ACOUSTICS

ACOUSTICS is a branch of physics that study the sound. Acoustics concerns with the
production, control, transmission, reception and effects of sound.
Acoustics is classically divide into sound and vibration.
Sound refer to the wave form travelling through a fluid medium such as air.
Vibration describes energy transmitted through a denser material such as wood, steel,
stone, dry wall etc.,
 SOUND is reflected, transmitted or absorbed by the materials
it encounter.
•Soft surface such as textiles and bat insulation tend to
absorb sound waves preventing them from further
motion
•Hard surface such as ceramic tile, gypsum board or wood
tend to reflect sound waves causing “echo”.
Reverberation is the term used to describe sound waves
that are reflected off the surface.
Physical properties of sound
• wavelength of sound- the distance
between two pressure points or valley
(Lambda)
• Frequency – the number of oscillations
per second (f)
• Velocity of sound – the rate at which the
sound wave travel from source to the receiver
through the medium.
• Amplitude - the distance between a crest
(the lowest to highest point)
• Pitch – highness or lowness of a tone
• Period – the time taken for one complete
oscillation. (T)
DECIBEL LEVELS
0 db - The softest sound a person cannot hear with normal hearing
10 db - normal breathing / sound proof room
20 db - faint whisper / whispering at 20 feet
30 db - soft whisper / quiet auditorium
50 db - light traffic / rainfall
60 db - normal conversation
70 db - department store or a noisy office
90 db - heavy traffic
110 db - shouting in ear
120 db - thunder / rock concert
130 db - jack hammer
BEHAVIOUR OF SOUND IN AN ENCLOSED SPACE
An enclosed space is a room or area bounded on every of its sides. The material for enclosure may be
classified into two
- those which allows sound waves to pass through
- those which do not allow the sound waves to pass through
On encountering the barriers posed by the enclosure, sound waves are likely to behave in the following
ways
• Reflection
• Absorption
• Refraction
• Diffusion
• Diffraction
REFLECTION:
This occurs when the wavelength of a sound wave is smaller than
the surface of an obstacle. In the case of an enclosed space the
sound waves hit every side of the enclosure continuously until the
sound energy reduces to zero.
The amount of waves reflected depends on the smoothness, size
and softness of the materials of enclosure. The angle of incidence
of sound rays is equal to that of the reflected rays only if the
surface of the reflector is flat. But when it is curves, the angles are
different.

ABSORPTION:
When sound waves hit the surface of an obstacle, some of its
energy is reflected while some are lost through its transfer to the
molecules of the barriers. The lost sound energy is said to have
been absorbed by the barrier. The thickness and nature of the
material as regards its softness and hardness influence the amount
of sound energy absorbed.

REFRACTION:
This is the bending of sound when it travels from one medium to
another medium. The difference in the composition of the two
different media bends the sound. i.e. the angle of incidence
changes into an angle of refraction as it travels into the new
medium.
DIFFUSION:
This is the scattering of sound wave from a surface. It occurs
as a result of the texture and hardness of the obstacle is
comparable to the wavelength of the sound.
The direction of the incident ray changes when it strikes the
surface of the obstacle. Satisfaction is achieved when sound
is heard in all directions at equal level.

DIFFRACTION :
When the wavelength of a sound wave is smaller or equal to
the size of the obstacle, the sound rays tend to bend round
the edge of the obstacle thereby turning the edge to a
sound source.

TRANSMISSION :
In this phenomenon, sound wave is carried by molecules of
the obstacles through vibration and reemitted at the other
side irrespective of the medium. It can be structure borne,
air borne or impact sound.
FACTORS THAT AFFECT THE BEHAVIOUR OF SOUND IN AN ENCLOSED SPACE

Reduction in its intensity of sound - This can result due to the distance between its source
and the receiver.
Absorption of direct sound y the audience – the listeners of the sound absorb some of the
sound in the process of hearing
Absorption of direct and reflected sound by surface – the walls, ceiling and floor of the
enclosure absorbs and reflect sound waves thereby controlling the way the sounds behave.
Reflection of sounds from right angled corners – sound incident to a right angled corner of
room will be reflected back towards source if surface are acoustically reflective. This can in
turn produce echoes especially in large space.
Dispersion of the sides of an enclosure – reflections can be controlled by making one surface
dispersive. i.e. not at right angle to each. This would have affected the reflection of the
sound thereby affecting its behavior.
Edge diffraction of sound – this results in curvature of parts of a sound wave around the
edge of a barrier. This causes obstacles to scatter the sound wave making it to behave like a
source of sound.
Sound shadow – any barrier interrupting the sound wave will create a shadow.
Primary reflection – this depends on the angle of incidence equal to angle of reflection.
Panel resonance - sound waves can propagate “through” a solid material by panel vibration.
the sound does not actually penetrate the material but rather causes this to vibrate and acts
as a sound source itself. The panel will be vibrated by both direct and reflected sound waves.
Reverberation time
• Reverberation time refers to the amount of time required for the sound field in a space
to decay 60 dB or to one million of the original power.
• In simple terms, the amount of time it takes for sound energy to bounce around a room
before being absorbed by the materials and air.
• RT is important because it affects how well you understand the speech and it can
change the way music sounds.
• The effect on speech intelligibility is noticeable in an arena, where you often cannot
understand someone who is only 10 or 15 feet away from you.
Threshold of hearing
The threshold of hearing is defined as the level of a sound at which, under specified
conditions, a person gives 50% correct detection responses on repeated trials, and is
indicated by the bottom line in Figure.
Types of Noise ( see ISO 12001 )

Noise may be classified as steady, non-steady or impulsive, depending upon the

temporal variations in sound pressure level.

Steady noise is a noise with negligibly small fluctuations of sound pressure level within
the period of observation. If a slightly more precise single-number description is needed,
assessment by NR (Noise Rating) curves may be used.

A noise is called non-steady when its sound pressure levels shift significantly during the
period of observation. This type of noise can be divided into intermittent noise and
fluctuating noise.

Fluctuating noise is a noise for which the level changes continuously and to a great
extent during the period of observation.

Tonal noise may be either continuous or fluctuating and is characterised by one or two
single frequencies. This type of noise is much more annoying than broadband noise
characterised by energy at many different frequencies and of the same sound pressure
level as the tonal noise.
ACOUSTICAL CHARACTERISTIS
1. Live ness and intimacy– measure of reverberation time
2. Fullness and Clarity – refers to the amount of reflected sound relative to the
amount of direct sound
3. Warmth and Brilliance – increases with the increasing RT for low frequencies
4. Texture – good when atleast 5 reflections arrive within 60 ms of direct sound
5. Blend and Ensemble - ability to hear the entire performing group on the stage(1)
and in the audience (2)

ACOUSTICAL DESIGN PROBLEM

1. Focusing of sound – occurs with use of parabolic surfaces either behind performers
or at rear of auditorium
2. Echoes – highly reflective flat or parabolic wall shapes, flutter echoes from parallel
walls, standing waves between parallel walls
3. Shadows - any barrier interrupting the sound wave will create a shadow.
4. Resonances – parallel wall, rectangular practice rooms, singing in the shower
5. External noise
6. Double valued TR – play back with reverberation, concert halls with side areas.
ARCHITECTURAL ACOUSTICAL
Architectural acoustics is the science of controlling sound in building spaces. Embraces
all aspects of acoustical design for all types of architectural spaces. The first
application of architectural acoustics was in the design of
1. Opera house
2. Concert halls
3. Auditoriums
4. Radio and television studios
5. Class rooms
In which, the seating, stage room shape and room walls arrangement plays important
role in acoustics.
Control of TR

TR = 0.050 V/A
Where,
TR = reverberation time in second.
V = room volume in cubic feet
A = total room absorption in sabins.
Bels and decibels
BUILDING ACOUSTICS – ROOM FOR MUSIC

• There is no division between the stage and the audience in a concert hall.
• The orchestra is positioned on a raised platform, sometimes with an organ and choir
seating behind it.
• To attain long reverberation time, the ceiling of the concert hall are high (15 m or
more) and diffusive with coffered patterns having deep fissures (15 cm)
• Side walls are adorned with columns, caryatids, statuary and convex shapes that help
diffuse the reflected energy.
• An opera house is a mix of a legitimate theatre and a concert hall, which constraints
the design more than a concert hall.
• In a opera house the stage performance rather than the orchestra is the main
attraction.
• The orchestra is seated in a pit below the stage to balance the level between the
singer and the orchestra.
• The conductor who must be visible to both the orchestra and the vocalist stands with
his head just at the stage level.
BUILDING ACOUSTICS – ROOM FOR MUSIC
General design parameters
• Noise from the exterior source and mechanical equipments must be controlled so that
the quietest instrumental sound can be heard
• Heavy plaster is most commonly encountered in wall and ceiling material
• Plaster may also be applied directly onto grouted concrete block or concrete.
• When wood is used it should be heavy at least (25 mm) thick and be backed with a
solid masonry or concrete. Wood can be glued directly to concrete block or concrete
walls or applied on furniture strips
• Floors are constructed of concrete or wood on concrete.
BUILDING ACOUSTICS – ROAD WAY NOISE
An example of “Line Source” of noise pollution. Level of noise is a function of volume,
type of vehicle and speed.
Solutions:
• Regulations limit the amount of noise some vehicles can produce
• Some regulations require vehicle to be properly operated and maintained.
• Despite regulations, the noise level areusually only reduced by 5 to 10 dBA
• Earth berms / wooden fences / concrete walls
• Barriers
• Buffer zones
• Vegetation (dense enough)