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Instruments and acoustic measurements UNTREF Santiago Rayes June 2013

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ACOUSTIC EVALUATION OF LA PLATAs
ARGENTINEAN THEATER

SANTIAGO RAYES

Universidad Nacional de Tres de Febrero, Ingeniera de Sonido, Buenos Aires, Argentina.
rayes.santiago@gmail.com

Abstract The purpose of this paper is to evaluate the objective acoustical parameters of the measurements
made in La Platas Argentinean Theater. This evaluation includes the analysis of classic acoustical
parameters as reverberation time, C50, C80 and strength. Also spatial parameters as IACC and Lateral
Fraction where evaluated. The results were compared to the recommended values proposed by Beranek and
Kutruff for this kind of spaces. Calculations show that the hall obtained acceptable results in comparison with
the recommended parameters proposed for opera houses.


1. INTRODUCTION.
In order to describe the acoustical characteristics
of a hall it is necessary to make the corresponding
measurements to collect the information needed to
calculate them. Different investigations through
the years have come to a list of different
acoustical parameters that show good
reproducibility in different spaces and have a
connection with subjective evaluations. Some of
these parameters are investigated in this paper.
The standardization of the measurement protocols
and the acoustical parameters used allows the
researcher to compare the acoustical
characteristics of different spaces.
In this paper measurements made at La Platas
Argentinean Theater are described. Some
representative acoustical parameters are calculated
and compared with Beranek and Kuttruffs
recommended values for concert halls and opera
houses .
1. BASIC CONCEPTS.

1.1. Reverberation time. [2]
Reverberation time is defined as that time required
for the sound in a room to decay 60 dB. This
represents a change in sound intensity or sound
power of 1 million (10 log 1,000,000 = 60 dB), or
a change of sound pressure or sound-pressure
level of 1,000 (20 log 1,000 = 60 dB). In very


rough human terms, it is the time required for a
sound that is very loud to decay to inaudibility.
Obtaining a nice, linear decay spanning 60 dB or
more as shown in Fig. 1A is a very difficult
practical problem. Background noise, an
inescapable fact of life, suggests that a higher
source level is needed. This may occur if the
background noise level is 30 dB (as in Fig. 1B),
because source levels of 100 dB are quite
attainable.
The situation of Fig. 1B is the one commonly
encountered a usable trace less than the desired 60
dB. The solution is simply to extrapolate the
straight portion of the decay. It has been
demonstrated that in evaluating the quality of
speech or music, the first 20 or 30 dB of decay is
the most important to the human ear.

FIGURE 1 - THE LENGTH OF THE DECAY DEPENDENT ON
STRENGTH OF THE SOURCE AND THE NOISE LEVEL. (A) RARELY
DO PRACTICAL CIRCUMSTANCES ALLOW A FULL 60-DB DECAY.
(B) THE SLOPE OF THE LIMITED DECAY IS EXTRAPOLATED TO
DETERMINE THE REVERBERATION TIME. [2]
Instruments and acoustic measurements UNTREF Santiago Rayes June 2013
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(1)RI (Sobinc) = u,161 .
v
Atot+4mv
|scc. ]
V = Volume of the room. [m3].
Atot = med.Stot = Total absorption of the room.
[sabins].
med = individual surface absorption index.
Stot = Si = total surface of the room. [m2].
Si = area of an individual surface. [m2].
m = air sound attenuation constant. |m
-1
].

RTmid is the reverberation time obtained as an
average of the values corresponding to 500 Hz.
and 1 kHz. frequency bands.

(2)RImiJ =
|RI (Suu Ez. ) +RI (1 kEz. )]
2
|scc]

1.2. Bass Ratio (BR). [3]

It can be obtained as the ratio between the
addition of the reverberation times corresponding
to 125 Hz. and 250 Hz. frequency bands and the
addition of the reverberation time corresponding
to 500 Hz. and 1 kHz. frequency bands. It is
related to the subjective feeling of acoustic
warmth.

(S)BR =
|RI (12S Ez. ) + RI (2Su Ez. )]
|RI(Suu Ez. ) + RI (1 kEz. )]


1.3. Brightness (Br). [3]
It is obtained as the ratio between the addition of
the reverberation times corresponding to 2 kHz.
and 4 kHz. frequency bands and the addition of
the reverberation times corresponding to 500 Hz.
and 1 kHz. frequency bands.
(4)Br =
|RI (2 kEz. ) + RI (4 kEz. )]
|RI (Suu Ez. ) + RI (1 kEz. )]


1.4. C50. [3]
It is defined as the relationship between the sound
energy that arrives to the listener during the first
50 msec. from the arrival of the direct sound
(direct sound and first reflections) and the sound
energy after 50 msec. . [2]
(S)CSu|JB] = 1ulog (_ p
2
(t)Jt
0,05
0
_ p
2
(t)Jt)

0.05

p(t) is the impulse response at a receiver point..
1.5. C80. [3]
Indicates the separation degree between the
different individual sounds of a musical
composition. [2]
(6)C8u|JB] = 1ulog (_ p
2
(t)Jt
0,08
0
_ p
2
(t)Jt)

0.08

p(t) is the impulse response at a receiver point.
1.6. Lateral Fraction (LF). [3] [4]

Lateral reflections contribute to spaciousness.
Barron [7] found that the contribution of a
reflection to spaciousness is proportional to its
energy and cos, where is the angle between the
axis through a listeners ears and the direction of
sound incidence, provided delay is in the range
from 5 to 80 msec. This contribution is
independent of other reflections and of the
presence or absence of reverberation. Lateral
fraction (LF) was proposed as an objective
measure for the spatial impression.

(7)IF = _ |g(t)cos0]
2
Jt _ |g(t)]
2
Jt
80ms
0

80ms
5ms

g(t)is the impulse response at a receiver point.

1.7. IACC. [3]
Inter Aural Cross Correlation can be defined as
the correlation between sound arriving to both
ears. It indicates the degree of similarity that
exists between two signals. If the signals are the
same, then IACC will be 1, while if they are
completely different IACC will have a value of 0.
(8)
0 IACC 1
ir() is the IACF obtained from the ACFs for
the left and right ears and is the interaural time
delay.
ms
lr
1 , ) ( IACC
max
s = t t
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When it comes to an existent hall the measure
associated with IACC is binaural and has to be
recorded using a pair of microphones placed on
the ears of an artificial head (dummy head).
The IACCe (EARLY) corresponds to the first 80
ms. from the arrival of the direct sound, and the
IACCl (LATE) is calculated from 80ms to 1s. .
Okano proved that 500 Hz., 1 kHz. and 2 kHz are
the most representative frequency bands. In
consequence the IACCe3 and the IACCl3 appears
as an average of the IACCe and the IACCl using
the above mentioned frequeny bands.
When it comes to comparisons the (1-IACCe3)
value is commonly used.
Beranek compared the (1-IACCe3) with
subjective appreciations. In Table 1 a value of (1-
IACCe3) can be seen with his corresponding
subjective category.
TABLE 1 (1-IACCE3) RECOMMENDED VALUES.

1.8. Stage Parameters (ST Early and Late).
[5] [6]
The early support (STearly) relates to ensemble,
i.e. ease of hearing each other members of an
orchestra.. Influences of the direct sound, delay
time and the reflections from near surfaces are not
included. The typical range goes from -24 dB to -
8 dB. .
(9)


The late support (STlate) relates to perceived
reverberance, i.e. the response of the hall as heard
by the musician (on the stage). The typical range
goes from -24 dB to -10 dB.

(10)

p
2
in both cases is the impulse response
measured at a distance of 1 meter from the
acoustic center of an omnidirectional source.

1.9. Sound Strength (G). [3]
It is the degree of sound amplification produced
by the hall. It depends on the listeners distance to
the stage, the energy associated to the early
reflections, of the surface of the audience and the
level of the reverberant field.
It can be defined as the difference between the
total sound pressure level produced by an
omnidirectional source in a determined position in
a hall (Lp) and the sound pressure level produced
by the same source placed in free field at a 10
meters distance (Lref).
(11)

p(t) is the impulse response at a receiver point.
prc(t) is the reference impulse response
measured at a distance of 10 meters from the
source in a free field.
In the case of the Gmid the sound strength is
analysed in the 500 Hz. and 1 kHz. frequency
bands. Beranek [1] recommends these values of
Gmid for empty concert halls:
4 Gmid 5,5 [dB]

2. EQUIPMENT.

- Presonus AudioBox 44VSL Audio
Interface + PC.
- Motu Traveller Audio Interface + PC.
- M-Audio Fastrack Audio Interface + PC.
- SPS200 Software controlled Soundfield
Microphone.
- Outline Globe omnidirectional source
radiator with sub-woofer.
- G.R.A.S. Kemar Dummy Head.
- 4 earthworks measurement microphones.
- Svantek SV959 type 1 Sound Level
Meter.
(

=
} }
01 . 0
0
2
1 . 0
02 . 0
2
10
) ( / ) ( log 10 dt t p dt t p ST
Early
(

=
} }
01 . 0
0
2
0 . 1
1 . 0
2
10
) ( / ) ( log 10 dt t p dt t p ST
Late
|
.
|

\
|
=
} }

0
2
0
2
10
) ( ) ( log 10 dt t p dt t p G
ref
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3. THE PLACE.
La Platas Argentinean Theater is an artistic
complex which has one of most important lyrical
hall in Argentina. It is placed in La Plata city,
capital of the Buenos Aires province (Figure 2).
The Alberto Ginastera is the main hall of the
complex where the measurements where done. It
was opened in the year 1999 and has an Italian
horseshoe style. With its stalls, three levels of box
seats and galleries can hold and audience of 2000
spectators. The space has an opera hall design.
The main usages of the hall are opera, classical
music, choreographic and popular music
performances.

FIGURE 2 AERIAL SHOT OF THE THEATER.
4. MEASUREMENTS PROCEDURE
The auditorium was in an unoccupied condition
during all the measurements.
The safety curtain was up and the pit was open.
The stage condition for the measurement can be
seen in Figure 3.
First of all, background noise was measured in 10
different positions. The results are shown in Table
2.
A one minute Leq was used in background noise
measurements.
Background noise measurements were made with
a calibrated type 1 sound level meter.
For the rest of the acoustical parameters 12
representative positions of the theater were used.
These positions are shown in Figure 5.
In the case of the omnidirectional source used for
the measurements, 2 different positions were used.
Position 1 was placed on the stage (Figure 3) and
position 2 on the pit (Figure 4).
Measurements in the above mentioned 12
positions were made using a soundfield
microphone and a dummy head.
The soundfield microphone recorded data was
post processed to obtain the
omnidirectional/lateral sound incidence
information for LF parameter and omnidirectional
information to obtain the rest of the basic
acoustical parameters of the hall.
The signal used for the measurements was a 15
seconds exponential sine sweep from 20 Hz. to 20
kHz.
5. RESULTS

Background noise results are shown in Table 1.

T30 and EDT results are shown in Figure 6.

Stage Parameter results, RTmid, EDTmid, BR and
Br are shown in Table 2.

C80 results with the source placed on the stage are
shown in Figure 7.
C80 results with the soruce placed on the pit are
shown in Figure 8.

C50 results are shown in Figure 9.

Lateral Fraction results for some representative
positions measured with the source on the pit are
shown in Figure 10.

Table 4 shows the results for the parameters C50
speech average and C80 music average.

Finally Table 5 shows the Gmid results and Table
6 the (1-IACCe3) results.
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FIGURE 5 - MEASUREMENT POSITIONS IN THE HALL.
FIGURE 3 SOURCE POSITION 1 (ON THE STAGE).
FIGURE 4 SOURCE POSITION 2 (ON THE PIT).
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TABLE 2 BACKGROUND NOISE LEVELS IN DBZ AND DBA.
BACKGROUND NOISE
POSITION Leq [dBZ] Leq [dBA] Difference
Stage 62,1 42,7 19,4
1 62,2 34,8 27,4
2 65,8 36,2 29,6
Ground floor lateral box seat 64,8 33,7 31,1
3 62,3 36,2 26,1
9 62,8 40,2 22,6
10 63,5 34,6 28,9
12 65 35,2 29,8
11 63,3 35,7 27,6
13 63,4 40,6 22,8
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TABLE 3 STAGE PARAMETERS RESULTS (LEFT). RTMID, BASS RATIO, BRIGHTNESS AND EDTMID RESULTS (RIGHT).
RT mid [s] 1,70
BR 1,20
Br 0,77
EDT mid [s] 1,30
STAGE Parameters [dB]
ST early (s.stage) -20,21
ST late (s.stage) -18,62

ST early (s. pit) -10,50
ST late (s.pit) -10,16
FIGURE 6 REVERBERATION TIME (T30) RESULTS AND EARLY DECAY TIME (EDT) RESULTS.
0,50
1,00
1,50
2,00
2,50
125 250 500 1000 2000 4000 8000 16000
Frequency [Hz.]
T30 and EDT [s]
T30
EDT
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FIGURE 7 C80 RESULTS WITH THE SOURCE PLACED ON THE STAGE.
FIGURE 8 C80 RESULTS WITH THE SOURCE PLACED ON THE PIT.
-15
-10
-5
0
5
10
15
20
125 250 500 1000 2000 4000 8000 16000
C80 (Source on stage)
C80 1
C80 2
C80 3
C80 4
C80 5
C80 6
-15
-10
-5
0
5
10
15
20
125 250 500 1000 2000 4000 8000 16000
C80 (Source on stage)
C80 9
C80 10
C80 11
C80 12
C80 13
C80 14
-15
-10
-5
0
5
10
15
20
125 250 500 1000 2000 4000 8000 16000
C80 (Source on pit)
C80 1
C80 2
C80 3
C80 4
C80 5
C80 6
-15
-10
-5
0
5
10
15
20
125 250 500 1000 2000 4000 8000 16000
C80 (Source on pit)
C80 9
C80 10
C80 11
C80 12
C80 13
C80 14
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-7
-5
-3
-1
1
3
5
7
9
11
13
15
125 250 500 1000 2000 4000 8000 16000
Frequency [Hz.]
C50
C50 1
C50 2
C50 3
C50 4
C50 5
C50 6
0
0,05
0,1
0,15
0,2
0,25
0,3
0,35
0,4
0,45
0,5
125 250 500 1000 2000 4000 8000 16000
Frequency [Hz.]
Lateral Fraction (LF)
LF 1
LF 2
LF 3
LF 9
LF 11
LF 13
FIGURE 9 C50 RESULTS WITH THE SOURCE PLACED ON THE STAGE.
FIGURE 10 LATERAL FRACTION RESULTS FOR SOME REPRESENTATIVE POSITIONS.
-7
-5
-3
-1
1
3
5
7
9
11
13
15
125 250 500 1000 2000 4000 8000 16000
C50
C50 9
C50 10
C50 11
C50 12
C50 13
C50 14
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TABLE 4 C50 SPEECH AVERAGE AND C80 MUSIC AVERAGE RESULTS.
SOURCE ON STAGE SOURCE ON PIT
POSITION C50 "Speech Average" [dB] C80 "Music Average" [dB] C80 "Music Average" [dB]
1 -0,44 1,72 -1,87
2 -3,58 0,28 -3,56
3 0,93 5,43 -1,53
4 1,70 3,53 -0,69
5 0,28 3,01 -2,35
6 0,02 3,98 -0,92
9 -1,91 3,11 -0,35
10 1,22 2,81 2,01
11 -2,38 2,96 0,69
12 1,49 2,56 1,44
13 -2,41 2,65 1,93
14 3,49 5,40 2,93







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Gmid (1 IACCe3)


TABLE 5 GMID MEASUREMENT RESULTS. TABLE 6 (1-IACCE3) RESULTS.













Source on stage
POSITION Gmid
1 1,20
2 -0,37
3 -2,00
4 0,82
5 -0,47
6 -3,19
9 -0,44
10 -1,74
11 -1,25
12 -2,65
13 -1,65
14 -0,10
Source on pit
POSITION Gmid
1 -0,22
2 -1,15
3 -5,59
4 -0,30
5 -0,32
6 -4,96
9 -0,05
10 -1,35
11 -0,58
12 -2,77
13 -0,02
14 -0,23
Source on stage
POSITION 1 - IACCe3
1 0,46
2 0,51
3 0,60
4 0,62
5 0,65
6 0,70
9 0,66
10 0,51
11 0,72
12 0,62
13 0,68
14 0,42
Source on pit
POSITION 1 - IACCe3
1 0,44
2 0,71
3 0,76
4 0,70
5 0,72
6 0,79
9 0,65
10 0,58
11 0,67
12 0,67
13 0,65
14 0,40
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6. RESULTS ANALYSIS.

6.1. Background Noise.
Background noise in the hall vary between 62,1
dBZ and 65 dBZ. And from 33,7 dBA to 42,7
dBA. The difference between the values in dBZ
and dBA vary between 19,4 and 31,1.
This represents a significant difference between de
weightings and it can be caused due to vibration
problems in the hall.
6.2. Reverberation Time.
RT and EDT decrease as the frequency is
increased. The highest values are observed at 125
Hz. . 2,24 seconds for the T30 and 1,46 seconds
for the EDT.
Table 3 (right) shows some parameters calculated
from the ones mentioned above. This was made to
compare those parameters with the preferred
values proposed by Beranek for this kind of halls.
RTmid has a value of 1,7 sec. with an empty hall.
Beranek [1] recommends:
Concert hall: 1,8RTmid 2 sec.
Opera house: 0,7RTmid1,2 sec.
These values are calculated for occupied halls.
The RTmid of La Platas Argentinean Theater will
probably decrease with an occupied condition.
It can be said that this hall has a reverberation
time placed between the recommendations given
for opera houses and concert halls. Probably due
to the fact that the usage of the Theater includes
orchestra concerts.
The EDT which describes better the liveness of
the hall has a value of 1,3 seconds. While Beranek
recommends a value of EDT similar to the RTmid
for concert halls.


6.3. Bass Ratio (BR) & Brightness (Br).
The BR for this hall has a value of 1,2. While the
Br has a value of 0,77.
BR fulfills the recommendations for a concert
hall, while the Br is slightly lower than the
recommended values.
6.4. Stage Parameters.

There are calculated values for the different
positions of the source during the measurement. In
the case of the source placed on the stage the
STearly is -20,21 dB while de STlate is -18,62 dB.

For the pit source position the STIearly is -10,50
dB and the STIlate is -10,16 dB.

All the values are into the typical range for the
stage parameters.

6.5. C80.
C80 values for all the measurement positions are
presented from 125 Hz. to 16 kHz. but the C80
music average was evaluated. When the source
is placed on the stage the Music Average has
values between 0,28 and 5,43 dB.
When it is on the pit the values are between -3,56
and 2,93 dB .
The values are clearly lower when the source is
placed in the pit. Analyzing these results (source
in the pit) it can be seen that the C80 music
average on the positions placed on the ground
floor and the central position on the 1
st
floor give
positive values, while the rest of the values are
negative.
Ground floor measurements and central position
on the 1
st
floor with the source on the pit are the
only values that fulfill the recommendations given
by Beranek [1] for this parameter.
6.6. C50.
C50 values for all the measurement positions are
presented from 125 Hz. to 16 kHz. but the C50
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speech average was evaluated. Only the results
with the source placed on the stage are considered.
The values goes from -3,58 to 3,49 dB. .
The higher value is surprisingly placed on of the
furthest position from the source (Position 14 on
the side box). It can be noticed that there are C50
speech average positive values in the side boxes
measurements while in the center positions of the
1
st
, 2
nd
and 5
th
floor the values are negative.
6.7. Lateral Fraction (LF).
Lateral fraction values calculated for some
representative positions in the hall (the ones
placed near the center).
Values from 125 Hz. to 16 kHz. produce results
that vary between 0,04 to 0,5.
6.8. Sound Strength (G).
The values given for the Sound Strength (G) are
measured with the source on the pit and on the
stage. In both situations the values calculated are
lower than the ones recommended by Beranek [1]
for concert halls (4Gmid5,5 dB).
This is probably because the theater was not
designed as a concert hall.
6.9. IACC.
The (1-IACCe3) parameter was calculated in all
the positions with the source on the pit and the
stage. Taking Beraneks recommendations for this
parameter the hall has values that go from
acceptable to excellent category.

The best positions are: Position 9 (with source on
the stage and pit), position 5 (source on the stage)
and positions 11,12 and 13 with the source on the
pit.



7. CONCLUSIONS.
Background noise level in the theater is high for
this kind of applications. But it is important to
consider that during the measurement there were
people working on the stage.
The difference between the background noise
measured in dBA and dBZ is considerable
(between 19,4 and 31,1 dB). These results show
that the Theater might have vibration issues on the
hall.
The hall has a classical opera design. The RTmid
is 0,5 seconds higher than the maximum
recommended by Beranek [1] for theaters. And
0,1 seconds lower than the minimum
recommended for concert halls. This shows that
despite being designed as an opera house the hall
has a long RT for this usage.
It is important to keep in mind that the
recommended values for this parameter were
calculated for occupied halls, so the RTmid for
this Theater would be much closer to the
recommended values for these halls than the
measured one. Considering that this measurement
was performed under unoccupied condition.
As is usual on this type of halls, there are longer
RT at low frequencies and shorter at high
frequencies.
The hall it is also used as a concert hall, so this
last feature might help achieving better results for
this kind of usage.
BR and Br values show acceptable results. Br is
0,1 points lower than the minimum recommended
value (Br 0,87 with occupied hall). If the
measurement would have been performed with an
occupied hall this value would probably be even
lower than it was. It is important to consider that
these parameters are recommendations for concert
halls.
Stage parameters are between the typical range of
values on the stage and the pit.
Results show that the recommended values of C80
music average are only achieved with the source
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on the pit only on the ground floor and the central
position measured on the 1
st
floor.
C50 speech average results are below the
recommended ones (C50 music average> 2dB,
occupied hall). The values obtained where
measured with an empty room and will probably
get closer to the recommended ones in an
occupied hall situation.
Kuttruff [4] proposes to average Lateral Fraction
values from 125 Hz. to 1000 Hz. due to the fact
that the low and mid-frequency components
contribute most with the sensation of
spaciousness.

Recommended values by Kuttruff [4], for large
halls vary from 0 to about 0.5. That
recommendation is achieved in all the measured
positions.
(1-IACCe3) values are between the
recommendations given by Beranek [1]. On one
hand, the lowest values are founded on one the
nearest position from the stage (Position 1) and on
the side box seat position (Position 14). On the
other hand the positions where the higher values
of (1-IACCe3) are founded (Positions 3 and 6) are
the positions were the lower values of Gmid are
obtained.
This situation can be caused due to the fact that
both microphone positions (3 & 6) were placed
under the 1
st
floor balcony. Gmid on these
positions can be improved with electroacoustic
support.
8. BIBLIOGRAPHY.

[1]Beranek, L. L. (2005 (2nd. Ed)). Concert
Halls and Opera Houses: Music,
Acoustics and Architecture. Springer.
[2]Everest, F. A. (2001). The Master
Handbook of Acoustics. McGraw-Hill.
[3]Isbert, A. C. (1998). Diseo acstico de
espacios arquitectnicos. Barcelona,
Espaa: Edicions UPC.
[4]Kuttruff, H. (2009 (5th. Ed)). Room
Acoustics. New York: Spoon Press.
[5]Gade. (1989). Acoustical Conditions
Preferred for Ensembles. Acustica 69
1437-1442.
[6]al., Marshall. et. (n.d.). Acoustical
Conditions Preferred for Ensembles.
JASA 64 1437-1442.
[7]Barron, M. (2010 (second edition)).
Auditorium Acoustics and
Architectural Design. New York: Spon
Press.





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APPENDIX.


TABLE 7 BERANEKS RECOMMENDED VALUES FOR ACOUSTICAL PARAMETERS ASSOCIATED TO A CONCERT HALL. [3]

TABLE 6 BERANEKS RECOMMENDED VALUES FOR ACOUSTICAL PARAMETERS ASSOCIATED TO A CONCERT HALL. [3]
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TABLE 8 ACOUSTICAL PARAMETERS RECOMMENDED VALUES BY BERANEK ASSOCIATED TO A THEATER. [3]


TABLE 9 (1-IACCE3) RECOMMENDED VALUES BY BERANEK. [3]

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