, or reinforcement concrete blocks, etc.
BRICK CAVITY WALLS:

•The cavity walls are made of two

brick walls or leaves called brick
cavity walls.
•In the two leaves or walls of the
brick, a hollow space is a lie that is
called a cavity.
•The weep hole is constructed above
the window or base to draw out the
rainwater from the brick cavity walls.
•It is joined together by metal ties and
at suitable intervals.
•Cavity flashings are a continuous
sheet of impervious material installed
across gap of the wall, that redirects
moisture that may enter the wall
towards the wall exterior to keep
the building structurally intact.
 FLOOTING FLOORS

• “ To reduce impact noise floating floors are used to great

advantage.” Not only impact noise is reduced by floating floors
but even T.L. is achieved to some extent for air borne noise. The
effectiveness of a floating system is dependent on the extent of
isolation by resilient supports between the floated floor and
structural floor.
• Floating floors are comprised of multiple layers of flooring.
• A resilient blanket is laid on a sub floor and fastened to marine
floor by special resilient chair. The blanket should have a paper
or similar cover at least on one side to improve insulation against
air borne noise.
CONSTRUCTION DETAILS OF FLOATING FLOOR
RESILIENT CHAIR
MARINE PLY WOOD FLOOR

AIR GAP RESILIENT BLANKET

PAPER COVER AIR GAP

STRUCTURAL FLOOR
SECTION THROUGH FLOATING FLOORS
STAGGERED STUD WALL CONSTRUCTION
STAGGERED STUD WALL CONSTRUCTION
 PLENUM BARRIERS

• The plenum barriers block noise that would

otherwise transmit through the ceiling and over the
top of partition. ... The suspended acoustic ceiling
and lightweight plenum barrier work together
effectively as a system to provide the same
amount of sound isolation as the STC-rated wall
construction below the ceiling level.
PLENUM CURTAINS
 MODULE 5: Noise reduction and Control-II

• Industrial noise: Sources of industrial noise: impact, friction,

reciprocation, air turbulence and other noise. Methods of
reduction by enclosures and barriers.
• Introduction to Urban Soundscape: Introduction to Urban noise,
Noise sources - Air traffic, Rail traffic, Road traffic, Seashore and
inland. Traffic planning against outdoor noise. Noise reduction
and control by Site planning, Town planning and Regional
Planning consideration. Role of Architects / Urban Planners in
shaping the urban soundscape. Sustainable design strategies in
building acoustics.
 ENVIRONMENTAL NOISE(NEIGHBOURHOOD)

Environmental noise is the summary of noise from transport, industrial,

recreational activities, Schools, Kinder garden etc.
Residential community may be subjected to all kinds of noises – road, rail or
air traffic, factories, mechanical equipments installed in the neighbourhood ,
these may be intermittent , continuous, impulsive, more disturbing during day
or night.
• Environmental noise "pollution" relates to ambient sound levels beyond the
comfort levels. It can aggravate serious direct as well as indirect health
effects, for example damage to hearing or sleep and later mental disorder, as
well as increasing blood pressure. Noise effects can trigger premature illness
and, in extreme cases, death. Night-time effects can differ significantly from
day time impacts. Environmental noise pollution affects the health of people
and even animals.
 SOME SOLUTIONS
• To locate buildings in quiet area away from surrounding noise – like industrial
areas, heavy traffic etc.
• If not possible these may be suitably offset from the road and oriented in such
a way that doors and windows do not face the source of noise. In case this
is also not feasible, either double doors and windows or sound proof
doors and windows to be used to prevent leakage of sound. Or if possible
eliminate and in place provide artificial light & mechanical ventilation.
• Structure borne noise is dealt by isolation structurally and air borne noise by
sound absorptive materials.
• EFFECT OF EXTERNAL NOISE (TRAFFIC, INDUSTRIAL AND
ENVIRONMENTAL) ON DESIGN IS CONCERNED WITH---
• Orientation and form of buildings.
• The construction and embankment and fences.
• Effect of planting.
• Spacing of screens.
• Approach and departure of roads.
• General lay out of individual buildings.
• Construction of doors , windows and balconies.
AIR TRAFFIC
 CONTROL OF AIR PORT AND AIR CRAFT NOISE

• AIR PORT :In places like airports, noise pollution is bound to be higher than
at any other places, the noise levels created by landing aircraft, when they
fly at a low height of 200-300 feet, cause disturbance to the patients in
nearby hospitals. As a result, many patients suffer from sleeplessness
regularly and doctors while performing surgery loose concentration by
environmental noise .

• AIRCRAFT NOISE : The problem of noise from aircraft has increased day
by day and the jet aero planes have made it worse. One can not do much
where an existing small aerodrome located is in the outskirts of the city had
to be expanded to cater to bigger and noisier air crafts. A town ship
automatically grows around it and the community around it, tolerating the
unbearable noise or taking it for granted. Hence, planners should disallow
residential areas, hospitals & schools within certain area of the aerodrome.
New aerodromes to be located sufficiently away from the city with future
expansion. (4 to 5 miles).
AIR PORT

• Baffles are recommended

for suspension from the
ceiling. Baffles provide
significantly better sound
absorption than treatments
that attach direct to the
face of walls and ceilings.
The reason is that a free
hanging baffle can absorb
sound on all sides, rather
than on a single surface.
AIR CRAFT NOISE

• SOLUTION
• Increase in thickness
of glass or double
pane window glazing ,
caulking construction
seams, external sound
proof doors, acoustical
ducts and filters to A.C.
units etc.
RAIL TRAFFIC
CONTROL OF RAIL TRAFFIC NOISE

• RAIL TRAFFIC: Railway traffic --- Noise from railways is equally

disturbing to the community as Industrial noise depending on the type of
train ---- passenger or goods train, its speed, the frequency of service and
the time of occurrence. In addition noise is also created by vibration, from
the horns, whistles and steam etc. especially at night time when conditions
of noise would certainly worse than day time disturbing the sleeps. In view
of this comprehensive development plan of city must take into account lay
out of rail & road traffic since it is rather difficult to contain these source of
noise.
• When residential , commercial buildings are to be located in proximity of
railway tracker main road it is necessary to have set back of at least 200’.
With wall barriers to be provided to screen the noise source.
 RAIL TRAFFIC

ACOUSTICAL TREATMENT INSIDE

ACOUSTICAL TREATMENT OUTSIDE

EMBANKMENT

• Despite only being about

150 ft. away from a
railroad track, a
retirement community in
Virginia is peaceful and
noise-free since a large
sound wall was built
between the community
and the tracks to act as
a noise barrier.
 CONTROL OF ROAD TRAFFIC NOISE
• Many a times it is impossible to avoid heavy automobile vehicular traffic
since they are essential for the life of the local community. But if the lay out
of roads and freight transport points are suitably arranged the adverse effect
could be minimized. Noisy buildings such as stock exchanges , restaurants,
offices, theaters etc. could be located on the main streets while quiet
buildings such as hospitals, schools, dwellings etc. could be along the side
streets.

• Trees, shrubs & hedges help in screening the noise from the buildings.
These should be planted near and along the roads. Trees and shrubbery
when densely planted extending between source of noise and recipient is
very effective in reducing the noise. This can be observed when roads run
through the forest and jungles.

• Surfacing roads and streets: hard metal roads to be discouraged. Asphalt

road surfaces being soft are less conducive to impact noise.
CONTROL OF TRAFFIC NOISE
TRAFFIC NOISE CONTROL PANELS
ACOUSTIC WALLS

• AcustiFiber wall actually

significantly reduce the
amount of noise on the
other side.
INDUSTRIAL NOISE
INDUSTRIAL NOISE refers to noise that is created in the factories which is
jarring and unbearable. Sound becomes noise only it becomes unwanted and
when it becomes more than that it is referred to as "noise pollution".

INDUSTRIAL NOISE---IMPACT

We are all exposed to noise every day. Your ear can stand a maximum of 85
decibel as an average noise level over a day, before it is damaged by the
noise. Anything above 85 decibels can damage your hearing.
These are mostly of indoor origin either impulsive or continuous in character.
The most intense noise is caused by machine tools & various processes
involved in the making & handling of the product.
Industrial machinery and processes---are composed of various noise sources
such as rotors, gears, fans, vibrating panels, turbulent fluid flow, impact
processes, electrical machines, etc.
The mechanisms of noise generation---noisy operations and equipment
including crushing, riveting, blasting (quarries), lathes, electric furnaces metal
cutting, grinders, pumps and compressors, and transport vehicles etc.
• INDUSTRIAL NOISE POLLUTION

This is posing to be a big challenge with very passing day and is a threat to
safety and health of the people who are working in the industry and common
people as well. It has been scientifically proved that noise more than 85
decibels can cause hearing impairment.
• Statistically there is a rise in the number of workers dying of cardiac arrests
and cerebral attacks is on an increase considerably due to industrial noise
pollution in railway yards, factories etc.
• Some people also suffer from headaches, which decrease their efficiency
levels and hamper the quality of their work. That leads to crises in workplace
as well as home. Workers are always agitated that result into carelessness.
RECREATIONAL ACTIVITIES

Poor acoustics in a recreation facility can be more than a mere

nuisance. It can inhibit conversation, yes, but it can also interfere with
coaching instruction and even be a safety issue (for example, when
swimmers can't understand the lifeguard).
• Texture helps to reflect sound
waves in different directions
(irregular surfaces) or absorb them
(porous materials), and many of the
most effective acoustical treatments
use texture and structure to reduce
reverberation.
• Perforated roof decking is a
typical method of dealing with
sound in spaces like gymnasiums
with high exposed ceilings. Like a
drop ceiling in an office, a sound-
absorptive roof can have a dramatic
effect on the acoustics of a space.
USE ACOUSTIC BRICKS FOR WALLS

Acoustical block
walls are a commonly
used product,
featuring partially
exposed cavities that
are filled with glass
fiber insulation.
 ACOUSTIC CLOUDS
• Acoustical panels are
fabricated from a variety of
materials, such as metal, wood
fiber, fiberglass, various foams
and fabrics, and combinations
thereof. They are attached
directly to walls or can be
offset a bit, creating a hollow
space that can itself be
insulated, adding to the
acoustic properties of the
panels. Some materials can be
used in their natural color or
painted. Panels can also be
used on the underside of bare
roof decks, hung like "clouds"
or as part of a ceiling system.
 ENCLOSURES AND BARRIERS

• There are various types of sound blocking systems, enclosures and

various materials are available for existing and new soundproofing
• Acoustical sound blankets are used to erect walls and enclosures to block
equipment noise in factories and manufacturing facilities. Also used in Floor
to reduce footfall noise from above.
• Several different materials are used for sound barriers which include
masonry, earthwork (such as earth berm), steel, concrete, wood, plastics,
insulating wool, or composite walls.
• Noise barriers reduce noise by blocking the direct travel of sound waves
from a source (such as a highway) to adjacent homes or businesses, forcing
the waves over the top or around the barrier. The barrier must be high
enough and long enough to block the view (line of sight) of the highway.
 IMAGES OF ENCLOSURES

Steel sound enclosures are a

highly effective means of noise
control for industrial and
mechanical equipment.
MACHINE SOUND ENCLOSURES
MACHINE SOUND ENCLOSURES
SMALL ROOM SOUND ENCLOSURES
SMALL ROOM SOUND ENCLOSURES
 ENVIRONMENTAL NOISE CONTROL BY
SCREENING AND ENCLOSURES

• Obstruction by walls and partitions has a far greater effect on

propagation of sound and this effectiveness depends on the effective
height and location of the obstacle with respect to the source and the
receiver.

• These should be placed as close to the source as possible. Particularly

in order to screen the open space between source and receiver, walls
or partitions are used for this must extend laterally over the site limits.
Lowering the level of road has an appreciable effect. To avoid
reflections, walls or partitions on the loud side should be covered with
absorbent materials or inclined away from the vertical. Avoid opening in
the screens.
SCREEN ENCLOSURES
SCREEN ENCLOSURES
SCREEN ENCLOSURES
IMAGES OF BARRIERS
IMAGES OF BARRIERS
IMAGES OF BARRIERS
IMAGES OF BARRIERS
IMAGES OF BARRIERS
 INTRODUCTION TO URBAN NOISE

• Main sources of noise pollution are loudspeakers and automobiles.

• However, female population is affected by religious noise a little more than

male population. Major effects of noise pollution include interference with
communication, sleeplessness, and reduced efficiency.

• Generally, a request to reduce or stop the noise is made out by the aggrieved
party. However, complaints to the administration and police have also been
accepted as a way of solving this menace.

• As it is evident that primarily noise problem is the result of growing busy

traffic. Each year there is an increase in the number of vehicles in India. The
noise levels are showing an alarming rise and in fact, the levels exceed the
prescribed levels in most of the areas.
 INTRODUCTION TO URBAN SOUDSCAPE

The increase in urban population, haphazard urban growth, industrialization

and motorized transport has caused enormous problems of noise pollution
in the urban areas. Urban noise disturbance has detrimental effect on the
tranquility of the area. The analysis of all types of sounds in a given area
or region is called soundscape.
URBAN NOISE CLIMATE
• Birds sing at a higher pitch due to urban noise
• Several species of birds raise the minimum frequency of vocalizations in
urban noise. We find that raising the minimum frequency is common in
urban birds and is not restricted to passerine(all singing birds) song, but
also occurs in other vocalizations of parrots.
• This suggests that high-frequency species, which are less affected by urban
noise, do not need to adjust the frequency of vocalizations as much.
EFFECT OF EXTERNAL NOISE(TRAFFIC, INDUSTRIAL
AND ENVIRONMENTAL) ON DESIGN.

DESIGN CONSIDERATIONS

• Orientation and form of buildings

• The construction and embankment and
fences.
• Effect of planting
• Spacing of screens
• Approach and departure of roads
• General lay out of individual buildings.
• Construction of doors , windows and
balconies.
 NOISE REDUCTION & CONTROL BY SITE PLANNING

• Acoustical architectural design incorporates noise reducing concepts in the

details of individual buildings. The areas of architectural concern include
building height, room arrangement, window placement, and balcony and
courtyard design.

• Noise barriers can be erected between noise sources and noise-sensitive

areas.

• Barrier types include berms(artificial ridge or embarkment, raised barrier

separating two areas by soil or grass strip made of sloping mounds of
earth, walls and fences constructed of a variety of materials, thick plantings
of trees and shrubs, and combinations of these materials.
 NOISE REDUCTION & CONTROL BY SITE PLANNING

• The arrangement of buildings on a site can be used to minimize noise

impacts, acoustical site planning often provides a successful technique for
noise impact reduction.

• These can include: increasing the distance between the noise source and
the receiver; placing nonresidential land uses such as parking lots,
maintenance facilities, and utility areas between the source and the
receiver;

• locating barrier-type buildings parallel to the noise source or the highway;

and orienting the residences away from the noise.

• Distance: Noise can be effectively reduced by increasing the distance

between a residential building and a highway. Distance itself reduces
sound: doubling the distance from a noise source can reduce its intensity.
 SITE PLANNING

• In the case of high rise buildings, distance may be the only means, besides
acoustical design and construction, of reducing noise impacts. This is
because it is nearly impossible to provide physical shielding for the higher
stories from adjacent noise. Noise barriers can shield only the lowest floors of
a building.
• Noise Compatible Land Uses as Buffers: Noise protection can be achieved by
locating noise-compatible land uses between the highway and residentials.
• Buildings as Noise Shields: Additional noise protection can be achieved by
arranging the site plan to use buildings as noise barriers. A long building, or a
row of buildings parallel to a highway can shield other more distant structures
or open areas from noise.
• The wall/building will contain apartments in which the kitchens and bathrooms
are placed towards the noise, and the bedrooms and living rooms face away
from the highway. The wall facing the highway will be soundproofed and
windows, when they exist, are sealed.
NOISE BARRIER

Noise barriers can shield only the lowest floors of a building.

Placement of noise compatible land uses near highway in Planned Unit
Development—considering town panning and regional planning
In cluster development, open space can be
placed near the highway to reduce noise
impacts on residences
 ACOUSTICAL ARCHITECTURAL DESIGN

• Noise can be controlled in a building with proper architectural design. By

giving attention to acoustical considerations in the planning of room
arrangement, placement of windows, building height, balconies, and
courtyards, the architect may achieve significant noise impact reduction,
without the need for costly acoustical construction .
• Room Arrangement: Noise impacts can be reduced by separating more
noise sensitive rooms from less noise sensitive rooms; and placing the
former in the part of the building which is furthest away from the noise
source. The less sensitive rooms should then be placed closest to the noise
source where they can act as noise buffers for the more sensitive rooms.
• Bedrooms, living rooms, and dining rooms are usually noise sensitive, while
kitchens, bathrooms, and playrooms are less so.
• Solid Walls: Noise can be reduced by eliminating windows and other
openings from the walls of a building close to noise sources.
• The solid wall can have the effect of a sound barrier for the the building.
The effectiveness of the barrier is dependent on the mass and height of the
barrier, and its distance from the noise source and the receiver. To be effective
a barrier must block the “line of sight” between the highest point of a noise
source and the highest part of the receiver. Plants absorb and scatter sound
waves. Shrubs or other ground cover are necessary in this respect to provide
the required density near the ground.
 ROLE OF ARCHITECTS IN SHAPING THE URBAN SOUNDSCAPE

• The awareness of these effects by architects and urban planners is

therefore important. Taking into account the soundscape as an integral
part of the urban environment from the start of the urban project is
essential to prevent noise problems in our cities.

• The study of soundscape is the subject of acoustic ecology and refers to

both the natural acoustic environment — consisting of natural sounds,
including animal and sounds from trees, the sounds of water, weather —
and environmental sounds created by humans — through musical
composition, sound design, and other human activities, including sounds
of mechanical origin resulting from use of industrial technology.
 URBAN SOUNDSCAPE-AN EXAMPLE

• The solution for this would be

the creation of zones with
varying acoustical complexity.
Complete silence is impossible
to achieve, but much city noise
can be masked and dimmed.

• Using natural sound sources in

urban planning, such as water
and vegetation, has proved to
be effective for this purpose
and pleasing for the general
public. Green walls can, if
properly constructed, reduce
up to 40dB of outdoor noise
and vibration.
URBAN SOUNDSCAPE-AN EXAMPLE

A small park between buildings

in Midtown Manhattan, with a
waterfall and a green wall. Green
walls may reduce up to 40dB of
outdoor noise and vibration. ne
thing that works really well is the
use of water to mask certain
sounds, like traffic.
URBAN SOUNDSCAPE-AN EXAMPLE

• On the small neighborhood scale we

could work on developing innovative
design and materials — green spaces,
green walls, water walls and other
unrecognized ecosystem services.

• On the larger district or city scale we

could work on the composition of urban
soundscapes including zoning areas with
“silent parts” intermixed with more “noisy
parts” and designing individual acoustic
profiles for specific zones in a city.
 CONCLUSION

• Urban planning should involve more explicit zoning requirements for new
constructions, which offers us the possibility to design soundscapes.

• It would be unwise to impose a general sound aesthetic in ways we may

have general visual aesthetics, since sounds are often perceived more
subjectively than visual objects.

• We believe that through novel integration of landscape architecture,

ecology, acoustics, psychology, innovative design, etc., soundscape
design will be crucial for future city planning — building sustainable and
pleasant cities.
 SUSTAINABLE DESIGN(GREEN BUILDING) STRATEGIES IN
BUILDING ACOUSTICS
• Sustainable Design Criteria for Acoustics --- The positive relationship
between proper acoustic design and sustainable design is a true win-win
for designers and end users alike.
• Energy-efficient HVAC systems with lower velocities and smaller loads are
great at keeping background noise levels down; energy-efficient, tightly
sealed building envelopes are great at reducing both air and sound level.
• Sustainability has broadened to ensure spaces are healthy and comfortable
for their occupants, where proper acoustics is key.

• LEED(LEADERSHIP IN ENERGY AND ENVIRONMENTAL DESIGN)

• LEED is the Most widely used GREEN BUILDING rating in the world.
• The LEED rating systems are grouped into five main categories: 1. Building
Design and Construction, 2. Interior Design and Construction,
3. Operations and Maintenance, 4. Homes, 5. Neighborhood Development.
 5--LEED RATING GROUPS

• 1. Building Design and Construction-- It contains 10 LEED rating systems.

These rating systems are guidelines for new buildings and old buildings
undergoing major renovations.
• 2. Interior Design and Construction--which was designed specifically for
tenants leasing a portion of a larger building. Interior spaces in commercial
buildings, retail, and hospitals would fall into this category.
• 3. Building Operations and Maintenance--which can be used by building
owners and operators to measure operations and maintenance as well as
make minor improvements.
• 4. LEED for Homes --which was specifically designed for single and multi-
family residential structures that are three stories or less.
• 5. LEED for Neighborhood Development --which integrates the principles of
smart growth, urbanism, and green building into the first national program
for neighborhood design.
FAR FROM MADDING CROWD