ACOUSTIC DESIGN OF HALLS

Conditions for good acoustics of a hall:

•Initial sound from the source should be of adequate intensity so that it
can be heard throughout the hall. For halls of big size suitable sound
amplification system should be installed.
•Sound produced should be evenly spread in the hall so that sound foci &
dead spot are avoided.
•Boundary surfaces should be properly designed so that there are no
echoes.
•Boundary surfaces should be properly designed so that the desired
reverberation time is achieved, and unwanted sound is absorbed
•In case of conference halls, the acoustics of the halls should be so
designed as to ensure proper conditions for listening, assuming that a
person may speak or listen from anywhere in the hall.
•In case of music halls, treatment should be such that the initial sound
reaches the audience with the same intensity & frequency.
•Outside noise should be properly insulated.
COMMON ACOUSTICAL DEFFECTS:
1. SOUND FOCI: •Reflecting concave surfaces cause
concentration of reflected sound
waves at certain spots – creating a
sound of large intensity. These
spots are called sound foci. This
defect can be removed by (a)
geometrical designed shapes of the
interior faces, including ceilings,
2. DEAD SPOT: and (b) providing highly absorbent
materials.
•This defect is an outcome of the formation of sound foci.
•Because of high concentration of reflected sound at sound foci, there is
deficiency of reflected sound at some other points.
•These points are known as dead spots, where sound intensity is so low
that it is insufficient for hearing.
• This defect can be removed by installation of suitable diffuser so that
there is even distribution of sound in the hall.
GENERAL PRINCIPLES & FACTORS IN ACOUSTICAL DESIGN
Following is a list of general planning principles & factors which are
important for good acoustical conditions in a hall:

1. Site selection & Planning

2. Dimensions

3. Shape

4. Seats & Seating arrangement

5. Treatment of Interior surfaces

6. Reverberation & Sound absorption

1. SITE SELECTION & PLANNING:

• A noise survey of the area should be made – site selected should be

in quietest surroundings – otherwise elaborate & expensive
construction may be required to provide required sound insulation.

• It is necessary to keep the external noise low by proper orientation

of the building, where no air conditioning is provided - door &
windows are normally kept open during performance.

• Depending on the ambient noise level of the site orientation, layout

& structural design should be arranged to provide necessary noise
reduction – so that the background noise level of not more than 40
to 45 dB is achieved within the hall.
2. DIMENSIONS (SIZE):
• Size should be fixed
 According to the number of audience required to be seated
 In proportion to the intensity of sound to be generated
• For music halls, volume should be large so that enough space is
available for the music to spread in the hall.
• Floor area of the hall – including gangways & excluding stage – 0.6
to 0.9 m² per person.
• Height of hall – depends on ventilation, presence or absence of
balcony & type of performance.
Average height may vary from 6m for small halls to 7.5m for large
halls.
• Recommended volumes for different types of auditoriums:
(a) Public lecture halls 3.5 to 4.5 m³ / person
(b) Cinemas or theatres 4.0 to 5.0 m³ / person
(c) Musical halls/concert halls 4.0 to 5.5 m³ / person
3. SHAPE:
Shape of a
hall/auditorium is
important for
acoustical design –
since it is a
governing factor in
correcting defects
like echoes, sound
foci, dead spots,
sound shadows
etc.
• A fan shaped floor plan is preferred .
• Side walls should have an angle of not more than 100 degrees with
the curtain line.
• In theatres a person with normal vision should be able to see facial
expression of the performers. Hence, the distance of furthest seat
from the curtain line should not exceed 23 metres.
4. SEATS & SEATING ARRANGEMENT:
• Seats should be arranged in concentric arcs of circles drawn with the
centre point located as much behind the centre of curtain line as the
distance between the curtain line & auditorium rear wall.
• The angle subtended with horizontal at the front-most observer by
the highest object should not exceed 30 - on this basis the distance
of the first rows 3.6 m for drama & 4.5m or more for cinema –
distance of front seats is determined by the highest object to be
seen – stage is generally raised by 75 cm or more.
• Width of seats should be between 45 cm and 56 cm.
• Back to back distance of chairs between successive rows of seats
should be at least 45 cm – may be increased up to 106 cm for more
comfort.
• Seats should be staggered sideways in relation to those in front so
that a listener in any row is not looking directly over the head of the
person in front of him.
4. SEATS & SEATING ARRANGEMENT:
4. SEATS & SEATING ARRANGEMENT:
• Upholstered seats should be provided wherever possible – so that the
acoustic characteristics of the hall are not affected by the fluctuating
audience occupancy – important for halls where audience provides
major part of the required sound absorption.

• For good visibility & good listening conditions, the successive rows of
seats should be raised over the preceding ones by 8 cm to 12 cm per
row – so that the floor level rises towards the rear – as an empirical rule,
the angle of elevation of the inclined floor should not be more than 8.

• Balcony projection into the hall should not be more than twice the free
height of opening of balcony recess.

• The elevation of balcony seats should be such that line of sight is not
inclined more than 30 degrees to the horizontal.
4. SEATS & SEATING ARRANGEMENT:
• If balconies are too deep, sound shadow usually occur since the
seats underneath the balcony do not receive ceiling reflections. This
can be rectified by providing reflectors.
5. TREATMENT OF INTERIOR SURFACES:
• Interior surfaces: ceilings, side walls, rear walls – play an important
role in acoustical design.
• Ceilings / side walls should provide favourable reflections to
reinforce the sound that reaches the rear part of a big hall.
• Auditorium rear wall should be either flat or convex in shape – never
be concave in shape – in case cannot be avoided convex
corrugations to be made to avoid the sound to focus into the hal.
• In large halls a false ceiling is usually provided below the trusses –
false ceiling over the proscenium is constructed of reflective
material (usually plaster of paris) – suitably inclined to help
reflections from the stage to reach the rear seats of the hall.
• Remaining portion of the false ceiling is constructed to take
acoustical treatment – rear portion of the ceiling may be treated
with sound absorbing material to control reverberation & to prevent
build-up of audience noise.
• Concave shaped ceiling e.g., dome or barrel, should be avoided.
5. REVERBERATION & SOUND ABSORPTION:
• A certain amount of reverberation is desirable – for giving richness
to music – too much reverberation is undesirable.
• Optimum time of reverberation for a hall depends upon
(a) purpose for which it is used
(b) audience factor – greater audience factor reduces
reverberation time.
OPTIMUM REVERBERATION TIME & AUDIENCE FACTORS FOR ACOUSTICAL DESIGN
Type of building Optimum Audience factor
reverberation time
(seconds)
1. Cinema theatres 1.3 Two-thirds
2. Churches 1.8 to 3 Two-thirds
3. Law courts, Committee rooms, 1 to 1.5 One-third
Conference halls
4. Large halls 2 to 3 Full
5. Music concert halls 1.6 to 2 Full
6. Parliament house, Assembly hall, 1 to 1.5 Quorem
Council chamber
7. Public lecture hall 1.5 to 2 One -third

•This optimum reverberation time has to be adjusted by the suitable

use of sound absorbers.
•Total absorption A may be calculated from Sabine’s formula:

t = 0.16 V = 0.16 V
Σs A
•In order to estimate the quantity of absorption required A₁ , it is
necessary to calculate the quantity of existing absorption A₂ provided by
furnishings & two-third of the audience.
A₁ = (A - A₂)

•In an average hall most of the absorption is provided by audience,

specially for high frequency range than in middle or low frequency
range. Hence, it is desirable to provide low frequency absorbers, e.g.,
wooden paneling on ceilings or walls to achieve optimum reverberation
time for a wide frequency range.

• Upholstered seats should be provided wherever possible – so that the

acoustic characteristics of the hall are not affected by the fluctuating
audience occupancy – important for halls where audience provides
major part of the required sound absorption.

•Reflection surfaces should be so designed as to aid in distribution of

sound.
•Those areas which cause objectionable sound reflection & need to be
treated with sound absorbents should be earmarked for treatment with
sound absorbing material. These area are:
(a) the rear walls
(b) the balcony parapet
(c) any area which may reflect sound back to stage
(d) concave areas which have a tendency to focus sound in certain
places.

•Rest of the sound absorbing materials required to be introduced in the

room should be distributed over various remaining surfaces.
ACOUSTICS OF STUDIOS:
•A studio is a big room or a hall where sound is picked up by a
microphone & is either recorded or broadcast.
E.g., radio-broadcasting station, television station & sound-recording
studio.
•Basic requirements of such a studio are:
(a) perfect sound proofing
(b) variable reverberation time – due to variable pitch & frequency
of sound produced here.
The following points are to be considered foe the acoustic design of a
studio:
1. Studio walls should be of rigid construction so as to completely
insulate & exclude external noise.
2. Studio room should be rectangular in plan with ratio of height,
breadth and length as 2 : 3 : 5 - ceiling should be flat.
3. Outer surfaces of the enclosure wall should be of reflective type –
interior surfaces of walls, ceilings, floors should be of absorbent
material.
4. Noise level in the studio should be brought down to 20 to 30 dB.
5. Provision of windows should be minimum to avoid transfer of noise
from outside.
6. Air-conditioning machinery etc. should be completely isolated –
their noise should be completely insulated.
7. Acoustic design should be such that echoes are completely
eliminated.
8. Heavy curtains & draperies should be used with advantage to
control or regulate the time of reverberation.
9. Variable reverberation
time can be obtained by
providing hinged panelsor
shutters having two
different absorbent
1 Absorptive materials on both the
2 surfaces.
10. Reverberation time can also be varied by providing rotatable
cylinders in the ceiling of the studio. Each cylinder or drum has three
sectors, provided with three different absorptive materials. The
cylinders can be rotated , thus getting the required units of
absorption for the desired reverberation time.