Reverberation

Auditorium Acoustics
Every building acoustics problem can be thought of as a system of sources, paths, and receivers of sound.
Reverb Vs. Echo

Reverb: Multiple reflections in short period of time (less than 0.1s) which sound indistinct
Echo: Reflections of sound in longer period of time (greater than 0.1s) which sound distinct
Reverb Time
The optimumreverberation timefor an auditorium or room depends upon its intended use For music: Longer reverb time for fuller and richer musical sound For speech: Shorter reverb time for clear articulation of speech Recording studio: Shorter/minimum reverberation time for clarity of recording Rehearsal room: Reverb time similar to Performance hall
Source: http://hyperphysics.phy-
Higher reverb for lower frequencies improves BASS for people sitting at a greater distance from source.
Acoustic treatment affects sound in the following ways: Absorbs sound: Sound striking a surface is absorbed and not retransmitted to the room Diffuses/reflects sound: Sound striking the surface bounces back into the room in all directions/particular direction
Factors governing acoustics

Room Shape Volume and Dimensions Layout of Boundary Surfaces Materials and Surface Treatment Audience Capacity and Seating Arrangement
Room Shape
Shape of the Space The theatre is shaped like a trumpet or speaking tube to assist the projection of sound from the stage. The ceiling arches crescendoin height from thestage outward while they contain the sound and reflect it back down into the audience.
An orchestral or band shell is often used with the performrs at the focal point.
Volume and Dimensions

C = Centroid The average distance between the stage and the seats in the audience area
140 deg.
GOAL: Reduce Sound Energy Loss
Layout of boundary surfaces

4. The sound source should be closely and abundantly surrounded with large sound reflective surfaces in order to supply additional reflected sound energy to every portion of the audience.
The General Rule of Thumb for Wall Surfaces:
REFLECTIVE DIFFUSIVE ABSORPTIV E
Avoid concave curves, which focus sound instead of dispersing it, but otherwise pyramids, lattices, or computer designed random surfaces all work well
Audience Capacity and Seating Arrangement The floor where the audience is seated should be properly
ramped or raked, because sound is more readily absorbed when it travels over the audience at grazing incidence.
The gradient along the aisles of sloped floors should not exceed 1:8
1 8
Other methods to improve sight lines, and direct sound paths:
Low stepped aisles
Two row vision
MATERIALS IN AUDITORIUM
1.PLASTER - ceiling and wall, 1.5 to 2 inches. - resist panel vibration 2.MASONRY- stone, brick, block and concrete - reflect low frequencies - Porosity can be sealed or painted. 3.GLASS seldom used - But small decorative elements provide some useful diffusions. 4.METALS AND METAL PANELLING - diaphragmatic movement cause rattles, -so they should be laminated to solid core materials. 5.CARPET-limited to aisle runners. 6.SEATING- seating absorption should match with the absorption of people
Wall Panels
Materials
Fabric Wrapped Acoustical Wall Panels glass fiber acoustical board and covered with an acoustically transparent fabric NRC of 1 thick panel is 0.8 Flat Panel Diffuser similar in appearance to standard fabric-covered acoustical wall panels NRC is 0.65 White Paintable Acoustical Panels. 1 " Fiberglass 6 PCF acoustical core + molded fiberboard + paintable facing NRC is 0.9 TheNoise Reduction Coefficient is a scalar representation of the amount of sound energy absorbed upon striking a particular surface
A typical residential wall without perforations provide about 35 dB of insulation .and fiberglass will increase this by 5 to 8 dB
Interior windows :
Materials
Flooring
Rubber Flooring- Safety & Heavy Duty Antiskid Flooring withstands heavy moving loads because of is elasticity general scratches are not seen easily It has a remarkable foot step sound absorption Cork Flooring extremely durable ability to reduce echo and sound transmission Its level of acoustical deadening is far greater than synthetic and wood products because of its closed cell structure Carpet Tiles limited to aisle runners.
SOUND INSULATION
ACKSTAGE NOISE CONTROL During a performance, there may be activities running in the backstage. Fibreglass reinforced Gypsum (FRG) wall is used for separation of backstage from The design and material selection should main stage. control the noise generated in the backstage. Use of Fabric drapers and carpets is helpful in sound Noise barriers with sound absorptive absorption material are used to quiet the noise
The ASC SoundFlag
ASC PanelTraps
ASC TubeTraps in the Studio MixCloud: Suspended Acoustic Control Environment
Ecotect ray-tracing analysis - 1
Team members: 10AR10013 Kuldeep Bakliwal 10AR10014 Lakshya Gupta 10AR10015 Mantosh Roy 10AR10016 Mayank Baliyan 10AR10017 Mayank Choudhary 10AR10018 Shahrukh Shaikh 10AR10019 Mudit Sharma 10AR10021 Nancy Charaya 10AR10022 Naved Saeed 10AR10024 Nupur Agrawal 10AR10025 Pankaj Agrawal 10AR10026 Rajiv Patki

Reverberation

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Reverberation

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Auditorium Acoustics

Reverb Vs. Echo

Factors governing acoustics

Volume and Dimensions

GOAL: Reduce Sound Energy Loss

Layout of boundary surfaces

The General Rule of Thumb for Wall Surfaces:

REFLECTIVE DIFFUSIVE ABSORPTIV E

Other methods to improve sight lines, and direct sound paths:

Low stepped aisles

Two row vision

The ASC SoundFlag

ASC TubeTraps in the Studio MixCloud: Suspended Acoustic Control Environment

Ecotect ray-tracing analysis - 1

Ecotect ray-tracing analysis - 2

Ecotect ray-tracing analysis - 3

Ecotect ray-tracing analysis - 4

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