buildings

Article
Acoustics of a Music Venue/Bar—A Case Study
Ramani Ramakrishnan *,† and Romain Dumoulin †
Department of Architectural Science, Ryerson University, 350 Victoria Street, Toronto, ON M5B 2K3, Canada;
dumoulin.acoustics@gmail.com
* Correspondence: rramakri@ryerson.ca; Tel.: +1-416-979-5000 (ext. 6508); Fax: +1-416-979-5353
† These authors contributed equally to this work.

Academic Editor: David Arditi

Received: 1 February 2016; Accepted: 11 March 2016; Published: 16 March 2016
Abstract: A vacant unit, once used by a Portuguese Deli, was converted to a bar/music room in
Toronto. The unit was divided into two spaces along its north-south axis. The western portion was
designed as a music room that would provide a performance space from a solo artist to a Jazz combo
to a small rock band. The eastern part was designed as a regular bar/dining area. The plan also called
for a microbrewery unit at the back of the unit. The bar music can be loud, while the music room
can be pianissimo to forte depending on the type of performance. The acoustical design aspects are
critical for the music room. In addition, the acoustical separation between the two spaces is equally
important. The music room/bar is currently in use. The design results are compared to actual field
measurements. The results showed that the music venue performed satisfactorily. The acoustical
separation between the music venue and the bar/restaurant was better than expected other than an
installation deficiency of the south side sound lock doors. The background sound along the northern
portion was NC-35 or less. However, the southern portion’s background sound exceeded NC-35 due
to the hissing of the return air grille. The acoustical design and the performance results of the music
venue-bar/restaurant are presented in this paper.

Keywords: music room; bar; acoustical metrics; acoustical separation; HVAC (Heating, Ventilation
and Air-Conditioning) system noise

1. Introduction
The acoustics of a space is seldom considered when designing a bar or a restaurant. Even the
noise intrusion from the bar into adjoining spaces is not recognized and attended to, only if there are
complaints. Many small music venues do not undertake a proper acoustical study and only implement
minor fixes after the fact. Acoustical consultants face myriad obstacles when requested to provide
design guidelines during the initial stages of the venue planning. Cost and implementation difficulties
are excuses used to thwart the acousticians. Similarly, when the small music venues face acoustical
deficiencies after the facilities are constructed, the owners do not always offer a free hand to the
acousticians to satisfactorily resolve the acoustical concerns.
In contrast to the conventional modus operandi, two partners with strong musical background,
decided to convert a defunct deli into a music room/bar-restaurant facility at a major intersection in
Toronto. As musicians, they understood the seriousness of their plans from an acoustical perspective.
The acousticians were given total freedom to provide proper design solutions from different aspects of
acoustics such as room acoustics and noise separation.
The two spaces were designed using conventional prediction schemes and implementation details
were appropriately prescribed. Preliminary details and results from site measurements were presented
in Ramakrishnan and Dumoulin [1].
Vigeant et al. investigated different test methods to determine the JND (Just Noticeable Difference)
for the clarity metric C80 [2]. The current case study has evaluated the relative errors of different

Buildings 2016, 6, 11; doi:10.3390/buildings6010011 www.mdpi.com/journal/buildings

Buildings 2016, 6, 11 2 of 13

acoustic metrics by using the subjective limen calculations. The JND evaluation of Reference [3] is
Buildings 2016, 6, 11 2 of 13
somewhat similar to the current investigation.
Patania et
different al. investigated,
acoustic through
metrics by using simulation,
the subjective limenthecalculations.
acoustic ofThe
a music hall in a heritage
JND evaluation building
of Reference
[3] is somewhat
in University similarItaly
of Catania, to theand
current investigation.
provided methods to improve its acoustic quality [3]. Orlowski
conducted Patania
a serieset al.
ofinvestigated,
measurements through simulation,
to evaluate thethe acoustic of a music
reverberation time hall
andinstrength
a heritage
inbuilding
a number of
in University of Catania, Italy and provided methods to improve its acoustic quality
music rooms [4]. Nocera et al. investigated the lecture hall of steel construction and provided methods [3]. Orlowski
conducted a series of measurements to evaluate the reverberation time and strength in a number of
to improve its acoustic quality [5]. Similar investigations were undertaken in the current study to
music rooms [4]. Nocera et al. investigated the lecture hall of steel construction and provided methods
provide suitable acoustical designs for the conversion of a delicatessen into a music room.
to improve its acoustic quality [5]. Similar investigations were undertaken in the current study to
The two facilities were constructed and became operational in early 2015. Detailed site
provide suitable acoustical designs for the conversion of a delicatessen into a music room.
measurements
The two were conducted
facilities were and the finished
constructed and facility
became was remodeled
operational using2015.
in early ODEON software
Detailed site [6].
The results of the comparisons
measurements were conducted between
and thesimulation and site
finished facility wasmeasurements
remodeled usingare presented
ODEON in this
software [6].paper.
Detailed resultsofofthe
The results the simulationbetween
comparisons are alsosimulation
presented andinsite
thismeasurements
paper. are presented in this paper.
Detailed results of the simulation are also presented in this paper.
2. Background
2. Background
The proposed, but preliminary, lay out details of the music venue/bar-restaurant, on Bloor Street,
Toronto, The
are proposed,
shown inbut preliminary,
Figure 1. Thelay outwas
unit details of the music
divided venue/bar-restaurant,
into two spaces along itsonnorth-south
Bloor Street, axis.
Toronto, are shown in Figure 1. The unit was divided into two spaces along
The western portion was designed as a music room, with an approximate volume of 230 its north-south axis.cu.m,
The that
western portion was designed as a music room, with an approximate volume of 230 cu.m, that would
would provide a performance space for a solo artist to a Jazz combo to a small rock band. The eastern
provide a performance space for a solo artist to a Jazz combo to a small rock band. The eastern part
part was designed as a regular bar/dining area. The bar music can be loud, while the music room can
was designed as a regular bar/dining area. The bar music can be loud, while the music room can be
be pianissimo
pianissimototoforte
fortedepending
depending on onthe
thetype
typeofofperformance.
performance. TheThe plans
plans alsoalso called
called for afor a microbrewery
microbrewery
unit at the north end of the facility.
unit at the north end of the facility.

[Large Window] [Sound Lock Doors] [Music-Venue] [Bar/Restaurant] [Stage] [Microbrewery]

(a)

(b)

Figure 1. Music venue/bar layout. (a) Perspective view; (b) Plan with dimensions.
Buildings 2016, 6, 11 3 of 13

Music Venue/Bar Requirements

Two different types of needs were considered during the design: (a) Unreinforced concerts
with acoustical instruments; and (b) music using sound reinforcement system. The main acoustical
requirements were: (i) adequate loudness in every part of the room; (ii) uniform distribution of sound
pressure levels; (iii) optimum reverberation for music; (iv) free from acoustical defects (such as echoes);
and (v) low background noise levels and vibration.
The acoustical parameters used to evaluate the quality of the venue acoustics were: reverberation
time (T30 ); and clarity (C80 ). It must be noted that only the above two metrics and expected sound
level distribution were investigated for preliminary design details of the music venue. The optimum
acoustical parameters for the venue according ISO standards and well known recommendations are
summarized in Table 1 below [7–11].

Table 1. Optimum acoustical parameters for an empty musical space.

Condition T30 , s C80 , dB dBA

Unreinforced music 0.8–1.0 >´5 >80 *
Reinforced music 0.6 – 90–100
Notes: dBA is the overall sound pressure level from the activity. * Preferred overall sound pressure levels for
classical music.

In addition, adequate acoustical separation must be provided between the bar and the music
venue. The bar sound levels must be controlled with a limiter and overall sound levels in the
bar-restaurant area should not exceed 85 dBA and 90 dB. It can be seen therefore that an Apparent
Sound Transmission Class (ASTC) of around 50 is an adequate separation for the construction between
the music venue and the bar.

3. Proposed Design
The microbrewery is located along the north end of the unit. The east wall faces a side street
and there is a gap along the west wall. In addition the second level of the complex has three rental
apartments. And hence, it must be pointed out that the interior acoustical design is as important as the
design of appropriate separation so that the noise intrusions can be kept to a minimum. Finally, the
HVAC system noise levels must be adequately silenced. The details of the design are outlined in the
following sections.

3.1. Interior Acoustical Design

The music venue is long and narrow with a large window on the south wall. The stage area is at
the north end with the musicians on an elevated platform. It will be utilized for three different events:
solo musician (with and without amplification); a small group such as a jazz band (with and without
amplification); and a rock band (with amplification).
The three event scenarios were modeled in the acoustical software. The results showed that the
solo musician might need some amplification. Jazz Band can be loud enough without amplification.
The Rock band uses amplification. Since the space is narrow and long, it needs diffusers to aid in the
propagation and assist in the diffusivity of the sound. Approximately 50 square metres of diffusers
were to be applied in the acoustical simulations and a few diffuser options, as shown in Figure 2 below,
were proposed. One of the main requirements is to install heavy valour drapes, operable, over the
south window and behind the stage for two reasons: (a) to prevent echoes from the window; and (b) to
add acoustical absorption to the room when sound amplification is used. Moveable absorbing curtains
and a treated ceiling were recommended for the stage area in order to reduce the risks of acoustical
feedback when microphones are used for sound reinforcement.
Buildings 2016, 6, 11 4 of 13
Buildings 2016, 6, 11 4 of 13
Buildings 2016, 6, 11 4 of 13

(a) (b) (c)

(a) (b) (c)
Figure 2. Diffuser design options. (a) Polycylindrical diffusers; (b) 2D random pattern diffuser;
Figure 2. 2.Diffuser
Figure Diffuserdesign
designoptions.
options. (a) Polycylindrical diffusers;(b)
Polycylindrical diffusers; (b)2D
2Drandom
randompattern
pattern diffuser;
diffuser;
(c) Pyramidal diffuser.
(c) (c)
Pyramidal diffuser.
Pyramidal diffuser.

The location of the speakers and sub-woofers are very critical to overcome low-frequency modal
The location
The location ofof
the
thespeakers
speakersand
andsub-woofers
sub-woofers are very very critical
criticalto
toovercome
overcomelow-frequency
low-frequency modal
modal
distribution in the music room and appropriate locations were recommended.
distribution
distribution in in
thethe musicroom
music roomandandappropriate
appropriatelocations
locations were recommended.
recommended.
Finally, the speakers for the Bar music are to be hung by spring hangers from the main ceiling
Finally,
Finally, thethe speakersfor
speakers forthe
theBar
Barmusic
musicareare to
to be
be hung
hung byby spring
springhangers
hangersfrom
fromthe
themain
mainceiling
ceiling
joist and the levels are controlled to be less than 85 dBA and 90 dB (linear). The limiter to be used for
joist
joist and the levels are controlled to be less than 85 dBA and 90 dB (linear). The limiter to be used forfor
theand
bar the levels
music mustareinclude
controlled to be lessto
a microphone than 85 dBA
measure theand
bar 90 dB levels.
noise (linear). The limiter to be used
the bar music must include a microphone to measure the
the bar music must include a microphone to measure the bar noise levels. bar noise levels.
3.2. Acoustical Separation
3.2.3.2. Acoustical
Acoustical Separation
Separation
A floating floor assembly was used for the music venue. Baltic birch board, ¾” thick, was floor
A floating
A floating floor
floor assemblywas
assembly wasused
usedfor
for the
the music
music venue. Baltic birch
birchboard,
board,¾”
¾”thick, was floor
mounted on rubber-in-shear mounts as shown below invenue.
Figure Baltic
3. thick, was floor
mounted on rubber-in-shear mounts as shown below in
mounted on rubber-in-shear mounts as shown below in Figure 3. Figure 3.

Figure 3. Floating floor assembly details for the music venue.

Figure3.3.Floating
Figure Floatingfloor
floorassembly
assembly details
details for
for the
themusic
musicvenue.
venue.
Two wall assemblies will separate the music venue and the bar. Each wall assembly is two layers
Two Twowallwall assemblies
assemblies willwillseparate
separatethe themusic
musicvenue
venue andand the
the bar. Each
Eachwall
bar.between wall assembly is is two layers
of drywall (5/8′′ thick) and is on separate metal studs. The spacing the assembly
studs was chosen two layers
to
of drywall (5/8′′ thick) and is on separate metal studs. The spacing between
11 thick) and is on separate metal studs. The spacing between the studs was chosen the studs was chosen to
of fit
drywall (5/8
the space. The air-gap between the two studs is filled with batt insulation. There are two wall
fit the space. The air-gap between the two studs is filled with batt insulation. There are two wall
to assemblies
fit the space. for The air-gapvenue:
the music between one thethattwo studs the
separates is filled withthe
bar and batt insulation.
other one is next There areexterior
to the two wall
assemblies for the music venue: one that separates the bar and the other one is next to the exterior
assemblies
wall. Bothfor thethewallmusic venue: one
assemblies, that separates
including the studsthewerebarplaced
and theonother one is floor.
the floating next toThethestuds
exterior wall.
of the
wall. Both the wall assemblies, including the studs were placed on the floating floor. The studs of the
wall assembly next to the exterior wall were connected through partition
Both the wall assemblies, including the studs were placed on the floating floor. The studs of the wall supports such as sway braces.
wall assembly next to the exterior wall were connected through partition supports such as sway braces.
assembly Thenextceiling
to theof exterior
the two wall spaceswere were designed
connected as a membrane
through system tosuch
partition supports provide separation
as sway braces.
The ceiling of the two spaces were designed as a membrane system to provide separation
between
The the two
ceiling of spaces
the two as wellwere
spaces as todesigned
adequately as aseparate
membrane the system
spaces fromto the apartments
provide separation above.
between
between the two spaces as well as to adequately separate the spaces from the apartments above.
Details
theDetails of
two spaces typical membrane
as well system
as to adequately are shown in Figure 4 below. Note: The T-Bar system shown in of
of typical membrane system are separate
shown in the spaces
Figure fromNote:
4 below. the apartments
The T-Bar systemabove.shown Details in
Figure
typical 4 was
membrane not part of the current design. The music venue’s ceiling consisted of a 3-layer gypsum
Figure 4 was notsystem part of arethe shown
currentin FigureThe
design. 4 below.
music Note:
venue’s The T-Barconsisted
ceiling system shown in Figure
of a 3-layer gypsum 4 was
notboard
part with
board of theeach
with each
layer’s
current
layer’s
tapingThe
design. staggered from theceiling
music venue’s
taping staggered
adjacent
from the adjacent
layers and
consisted
layers and of awere connected
3-layer
were gypsum
connected
to board
the main
to the main with
slab
each through
layer’s resilient
taping hangars.
staggered from On the other hand, the celling of the bar-restaurant, due to space
slab through resilient hangars. Onthe theadjacent layersthe
other hand, and wereof
celling connected to the main
the bar-restaurant, dueslabto through
space
limitation, consisted of a double layer gypsum board construction and were connected to the slab
resilient hangars.
limitation, On theofother
consisted a doublehand,layer
the celling
gypsum ofboard
the bar-restaurant,
construction and due were
to space limitation,
connected consisted
to the slab
above through resilient “z” channels.
of aabove
double layer resilient
through gypsum“z” board construction and were connected to the slab above through resilient
channels.
The music venue and the bar share two sets of doors, one near the stage of the music venue and
The music venue and the bar share two sets of doors, one near the stage of the music venue and
“z” channels.
the other is near the raised portion of the music venue, as shown in Figure 1. Both doors, of each set,
theThe
other is near
music the raised
venue and the portion of the
bar share twomusic
setsvenue,
of doors,as shown
one nearin Figure
the stage 1. Both
of thedoors,
music of venue
each set, and
was solid core and one of them had an STC 47 rating. Finally, the HVAC system details were assessed
was
theand solid
other core
is near the and one of them
raised portion had an STC 47
of the music so rating.
venue,Finally, the
as shown HVAC
inambient system
Figure 1.sound details were
Both levels
doors,wereassessed
of each
appropriate silencers were recommended the music venue lessset,
was and appropriate
solid core and silencers
one of themwere hadrecommended
an STC 47 so theFinally,
rating. music thevenue
HVAC ambientsystem sound levels
details werewere less
assessed
than NC-35 (NC is Noise Criterion Curves).
andthan NC-35 (NC
appropriate is Noisewere
silencers Criterion Curves). so the music venue ambient sound levels were less than
recommended
NC-35 (NC is Noise Criterion Curves).
Buildings 2016, 6, 11 5 of 13

Buildings 2016, 6, 11 5 of 13
Buildings 2016, 6, 11 5 of 13
A few images of the completed music room are shown in Figure 5 below. Wall design as diffusers
A few images of the completed music room are shown in Figure 5 below. Wall design as diffusers
and and
the A
location
few
the of the
images
location stage
ofofthe
the speakers
completed
stage are
arehighlighted
music
speakers room in Figure
are shown
highlighted in Figure 5.5. 5 below. Wall design as diffusers
in Figure
and the location of the stage speakers are highlighted in Figure 5.

Figure 4. Membrane ceiling details.

Figure 4. Membrane ceiling details.
Figure 4. Membrane ceiling details.

(a) (b)
(a) (b)

(c) (d)
(c) (d)
Figure 5. The built music room. (a) East wall diffuser; (b) West wall diffuser; (c) Stage speakers; and
(d) Music
Figure room
5. The looking
built musicnorth.
room. (a) East wall diffuser; (b) West wall diffuser; (c) Stage speakers; and
Figure 5. The built music room. (a) East wall diffuser; (b) West wall diffuser; (c) Stage speakers; and
(d) Music room looking north.
(d) Music room looking north.
The diffusers correspond to a relaxed architectural adaptation of maximum length sequence
The diffusers
diffusers correspond
with vertical to a relaxed
and horizontal wells.architectural adaptation
While perfectly uniformofdiffusion
maximum waslength sequence
not needed, the
The objective
main diffusers
diffusers correspond
with vertical
for and
these to awas
diffusers relaxed
horizontal wells. architectural
While
to diffuse perfectly
early adaptation
lateral uniform ofThe
maximum
diffusion
reflections. oflength
was not
location needed,sequence
the
the speakers
diffusers with vertical
main objective anddiffusers
for these horizontal
was wells. While
to diffuse earlyperfectly uniform The
lateral reflections. diffusion was
location notspeakers
of the needed, the
main objective for these diffusers was to diffuse early lateral reflections. The location of the speakers
Buildings 2016, 6, 11 6 of 13

and sub-woofers are very critical to control the acoustic energy delivered from speakers to room modes.
In order to limit the first three orders of the axial modes (for the venue’s width and height axes) to be
energized, appropriate locations of the subwoofers were recommended—25% of the room width from
each wall and elevated at 25% of the room height from the floor, which correspond to the null locations
for the second-order standing waves. Simple room acoustic simulations were not undertaken since the
main frequencies around 125 Hz were below the Schroeder cut-of frequency limit for the simulation
software. Note: If one needs an accurate representation in low frequencies, FEM (Finite Element
Modelling) simulation would have to be undertaken, which is beyond the scope of the current study.

4. Acoustical Modelling
The final design of the room was modelled in ODEON simulation tool for comparison purposes [2].
Two scenarios were applied to generate acoustical metrics along a grid, at a height of 1.5 m, representing
the audience space. The audience space of the music room consisted of two areas: (a) the audience,
seated, in the northern half; and (b) the audience, standing, near the southern portion. The grid
simulations were undertaken for the fully occupied room and for the empty room. In addition,
four individual locations were chosen to generate the acoustical parameters for an empty room
so as to provide comparison results with site measurements, to be discussed subsequently in
Section 6. The results of the reverberation time from the site measurements were used to calibrate the
simulation models.
A large set of parameters were generated by simulation as well as calculations from impulse
measurements. Detailed definitions and acceptable range of values for the acoustical parameters can
be found in Barron [10] and Rossing [11]. The following parameters will be evaluated and discussed in
this paper. Note: The relationship between subjective parameters and objective acoustical metrics such
as T60 , EDT, C80 , and Ts have been dealt with in detail by a number of researchers and can be found in
References [9–11]. And hence only their brief definition are highlighted below.

1. Reverberation Time, T60 —represents the amount of reverberance of the space;

2. Early Decay Time, EDT—represents the amount of reverberance of the space and is better
correlated with reverberance than RT60 ;
3. Clarity, C80 —describes the degree of perception of the details of the performance;
4. Centre Time, Ts —describes the balance between early and late sound and hence evaluates the
balance between clarity and reverberance;
5. SPL (Sound Pressure Level) Variation—describes how the sound is distributed throughout the
space. The absolute values are not critical and one should look only at its variation.

Finally, the echo potential is evaluated by using the methods of Dietsch and Kraak [12].
The simulations of the room requires acoustical parameters such as absorption coefficients of the
interior materials. These values are obtained from the database of the simulation software as well as
published materials such as those provided by Adelman-Larson et al. [13]. The scattering coefficients,
in particular for wood diffuser walls and audience were obtained from Zeng et al. [14]. The above
values were adjusted while calibrating the simulation models with measured data from impulse
measurements (Section 5.3).
A set of sample results, RT60 (based on T(30) averaged T(30), and SPL variation, of the simulations
are presented in Figure 6 through 8. Reverberation time results for the full and empty rooms, at 500 Hz,
are shown in Figure 6. The variation across the room is insignificant. The reverberation time reduced
from 0.8 s for the empty room to 0.55 s for the full room. The reduced reverberation falls within the
design goal set for the music room with sound amplification.
The SPL variation at 500 Hz for the fully occupied and empty room scenarios are shown in
Figure 7. In the case of a small group with amplification only on the stage, the SPL variations are of the
order of 9 dB for the fully occupied room and 7 dB for the empty room. However, the SPL variation
for the front half of the room is 3.5 dB for the full room and 2.5 dB for the empty room. The lack of
Buildings 2016, 6, 11 7 of 13

Buildings 2016, 6, 11 7 of 13
uniform distribution near the back of the music room was highlighted during the initial design and it
was recommended
Buildings that sound amplification was to be implemented. The final plan of the music room
2016,recommended
6, 11
and it was that sound amplification was to be implemented. The final plan of the 7music of 13
included two ceiling mounted speakers, in the centre of the room and provided additional sound for
room included two ceiling mounted speakers, in the centre of the room and provided additional
the
and back
it wasportion of the room, as shown in Figure 5d.
sound forrecommended
the back portion that
ofsound amplification
the room, as shownwas to be implemented.
in Figure 5d. The final plan of the music
The
room The results
included of
resultstwo average reverberation
ceiling mounted
of average time
speakers,
reverberation is
time inpresented in
the centre in
is presented Figure
of Figure 8
the room below.
and The
8 below. Thevariation
provided ofofthe
additional
variation the
reverberation
sound for thetime
reverberation back
timeisportion
similar
is to the
of
similar that
to of of
500500
room,
that Hz.
as TheThe
shown
Hz. averaged
Figurevalue
in averaged reduced
5d.value reduced from 0.8 s0.8
from (empty
s (emptyroom) to
room)
0.5
tos0.5
(fully
The occupied
results
s (fully occupiedroom).
of average The
room). reduced
reverberation
The reducedreverberation
time falls
is presented
reverberation within
inwithin
falls thethe
Figure 8design
below.
designgoal
The
goalset forfor
the
variation
set themusic
of the
music
room
roomwith withsound
reverberation time
sound amplification.
is similar to that of 500 Hz. The averaged value reduced from 0.8 s (empty room)
amplification.
to 0.5 s (fully occupied room). The reduced reverberation falls within the design goal set for the music
room with sound amplification.

(a) (b)
Figure
6. 6.
RTRT 60 variation at 500 Hz for the music room. (a) Empty; (b) Fully occupied.
(a) (b) occupied.
Figure 60 variation at 500 Hz for the music room. (a) Empty; (b) Fully

Figure 6. RT60 variation at 500 Hz for the music room. (a) Empty; (b) Fully occupied.

(a) (b)
Figure 7. Sound Pressure Level
(a) (SPL) variation at 500 Hz for the music room. (a) Empty;
(b) (b) Fully occupied.
Figure 7. Sound
Figure Pressure
7. Sound Level (SPL)
Pressure Levelvariation at 500 Hzatfor500
(SPL) variation theHz
music
forroom. (a) Empty;
the music room.(b) Fully occupied.
(a) Empty;
(b) Fully occupied.
Buildings 2016, 6, 11 8 of 13
Buildings 2016, 6, 11 8 of 13

(a) (b)

Figure
Figure 8.
8. Average
Average T(30) variation for the music room. (a) Empty; (b) Fully occupied.

Finally,
Finally, the simulation results
the simulation showed the
results showed the following
following values,
values, of
of the remaining acoustical
the remaining acoustical
parameters,
parameters, for a fully occupied room at 500 Hz: (a) C80 ranged between 3 dB and 8 dB;T(b)
for a fully occupied room at 500 Hz: (a) C80 ranged between 3 dB and 8 dB; (b) s was
Ts
between 25 ms
was between 25toms65toms;
65 and (c) EchoDietsch
ms; and values
(c) EchoDietsch werewere
values between 0.39 0.39
between and and
0.49.0.49.
AndAnd
hence, it can
hence, it
be concluded that the music room had been designed to provide more than satisfactory
can be concluded that the music room had been designed to provide more than satisfactory acoustical acoustical
conditions.
conditions. Note:
Note: EchoDietsch
EchoDietsch values
values have
have to
to be
be higher
higher than
than 0.9
0.9 to
to cause
cause any
any concerns.
concerns.

5. Site
SiteMeasurements
Measurements
room/bar-restaurant has
The music room/bar-restaurant has been
been in
in operation
operation since
since the
the spring
spring of
of 2015
2015 and
and hence, it was
possible to conduct site measurements.
measurements. Three
Three sets of measurements were conducted: (a) ambient
measurements within the music room; (b) noise reduction between the bar-restaurant and the music
room; and (c) Impulse response measurements within the music room. The The results
results of
of the three
measurements are described below.
below.

5.1. Acoustical
5.1. Acoustical Separation
Separation
The acoustical
The acousticalseparation
separationbetween
between thethe
bar-restaurant
bar-restaurantand the
andmusic room was
the music roomestablished through
was established
measurements. Three potential noise paths existed between the two spaces:
through measurements. Three potential noise paths existed between the two spaces: (a) through the (a) through the separating
walls; (b) through
separating walls; (b)the doublethe
through doors (two
double sets);(two
doors andsets);
(c) through the ceiling.
and (c) through Three different
the ceiling. sound
Three different
sequences were played through the speaker system of the bar-restaurant: (i) 30
sound sequences were played through the speaker system of the bar-restaurant: (i) 30 s of pink noise; s of pink noise; (ii) 90 s
of electronic music; and (iii) 120 s of a musical sequence. The sound sequences
(ii) 90 s of electronic music; and (iii) 120 s of a musical sequence. The sound sequences were played were played at a high
90 atohigh
at 95 dBA90 tolevel. The sound
95 dBA sequences
level. The sound were measured
sequences wereatmeasured
two locations
at twoinside the bar-restaurant
locations inside the bar- as
well as at two locations inside the music room. The average noise reduction levels
restaurant as well as at two locations inside the music room. The average noise reduction levels were were calculated and
the results and
calculated are presented
the resultsinare Figure 9 below.
presented in Figure 9 below.
It can
It can bebeseen,
seen,from
fromFigure
Figure 9 that between
9 that betweenASTC (Apparent
ASTC Sound
(Apparent Transmission
Sound Transmission Class)Class)
45 to ASTC
45 to
50 noise transmission loss has been provided by the acoustical separation.
ASTC 50 noise transmission loss has been provided by the acoustical separation. The northern The northern portion is seen
to have is
portion provided high transmission
seen to have provided highloss values compared
transmission to the
loss values southernto
compared portion of the separation.
the southern portion of
Even higher transmission loss would have been obtained, if not for the following
the separation. Even higher transmission loss would have been obtained, if not for the following reasons. reasons.

(a) The
The music
music room
room isis separated
separated from
from the
the bar-restaurant
bar-restaurant by a sound lock with two solid-core wood
doors.
doors. One
Oneofofthem
themisisrated
ratedas
asan
anSTC-47
STC-47door.
door.The
Thesecond
seconddoor
doorisisaasimple
simplesolid-core
solid-corewood
wooddoor.
door.
The
The STC-47 door, of the door-set in the middle of the room, has started to warp. The bottom
door, of the door-set in the middle of the room, has started to warp. The bottom door
door seal of the second door of the same set has worn out and does not exist anymore. And
Buildings 2016, 6, 11 9 of 13

seal of
Buildings the6, second
2016, 11 door of the same set has worn out and does not exist anymore. And hence, 9 of 13the
leakage though the southern doors was strongly noticeable. In contrast, the northern doors were
hence,
seen the leakage
to operate though the southern doors was strongly noticeable. In contrast, the northern
satisfactorily.
(b) The doors were seen
southern to operate
portion satisfactorily.
of the music room has a large window and hence traffic noise from a major
(b)street
The (Bloor
southern portion of the music room has
Street) could have interfered a large
with window and hence
the measurements, traffic noise
in particular from
at low a major
frequencies
street (Bloor Street) could have interfered
for the longer musical and electronic sequences. with the measurements, in particular at low
frequencies for the longer musical and electronic sequences.

(a)

(b)
Figure 9. Noise reduction between bar-restaurant and music room. (a) North side; (b) South side.
Figure 9. Noise reduction between bar-restaurant and music room. (a) North side; (b) South side.

The acoustical separation would have matched the design goal of ASTC 50, if the sound lock
Thealong
door acoustical separation
the southern wouldperformed
portion have matched the design
as designed. goal ofthe
Finally, ASTC
walls50,and
if the
thesound lock
ceiling door
were
along the southern portion performed as
observed to perform as per the design. designed. Finally, the walls and the ceiling were observed to
perform as per the design.
5.2. Ambient Sound
5.2. Ambient Sound
The background levels were measured inside the music room at two locations and the results
areThe background
shown in Figurelevels were measured inside the music room at two locations and the results are
10 below.
shown in Figure 10 below.
Buildings 2016, 6, 11 10 of 13
Buildings 2016, 6, 11 10 of 13
Buildings 2016, 6, 11 10 of 13
90
90

PaPa
80

micro
80 South side

micro
South side

2020
re re
70
dBdB 70
NC 70
LEVEL,
NC 70
LEVEL,

60
60
PRESSURE

NC 60
PRESSURE

NC 60
50
50
NC 50
SOUND

NC 50
SOUND

40
40
BAND

NC 40
BAND

NC 40
OCTAVE

30
OCTAVE

30

North side NC 30
North side NC 30
20
20
NC 20
NC 20
10
10

NC 10
NC 10
0
0 63 125 250 500 1000 2000 4000 8000
63 125 250 500 1000 2000 4000 8000
OCTAVE BAND CENTRE FREQUENCY, Hz
OCTAVE BAND CENTRE FREQUENCY, Hz
Figure
Figure10.
10.HVAC
HVAC system
system sound
sound levels
levels inside
inside the
the music
music room.
room.
Figure 10. HVAC system sound levels inside the music room.

The
The HVAV system was
HVAV system was designed withwith silencers so that the ambient
ambient sound
sound levels
levels inside
inside the
the music
The HVAV system was designed
designed with silencers
silencers so
so that
that the
the ambient sound levels inside the music
music
room
room will
will be
be less
lessthan
than NC-35
NC-35 (NC:
(NC:Noise
NoiseCriterion Contour).
Criterion Contour). The results
The of Figure
results of 10 show
Figure 10 that
show along
that
room will be less than NC-35 (NC: Noise Criterion Contour). The results of Figure 10 show that along
the northern
along the portion,
northern near the
portion, stage,
near the the sound
stage, the levelslevels
sound are lessarethan
less or equal
than or to NC-35.
equal to However,
NC-35. However,the
the northern portion, near the stage, the sound levels are less than or equal to NC-35. However, the
southern
the southernportion, nearnear
portion, the return air air
grille, has sound
soundlevels
levelsbetween
betweenNC-35
NC-35and andNC-40.
NC-40. It It was
southern portion, near thethe return
return grille,
air grille, hashas
sound levels between NC-35 and NC-40. It was
was
observed
observed that
that the
the sound
sound levels decreased
levels decreased substantially
substantiallyif the
if large
the return
large air
return grille
air was
grille removed.
was And
removed.
observed that the sound levels decreased substantially if the large return air grille was removed. And
hence, it canitbecan
And hence, seenbe that
seenthe flow
that thespeed acrossacross
flow speed the return air grille
the return air is high as
grille wellasaswell
the current grille
hence, it can be seen that the flow speed across the return air grille is highisas
high
well as theas the current
current grille
needs to be
grille needs replaced with
to be replaced a quieter grille.
needs to be replaced with awith a quieter
quieter grille.grille.
5.3.
5.3. Music
Music Venue
Venue Acoustics
Acoustics
5.3. Music Venue Acoustics
The
The interior
interior acoustical
acoustical performance
performance of of the
the music
music room
room was
was evaluated
evaluated from
from impulse
impulse response
response
The interior acoustical performance of the music room was evaluated from impulse response
measurements.
measurements. The
The source
source locations
locations and
and receiver
receiver locations
locations are
are identified
identified in
in Figure
Figure 11
11 below.
below. The
The red
red
measurements. The source locations and receiver locations are identified in Figure 11 below. The red
points
points P1and
P1 andP2P2 are
are thethe
two two speakers
speakers located
located on the on theceiling
stage stage (as
ceiling
per (asoriginal
our per ourdesign
original design
guidelines)
points P1 and P2 are the two speakers located on the stage ceiling (as per our original design
guidelines)
and were usedandtowere usedsine-sweep
generate to generate sine-sweep signals.
blue The four blue
thepoints were the receiver
guidelines) and were used to generatesignals. The four
sine-sweep signals. points
The four were
blue receiver
points locations
were (1.5 m
the receiver
locations
above the(1.5 meter
floor), above
where thethe floor),responses
impulse where thewereimpulse responses were measured.
measured.
locations (1.5 meter above the floor), where the impulse responses were measured.

Figure 11. Impulse response measurements locations of the empty music room.
Figure 11. Impulse response measurements locations of the empty music room.
Figure 11. Impulse response measurements locations of the empty music room.
The impulse response measurements were analyzed using the ISO 3382 Standard procedures [7,8].
The impulse response measurements were analyzed using the ISO 3382 Standard procedures [7,8].
The results of the evaluations are presented in Table 2 below. Six acoustical parameters—Early Decay
The results of the evaluations are presented in Table 2 below. Six acoustical parameters—Early Decay
Time, EDT; Reverberation Time, T(30); Centre Time, Ts; Sound Pressure Level, SPL; Clarity, C80; and
Time, EDT; Reverberation Time, T(30); Centre Time, Ts; Sound Pressure Level, SPL; Clarity, C80; and
Buildings 2016, 6, 11 11 of 13

The impulse response measurements were analyzed using the ISO 3382 Standard procedures [7,8].
The results of the evaluations are presented in Table 2 below. Six acoustical parameters—Early Decay
Time, EDT; Reverberation Time, T(30); Centre Time, Ts ; Sound Pressure Level, SPL; Clarity, C80 ; and
Echo Potential, EchoDietsch are analyzed for the current case study. The various metric values at five
frequency bands (250 Hz through 2000 Hz) were averaged and presented in Table 2.

Table 2. Averaged acoustic response from impulse measurements.

Metrics/Locations Location 1 Location 2 Location 3 Location 4

EDT, s 0.70 0.85 0.902 0.888
T(30), s 0.90 0.85 0.85 0.91
Ts , ms 42 60 71 70
SPL, dB ´7.12 ´9.54 ´11.56 ´12.44
C80 , dB 7.2 4.4 2.98 3.46
Echo Dietsch 0.40 0.44 0.46 0.47

The averaged results of the acoustic metrics were shown in Table 2. The following observations
can be gleaned from the results of Table 2.
(A) EDT and T(30) variations are not significant and the values are well within the design goals;
(B) EDT at Location 1 is low since it is closest to the source;
(C) The centre time Ts , vaues are well below 100 ms;
(D) The SPL variation is not too large and hence additional rear area amplification may be required.
The above point was highlighted in our original design specification;
(E) Clarity, C80 values are well above 0 dB and is acceptable;
(F) Echo potential values are well below 0.9 and hence echo is not a concern.
The main conclusion of the room acoustical measurements is that the music room performs
satisfactorily and the original design guidelines have been satisfied adequately.

6. Comparison between Simulation and Measurements

The finished music room was remodeled using a simulation software, whose results were
presented in Section 4. Four receiver positions were chosen with two speaker (sound source) locations,
as shown in Figure 12 and the simulation were reevaluated. Sine-seep measurements were conducted
in the music room, using the same sound source-receiver location combinations. The same acoustical
metrics, as that of the simulation computations, were evaluated from the measured impulse responses
as discussed in Section 5.3.
The accuracy rating of the chosen acoustical parameters was determined by calculating the relative
errors between measurements and simulations. Details of the evaluation process of the relative error
can be found in Shiokawa et al. and Vorlander [15,16]. Shiokawa et al., surveyed eleven European
concert halls and determined the relative errors for six acoustical parameters [15]. Vorlander’s
study involved with the simulation and measurement of a 273 seat auditorium in Braunschweig,
Germany [16]. Fourteen different programs were applied to simulate the auditorium and site
measurements were conducted to evaluate eight acoustical parameters. Relative errors between
simulation and measurement were evaluated. Simulations are deemed to be accurate if the relative
errors are as close to “zero” as possible. Typical values found in the literature tend to be in the range
between 2 and 10 [15,16]. Relative errors for the four acoustical metrics chosen in the current case
study were evaluated from Equations (1) and (2) [15].
The relative errors for EDT and T(30) are calculated from Equation 1 below [15].

ř |APMeasurement ´ APSimulated | ˆ 100

APMeasurement ˆ SL
ERROR “ (1)
NPts
Buildings 2016, 6, 11 12 of 13

The relative errors for Ts , and C80 are calculated from Equation (2) below.

ř |APMeasurement ´ APSimulated |
ERROR “ SL (2)
Buildings 2016, 6, 11
NPts 12 of 13
where, APMeasurement is the measured value of the acoustical parameter; APSimulated is the simulated
where,ofAP
value the acoustical
Measurement is the measuredSL
parameter; value of the
is the acoustical
subjective parameter;
limen APSimulatedparameter;
of the acoustical is the simulated
and Nvalue
Pts is
of the acoustical parameter;
the number of measurement points.SL is the subjective limen of the acoustical parameter; and N Pts is the
number
Theof measurement
subjective limenspoints.
used in the evaluation of the relative errors are listed in Table 3 below [15].
The subjective limens used in the evaluation of the relative errors are listed in Table 3 below [15].
Table 3. Subjective limens of room acoustical parameters—SL (from References [15,16]).
Table 3. Subjective limens of room acoustical parameters—SL (from References [15,16]).
Parameter Subjective Limen
Parameter Subjective Limen
EDT, s 5%
EDT, s 5%
T(30), s 5%
T(30), s Ts , ms 10 ms 5%
Ts, ms C80 , dB 1 dB 10 ms
C80, dB 1 dB
The results of the relative errors for the four acoustical parameters, EDT, T(30), Ts , and C80 are
The
shown inresults
Figureof
12the relative
below. Theerrors forare
results theshown
four acoustical parameters,The
for five frequencies. EDT, T(30), errors
relative Ts, andare
C80well
are
shown in
below 5. Figure 12 below. The results are shown for five frequencies. The relative errors are well
below 5.

4.5 EDT T60 Ts C80

3.5
Relative Error

2.5

1.5

0.5

-0.5
250 500 1000 2000 4000
Frequency, Hz
Figure
Figure 12.
12. Relative
Relative error
error as
as aa function
function of
of frequency, units of
frequency, units of subjective
subjective limens.
limens.

Reference [15]
Reference [15]presented
presentedresults
results
forfor
500500 Hz and
Hz and 2000 2000 Hzand
Hz also alsotheand the relative
relative errors
errors were were
between
1between 1 and 6. [16]
and 6. Vorlander Vorlander [16]results
presented presented results
at 1000 Hz inathis1000
studyHzand
in the
his relative
study and theranged
errors relative errors
between
ranged
0.5 and 6.between 0.5 and 6.
It is
It is seen
seen therefore the current
therefore the current study
study results
results are
are in
in the
the same
same range
range asas those
those found
found in
in the
the literature
literature
and the simulations are seen to produce realistic results that can be easily incorporated in
and the simulations are seen to produce realistic results that can be easily incorporated in the design the design
of
of a music
a music room. room.

7. Conclusions
Conclusions
acousticaldesign
The acoustical design
of a of a proposed
proposed bar/music
bar/music venue
venue was was to
compared compared
actual fieldtomeasurements.
actual field
measurements.
Acoustical Acoustical
separation separation
between between
the two spaces,the two spaces,
ambient soundambient soundroom
in the music in theand
music
the room and
acoustics
the acoustics of the music room were evaluated through simulation and the results were
of the music room were evaluated through simulation and the results were also determined through also
determined through field measurements after the facilities were constructed. The results showed that
the bar/music venue perform as designed, except for two deficiencies. The deficiencies were
appropriately discussed in the current study.

Acknowledgments: The authors would like to thank Jason Stein and Mathew Park of Burdock for giving
permission to conduct field measurements as well as assisting during the site measurements. Acknowledgements are
Buildings 2016, 6, 11 13 of 13

field measurements after the facilities were constructed. The results showed that the bar/music venue
perform as designed, except for two deficiencies. The deficiencies were appropriately discussed in the
current study.

Acknowledgments: The authors would like to thank Jason Stein and Mathew Park of Burdock for giving
permission to conduct field measurements as well as assisting during the site measurements. Acknowledgements
are due Michelle Martinez, one of our students, in helping to prepare sketches.
Author Contributions: The first author, Ramani Ramakrishnan, contributed to the design specification of the
project and evaluated separation details and background noise levels. The second author, Romain Dumoulin,
simulated the music room acoustics, design goals and interior room details. The first author modelled the finished
facility, conducted site measurements and prepared the manuscript. The second author evaluated the noise
reduction data, prepared the subjective limen criteria and the process for calculating the relative errors of the
simulation when compared with field data.
Conflicts of Interest: The authors declare no conflict of interest.

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