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Introduction
Sound
Characteristics
Behavior in closed spaces
Reflection
Absorption
Refraction
Diffussion
Difraction
Transmission
Behavior in open spaces
Near field
Far field
Free Field
Reverberant field
Inverse Square law
Doppler effect
Acoustic materials
Sound absorbers
Diffusers
Noise Barriers
Reflectors
Absorbers
Porous
Resonant panel Absorbents
Cavity Resonators
Composite type
• Acoustic Defect
Echo
Reverberation
Sound Focii
Dead Spots
Insufficient Loudness
• Reflection
• Absorption
• Refraction
• Diffusion
• Diffraction
Reflection :This occurs when the
wavelength of a sound wave is smaller
than the surface of an obstacle.
Io = reference intensity
It is expressed in decibels (dB).
Sound Intensity Formula is used to determine the intensity of sound
waves. The S.I unit of sound intensity is Watt per meter square (W/m2
A sound intensity level, LI , may be defined as follows:
LI =10 log10 (sound intensity)
(ref. sound intensity)
INVERSE SQUARE LAW
Sound Isolators.
• These devices are resilient and prevent sound
transmission through the structural steel or concrete of
a building as well as its plumbing and air handling
systems.
• Typical devices are resilient channel for drywall,
isolation pads for floors, and special adhesives for walls
to avoid the hard connections of nails and screws that
often provide a sound path through otherwise effective
sound insulation materials.
Study of various absorbing materials
All materials should absorb sound but some to a lesser extent.
Sound wave strikes porous surface and dissipate heat channels.
Efficiency of sound energy depends upon the porosity of
material.
Absorption coefficient is used to express the amount of incident
sound that can be absorbed .
The need for absorbing materials
To ensure Privacy
Noise control
To improve Environment for efficient working.
CLASSIFICATION OF SOUND ABSORBENTS
Classification of sound absorbent
1. Formation of echoes:
Echoes mainly produced due to the reflection of sound waves (mainly from the
surface of walls , roofs , ceilings etc. ) coming from the some sources , reaches
to the ear , just when direct sound wave is already heard and thus there is a
repetitions that is nothing but echoes.
1. Normally the formation of echoes (happens when the time lag between the
two voices or sounds is about 1/17 of a second. And the reflecting surfaces
are situated at a distance more than 15 meter.
2. If the reflected surface is curved with smooth surface this problem usually
occurs. To minimizes this problem select ion of proper geometry of
auditorium and surface and also use the rough and porous material for the
Reverberation:
Reverberation means the prolonged reflection of sound from wall floor or roof of a
hall.
1. When the sound is reflected back (some part of the sound is absorbed )
resulting in formation of echoes, but sometimes this reflection of sound does not
stop even the sound is died out.
2. The sound reflected back and forth against the walls, ceilings and floors for
several times This is mainly when sound in closed spaces successively
reflected by the smooth boundaries of the enclosed space.
Sound focii
Areas distinguished by blue are “live” areas, while seats marked in red illustrate
“dead” areas. This shows that the sound reflector panels are inefficiently
designed to spread sound to all areas of the theater.
As evidenced by this illustration, there are no “dead” zones in the crowd where
sound will not be reflected. In addition to zone checks, the reflective path
distance was compared to the direct path distance for each sound path. The
results found that there were no differences between the two paths greater than
34’, which is acceptable for this space.
Reverberation Time:
• The time gap between the initial direct note & the reflected note up to a
minimum audibility level is called as reverberation time.
• When the source emits sound, the waves spread out and the listener is
aware of the commencement of sound.
• If the note is continuously sounded, the intensity of sound at the listeners
ear gradually increases. After some time, a balance is reached between
the energy emitted per sound by the source and energy lost or dissipated
by walls or other materials.
T=0.161V
Sa
V= room volume
T=reverberation Time
a= Absorption Coefficient
S=Total Absorption (Sabins)
https://www.youtube.com/watch?v=A8t
WMnr5pps
Criteria for Good Acoustics
Optimum reverberation time is a compromise between clarity (requiring short
reverberation time), sound intensity (requiring a high reverberant level), and
liveness (requiring a long reverberation time).
The optimum reverberation time of an auditorium is dependent on the use for
which it is designed.
Reflected sound arriving from the sides seems to be important to the overall
reverberance of the room.
Important subjective attributes of concert hall acoustics include intimacy,
liveness, warmth, loudness of direct sound, reverberant sound level,
definition or clarity, diffusion or uniformity, balance and blend, ensemble,
and freedom from noise.
In addition to the attributes above, spatial impression and early decay time are
important.
The spatial impression is dependent on contributions to the early reflections from
above and especially from the sides. The initial rate of decay of reverberation is
apparently more perceptually important than the total reverberation time.
Echoes, flutter echoes, sound focusing, sound shadows, and background noise
should be avoided in an auditorium design.
The greater the early decay time (up to two seconds), the greater the preference
for the concert hall. Above two seconds, the trend it reversed.
Narrow halls are generally preferred to wide ones.