FIGURE I- Reasons for knowing a litle about sound ourpoors INDOORS ROOMTO ROOM Select quiet site i Selec quit ste Design guict spaces Desiga for isolation Meet bel nde Design for speech Acoustical pris Iocan onsite Masi performance Late eel pa Design ante bares Eapondsbe poe Deligudooritcn Locate scasitive spaces ie faliies wttcree boa spe Athletic facilities “Avoid eross jon walls & windows Control mechanical neise. ines conection FIGURE Il - Quantifying Sound Sound Intensity I Sound Intensity Ratios Sound Level Reductio R Reverber Time T ACOUSTICS | no SPECIAL NOTE “ABOUT +ROOM DIERRACY en TRANSMISSION | ‘WPS FOR DESIGN OF REFLECTORS FOR SPEECH snd the closer itis fo the speakers focation, the In general, the larger the reflector 2 ih, with, or diemeter should be at least 4f. better. Minimum dimension of lenct 2. Usetited flat surfaces or moderately convex surface (radius of curvature about 20 f) to Feliect sound toward listeners at middle to rear of seating areas ology Ss ‘Avoid concave shapes because they focus sound rather than evenly distributing it 4. Use ray diagrams on section drawings to find cptimum postion and orlentation for feflector, Be sure reffector extends forward of the speaker's location. 5, Constric rellector rom materials such #8 wood, gypsum board, laminated-glass. oF cry plastic that have sound absorption cooficients les than 0.10 at 2000 He. Rellector should be well braced tobe rigid rave any sound-aiftusing 6. Be eure soundeflecting surface is smooth and does not surface relief ‘elements or significant surface modulations. Depth of nbs or other should not exceed % inch 7. Toadust reflector in situ (or temporary full-scale mock-up of thice molded poysiyrerie or foa-core board), cover bottom surface with high ghteflectance eo ytere such 20 atuminur fol sivered mylar, or glassy polyethylene. Then with ream derkones, use narrow-beam theater followspot positoned at speaker's Iocation fo evaluate patter of reflected light into seating areas. Ads tt unt desired even coverage s achieved. Front ViewSOUND ISOLATION DEMONSTRATION EXAMPLE TABLE-TOP DEMOS Teenie row goteculs bump each oer and propagate sound energy, sat up Brow of do 1g the first domino, the chain reaction passes energy to Fishctrovele sy Nenad ‘An inexpensive protector ta mastue angles, 2 pene, cae, and paper B axe af tre equpmentrequted fr rey-dgran cacubticns. Shovwn below is an ‘uditrum exction with sound path tfarences caleslted 10 font and ma- rear audonce locations from a typical soute location. Path dtference = retecied pati — direct path —hegle o incicanes (032 Galas angie of mfluction Case tote rabiacting cortace sene-rebecting cling SoA ke Laren lecree sound path Xe, teaeting SE) / Direct sound pith 2348 ‘Example Ray-Diagram Mossurements (Cistinces are shown in psrenineses on shove dawg) ‘Front lation no. 1 Path dtfewnce = (11 + 18) ~ (12) = E78) xovlent for spuecn and music Becasse path diforence is oss than 23 f. ‘Miele focaion no. 2 ‘ pan atteronce = (16 + 26) ~ (39) =| Excolent for souech and music becouse path dtference is loss than 23 ft.EXAMPLE RAY DIAGRANS (Adaptive Rouse Design) According tol. |. Beranek, "Concert Hal Acoustics,” JASA, July 1992, p. 26. ilimacy's the ‘most important subjective attrbute in a hall. Inimacy correlates wel with shor path differences and te corresponding ITDG (<20 msec, Rath difference = Ic a+b) - c > Cresngeabstig 27 rasta on Oy Mp erperded mime le IR epund-resuctin vane ls "a After Modifications, (Putter distribution A sherter 1TDes)2. Use auditorium eoction drawing to show how sound is refectod off euspended reflectors in the lowered positon and when raised to be flush with ceiling Sound should be evenly distributed from stage to audience on all levels. Two conditions are: ‘© Intimate theater mode (suspended reflectors in lowest position as shown below) ‘+ Concert hall mode (euspended reflectere uch with ceiling and sound. bsorbing banners retracted into truss space) ZE chowty neceptadie > 704% apart ("speech understoad') le Tea Listener Taker Clearly Unacceptable «78, ro Distance from Which Male Speech is Nols Understood (ft) Acceprability 270 Cleary acceptable 26 10.70 Normally acceptable 710.25 Normally unecceptabio “7 ‘Gearly unacceptable‘CHECKLIST FOR CONTROLLING OUTDOOR SOUND 4. Selectthe quietest site 2. Locate buildings or exterior uso areas fer away from nciay streets and highways. in Urban areas. roads should be designed s0 vehicle epeeds wil be slow and constant. Noise is loudest at hils, at intersections, and on rough road surfaces, 3. Take advantage of natural shielding of terrain and nearby buidings 4. Use physical barriers such as earth berms, outdoor was, and dense vegetation to roduce noise. 5. Face citical spaces toward quiet sides of ste. © Use non-critical interior spaces as buffers to reduce transmitted noise. 7. Design envelope of building to reduce transmitted neise to be below ambient sound levels in rooms, Detail and specify sound-isolating construction elements: Walls, ‘00f, doors, windowe, and the like. [Refer to Section 6 in Workbook] =| Masonry \— Vou Csmeath axphete CTixt. beck Meany — Ml sazen. Came expel Cork beck 2urfece'than teal b 4evel) eand) Peep sound absorption 72D — Sound- reflecting Surfaces, Soune-albsorbing Surfaces:SOUND OUTDOORS (from point sources) L rps off by Gelb cach tine ae (a) i6 doubled frern point Source fay A (in th mouree and therefore where d s elstance fom source (in ox mm) Distance controls sound level st [EXAMPLE PROBLEM (REVERBERATION TINE) ont 4: Conia vovrtarnion snd Ting T= 0.00 ¥ v _ 0.05%31,500 _ |575, mn 1 = 008 $= B0549}500.— 1873 C37 oon He L » ‘heausbica) ceiling i cent! Find the reverberation me T 60 percent of the ooling surface (along te pe {meter of the room) #8 treated with ocoustéal panels at «of 0.85. The conxal ioe recaina sound volocing te help ibe sound energy from lectem end ‘ward roar ofthe room. 1. Comrise th tt oe absorption a wing 2 = E $0. Sa a leabins) Swoon 100 NOs AD Treated cain 1050 X085= 892 Wals 2860 X020= 855 Floor MOxOIO= 210 Tow a= 199 2. Compute new rovaberston tine T = 0.08%31,500. _ 1875. G75) a 500 tte T= 008 f = O98 Sag> = Yoa5 = 799 = 500 “The roverberaion ‘ime i reduced to below 1 s with 50 parcent ceiling ‘Teatmont for uoccuped conditions, The represerts « reducton of TERESI 109 = 42 perce, whch ta Oestypotcesia” chance ‘apiBrpion provided by teachers and atidente wil futher redies reverberation gonting on the numberof ooeunants, their dstrbuton throughout the room. 1nd the clthing worn,CHECKLIST FOR USE OF SOUND ABSORPTION 4, Use sounc-absorbing materiele fo control noise buildup, reverberation, and echoes 2. Do notuse sound-ebsorbing materials on surfaces that should reflect sound, such as cellings over podiums 43, Be sure installation method wil provide desived absorption. Actual mountings Prrcoms should be the seme as ASTM standard mounting used to determine absorption Coeficiente in tosting laboratory |4. Do not depend on significant noise reduction from sound absorption. For most situations, the practical limit is about 6 48 Remember, the noise recuction coefficient (NRO) is an average number, Founded to the nearest 0.05 increment. It doee not account far absorption at row frequencies (below 250 Hz) orhigh frequencies (above 2000 Hz) CHECKLIST OF OUTDOOR NOISE REDUCTIONS 4. WIND GRADIENTS (can inctease or decrease sound by 10.48 or mere) Lie LZ iwiind dinction — OB ¥ pata ie levels ore vedee 2, TEMPERATURE GRADIENTS (similar ffece t those from wind) ono > acoustical “shadow 5 ee 1 he ae 3. HUMIDITY (For exemple, at 1000 He, 29°C, & 60% RH, attenuation will be 0.003 Bim.) op 4. GROUND COVER (For example, dense growin can be 0.12 dB/m) 5, LINE-OF-SIGHT BARRIERS (Attenuation can te up to 18 dB, depending on sound trequeney, berrer geometry, end other fact roqoney, bari geomet, andather factor. eferispagos 26810 28% Bavier close to source: Acoustical “Wi oS”