ACOUSTICAL TREATMENT TO VARIOUS ENCLOSED SPACES WITH

CALCULATIONS OF THE TIME OF REVERBERATION

6.0 Acoustical Design of Rooms for Speech:

In the acoustical design of rooms for speech, intelligibility must be given top priority. The
audience rightfully expects to understand every single word uttered by the performers.

Speech sounds contain vowels and consonants, woven into an individual pattern of
predominant tones, sometimes called ‘formants’. These formants, consisting mostly of
vowels, endow a person’s voice with distinctive characteristics, contributing to the basic
tone of speech.

Vowels emphasize the natural qualities of speech. Intelligibility, however, also depends
on the proper recognition of consonant sounds which are often short sounds of very
high frequency in rapid succession and with a limited acoustical power compared to
vowels.

The preservation of both vowels and consonant sounds is therefore important in

achieving favourable speech acoustics. The physical and acoustical features of an
auditorium such as size and shape, reverberation characteristics and prevailing noise
conditions, all have an influence on the speaker, and on the transmission and
perception of spoken word.

In the absence of sound amplification system, the larger the auditorium is the more
effort a speaker must exert in order to make himself heard in every part of the room,
and particularly at the remote seats.

Proper reverberation reinforces the loudness of speech, but excessive reverberation

harms intelligibility by blurring and masking newly spoken syllables by the still audible
reverberation of previously uttered syllables.

6.1 Speech Acoustics in Auditoriums:

The following are the requirements for good hearing conditions in an auditorium:

1. There should be adequate loudness in every part of the auditorium, particularly the
remote seats.
2. The sound energy should be uniformly distributed (diffused) in the room.
3. Optimum reverberation characteristics should be provided.
4. The room should be free of such acoustical defects as echo, long-delayed reflections,
flutter echoes, sound concentrations, distortions, sound shadow and room resonance.
5. Noises and vibrations which would interfere with the listening and performing should
be excluded or reasonably reduced.
6.1.1 Adequate Loudness: The problem of providing adequate loudness, particularly in
medium and large auditoriums, results from the energy loss of the travelling sound
waves and from excessive absorption by the audience and contents. This can be
resolved by:

The Shape: it should be so shaped that the audience is as close to the sound source as
possible. In larger auditoriums, balconies bring audience close to the sound source.

The Sound source: should be raised as much as feasible in order to secure a free flow
of direct sound waves. The sound energy loss can be evidenced beyond about 9 to 12
M.
The Floor: should be properly ramped or racked. For safety reasons, the gradient
should not be more than 1 in 8. The method of establishing the floor slope should
simultaneously provide good vertical sight lines.

The Reflectors: The sound source should be closely and abundantly surrounded with
sound reflecting surfaces to supply additional reflected sound energy, so that time-delay
gap between direct and first reflected sound is not exceeding 30 milliseconds.
It is essential that good use be made of the ceiling and wall surfaces in order to provide
a good amount of short delayed reflections.

The Area and Volume: should be kept to a reasonable minimum. The volume per seat
value of about 2.3 to 4.3 Cu, M should be maintained, preferably the lower figure.

Recommended Volume per Seat Values for Various Types of Auditoriums

Type of Space Volume per Audience Seat (Cu. M.)
Min. Opt. Max.
1. Rooms for Speech 2.3 3.1 4.3
2. Concert Halls 6.2 7.8 10.7
3. Multi-purpose Auditoriums 5.1 7.1 8.5
4. Motion Picture Theatres 2.8 3.5 5.1

The Parallelism: between the opposite (horizontal or vertical) sound reflective

boundary surfaces should be avoided.

The Audience Seating: The middle two third should provide good listening and viewing
conditions. No aisles should be provided in this region. Excessively wide seating areas
should be avoided. Seats should be laid out in such a pattern that they fall within an
angle of about 1400 from the position of the speaker.
These measures will adequately improve the loudness in small and medium size
auditoriums but may not be enough for large ones. The first step in the provision for
adequate loudness must come from the performer himself; he must speak loudly and
understandably, without which, sound amplification would become necessary.

6.1.2 Diffusion of Sound: The surface irregularities must be abundantly applied such
as exposed structural elements, coffered ceilings, serrated enclosures, protruding
boxes, sculptured surface decorations etc. They must be reasonably large.

Alternatively, random distribution of alternate absorptive and reflective treatment of

surfaces would promote diffusion. The beneficial effect of diffusers upon acoustical
conditions is quite remarkable.

6.1.3 Control of Reverberation: In common room acoustic studies, reverberation times

are calculated at mid-frequency (500 to 1000 Hz), when studying the speech
characteristics of the space.

This requires keeping reverberation to a minimum. We can obtain a good approximation

of the subjective feeling of liveness of a room, for purposes of speech from the following
relation:

TR (Speech) = 0.3 log V / 10

For instance, a typical classroom might have a volume of 150 m 3, optimum

reverberation time is: TR = 0.3 log 15 = 0.35 sec
TR longer than this would sound live and shorter one dead and flat. Even 20% increase
is detrimental for speech. Figure below gives optimum mid-frequency TR as a function
of large room size.

Reverberation control consists of establishing the total amount of room absorption to be

supplied by the acoustic finishes, occupants and room contents etc. in order to produce
the selected RT.

The larger the room volume, the longer the RT and the more absorption is introduced
into the room, the shorter the RT will be. In an existing auditorium, you can also control
volume by raising or lowering the ceiling or by using variable absorbers.

In almost every auditorium the audience provides most of the absorption, about 0.45 m 2
sabins per person. The convention is to assume 2/3 rd full audience only. The loss due
to the absence of audience can be compensated by upholstered seats.

As a general rule, the acoustical treatment should be provided to the boundary

elements to prevent acoustical defects. The acoustical treatment should go first on the
rear wall, then those portions of the side walls and then the ceiling.

There is no justification for placing a sound absorbing surface along the middle portion
of an auditorium ceiling because the primary function of this area should be to supply
short-delayed sound reflections to the listeners.

An individual solution to acoustical design can be found by an architect by simply

adhering to the following rule to avoid echo.
6.1.4 Elimination of Room Acoustical defects: Besides providing for positive
acoustical attributes, mentioned above, it is also essential that potential room acoustical
defects be eliminated.

Echo: Probably the most serious defect, echo, is noticeable when the sound is being
reflected from any boundary surface with sufficient magnitude and delay to be perceived
as a sound distinct from that travelling directly from the source to the listener.

Echo occurs if the minimum interval of 1/25 sec (for speech) to 1/10 sec (for music)
elapses between the perception of the direct and reflected sounds. Since, the speed of
sound id about 344 m / sec, the critical time intervals correspond to path difference of
minimum 14.0 m for speech or 34.0 m for music, between the direct and reflected
sound.

A rear wall is a potential echo-producing surface in an auditorium, unless it is

acoustically treated. Echo should not be confused with reverberation. Echo is the
distinct and highly undesirable repetition of the original sound; reverberation, within
reasonable limits is the beneficial extension or prolongation of sound.
Long Delayed Reflections: These are similar to echo except that the time delay
between the perception of direct and reflected sounds is somewhat less.

Flutter Echo: It consists of a rapid succession of noticeable small echoes and is

observed when a short burst of sound, such as a clap or a shot, is produced between
parallel sound-reflecting surfaces, even though the other pair of opposite enclosures in
the room consists of non-parallel, absorbent or diffusive surfaces.

Elimination of the parallelism of opposing surfaces can prevent this, as also, it will not
be noticeable if the sound source is not located between the parallel surfaces. But it can
also occur between non-parallel sound reflecting surfaces if sound source is located
between these surfaces.

Sound Concentration: Sometime referred to as ‘Hot Spots’ are caused by reflections

from concave surfaces. The intensity of the sound at these places is unnaturally high
and always occurs at the expense of other listening areas, or ‘Dead Spots’, where
listening conditions are poor.

This creates a non-uniform distribution of sound energy in the room. The elimination of
this problem is important in room acoustics. Large, unbroken concave enclosures,
particularly those having a large radius of curvature, should be eliminated or treated
with efficient sound absorbing materials.

Sound Shadow: This defect is noticeable under a balcony which protrudes too far into
the air space of an auditorium. Such under-balcony spaces, with a depth exceeding
twice the height, should be avoided. They will create poor audibility for high frequency
sound waves.

6.1.5 Coupled Spaces: If an auditorium is connected to an adjacent reverberant space,

such as a vestibule, corridor, or stage tower, by means of open doorways, the two
rooms will form coupled spaces.

As long as they are interconnected, an inflow of reverberant sound into the auditorium
from the adjacent space will be noticeable. This undesirable defect can be overcome by
adequate acoustical separation between the coupled spaces.

6.2 Lecture Halls and Class Rooms: Lecture halls of educational institutions,
sometimes called ‘Amphi-theatres’ or ‘Seminar Halls’ and normally seating more than
100 persons, should be designed in accordance with the relevant acoustical principles
described above.
The requirements for an optimum room shape and size, for an adequate and correctly
directed supply of short-delayed sound reflections, for the provision of a short RT, for
full elimination of sound acoustical defects and for efficient noise control should be
carefully observed.

The optical and acoustical requirements should be in complete agreement, with suitable
room proportions and shape for good viewing and good hearing.

In RT calculation of lecture halls it is reasonable to assume about one-half to two-thirds

of the audience capacity, because of relatively wide fluctuation in attendance.

In the interest of excluding external noise, lecture halls today are seldom designed with
natural light and ventilation. This necessitates a complex ceiling, incorporating
mechanical and lighting components into the sound reflecting ceiling.
The spaces for audio-visual education require particular care in their acoustical design
and detailing. The shape and volume of these rooms, the factors considerably affecting
hearing conditions, are influenced by the viewing geometry of the room.

The viewing geometry, in turn, depends upon the equipment to be used (front vs. rear-
screen film projector, overhead projector, sound recording and reproducing units,
television camera pick-up etc.)

The additional integration of such typical elements as desk, demonstration table, chalk
board, projection screens, microphones, loud-speakers and remote control unit at the
front portion of the lecture hall into the sound reflective room enclosures will require
utmost attention.

Lecture halls with volumes up to about 425 to 570 Cu. M. or for audience of up to about
150 to 200 will require a sound amplification system. Using loudspeakers in lecture hall
psychologically separates the lecturer and audience.

For rectangular lecture rooms with modest capacity, a diagonal seating layout is
particularly recommended. It automatically eliminates the undesirable parallelism
between walls at the podium and utilizes the splayed front wall as sound reflector.

Class rooms with rectangular shapes, level floors and floor areas normally between 56
to 93 sq. m. seldom create any serious acoustical problems. The rear wall opposite the
lecturer even if acoustically untreated cause no audible acoustic defect, as the length of
the class room is small.

The RT of fully occupied class rooms should be approximately 0.6 to 0.8 sec at the mid-
frequency range, depending on volume. In most of the cases this requirement is fulfilled
if the rooms are occupied, well furnished, with built in shelves, bulletin boards etc.

If additional absorbent treatment seems necessary, it should be installed along the

perimeter of the ceiling and upper part of the rear and side walls. The middle of the
ceiling should always be reflective.

6.3 Acoustical Design for Rooms of Music:

A speech-intelligibility test is an objective rating method, but the acoustical qualities of
halls for music are often assessed on the basis of comments by musicians, conductors,
music lovers and music teachers, whose assessments can be influenced by emotion,
are sometimes debatable, as they are subjective.

The shape and volume of an auditorium, its audience capacity and attendance and
surface acoustical treatments all contribute to certain room acoustical properties which
affect sound quality of music performed in a hall.

If the music gives the impression of being performed in a small intimate hall, the
auditorium is said to have ‘Acoustical Intimacy’.

If the time-delay gap is shorter than 20 milliseconds, corresponding to a path difference

of about 7.0 m and the direct sound is not too faint; the room will be found to be
acoustically intimate. Acoustical intimacy is one of the most desirable features of an
auditorium used primarily for music.

If an auditorium has a large volume relative to its capacity, with predominantly sound
reflective enclosures, it is said to be ‘Live’, having a long RT, particularly in middle and
high frequencies, resulting in a full sustained tone at these frequencies.

A hall with relatively small volume compared to its audience capacity, with highly
absorptive enclosures, is said to be ‘Dead’ or ‘Dry’, having short RT, and music will
sound uninteresting and dull.

On the other hand, when the room has a relatively long RT at the lower frequencies
(below about 250 Hz), it has the fine acoustical quality of ‘Warmth’, resulting in a rich
bass.

If the RT is adequately controlled over the entire audio-frequency range, a pleasant

‘Fullness of Tone’ will be noticeable. Again, excessive fullness of tone makes the sound
blurred and unenjoyable.

In a hall which is not too large, which is properly ramped or racked, which provides the
audience with a satisfactory amount of direct and reflected sound and which RT is
properly controlled, the beneficial phenomenon of ‘Loudness’ will prevail.

If sounds of different musical instruments played simultaneously in an orchestra are

easily distinguishable, and if every sound within a rapid passage is heard separately,
the room is said to possess ‘Definition’ or ‘Clarity’.

Definition and Fullness of tone are normally inversely related; that is a room with high
degree of definition usually has a short RT and vice versa.

If relatively long RT and ample wall and surface irregularities are present, it will result in
‘Diffusion’ of sound, a highly desirable room acoustical characteristic for music.
Another room acoustical feature of music hall is ‘Balance’, which can be achieved by
these surfaces when put around the sound source. They strengthen and improve the
balance between various sections of orchestra, as well as between orchestra and the
soloist.

If musical sounds are well mixed before they reach the listener and when they are
perceived as harmonious, the sending end of the auditorium is said to have good
‘Blend’. The reflective and diffusive orchestra enclosures control blend.

If the musicians and soloists have the ability to perform in unison, so that the entire
orchestra sounds like a well rehearsed and coordinated unit, the music hall is said to
possess ‘Ensemble’.

This can be achieved by a well proportioned and suitably racked stage floor and by the
stage enclosures that project sound from one side of the stage to the other.

‘Freedom from Noise’, that is, the reduction of exterior and interior noises to inaudibility
or at least to an acceptable minimum, is one of the most important requisites in the
music halls.

Complete freedom from acoustical defects such as echoes, sound concentration,

distortion and sound shadow, is a must for music hall.

Finally, music requires a definitely longer RT than speech and a reasonable degree of
blurring and overlapping in musical sounds is often considered acceptable and
sometimes even desirable.

At mid-frequency for various styles of music, it has been found that an RT somewhat
above 1.0 sec is ideal for Baroque music, 1.5 sec is recommended for classical and
modern music and somewhat above 2.0 sec is preferable for romantic music.

The most favourable compromise for fully occupied music halls to be used primarily but
not exclusively for the performance of music is about 1.7 sec at the mid-frequency
range.

6.3.1 Floor Shapes: It is essential to determine the shape before the details are worked
out, because it certainly affects the sound source – transmission – receiver sequence. A
rectangular shape was most common earlier. Afterwards, a combination of shapes
prevailed.
6.4 Places of Assembly with mixed Acoustical Requirements:

In the acoustical design of rooms for speech and music, the priorities are given to either
speech or music, as the case may be. But some auditoriums are used for multiple
purposes in which more or less equally favourable conditions must be secured for both
speech and music.

6.4.1 Multipurpose Auditoriums and community Halls:

Special acoustical problems are created in these auditoriums as unraked floor is

required for exhibitions, bazaars, dances, social gatherings and dinners.

Due to this, (1) it is difficult to supply the audience with the required amount of direct
sound; (2) if the ceiling is reflective and horizontal, inter-reflections (flutter echoes) may
originate between floor and ceiling when audience area is cleared of chairs; (3) portable
chairs usually have negligible amount of upholstering, thus providing much less
absorption.

The following points must be noted in designing multi-purpose halls:

1. The sending end should be elevated as high as sight lines will allow.
2. A large amount of reflective panels should be placed near the sound source as
also suspended from the ceiling to provide short-delayed reflections.
3. The stage floor should protrude as far as possible into the audience area.
4. An attempt should be made to provide a raked or raised portion of audience floor,
at least on the sides or at the rear.
5. Optimum RT should be secured for one-half capacity audience because a
considerable fluctuation in attendance must be expected.
6. In auditoriums with flat floor, the loudspeaker, if used, should be placed
somewhat higher than it would be for the raked floor.

6.4.2 Motion-picture Theatres:

These represent an exclusively single purpose auditorium. In motion-picture theatre the

original sound source is not present but reproduced from the sound track of the film by a
loudspeaker.

The reproduced sound which is heard in the auditorium reflects the acoustical
characteristics of the motion-picture studio in which the scene was shot, for example,
the acoustical features of a cathedral (with an RT of 8 sec) or of a snow field (an
acoustically dead space.
This means that the sound track on the film has a built-in RT, independent of the RT of
the theatre in which the film is shown.

An important goal in the acoustical design of motion-picture theatre is to reduce the

room acoustical effect of the cinema auditorium to a minimum in order to preserve the
genuine acoustical environment of the film as recorded on the sound track and as
reproduced by the loudspeakers behind the screen.

This goal is achieved by providing a relatively short RT in cinema halls proportional to

the volume, as shown in graph below:

Favourable hearing conditions are achieved in motion-picture theatres by following

measures:

1. A rectangular floor plan with horizontal floor should be avoided. An appropriate

fan-shaped floor plan adequately raked will be best suited both for viewing and
acoustical requirements.
2. The RT for monophonic sound reproduction should be as close as possible to the
optimum values indicated in the graph above. For stereo-graphic sound the RT
should be somewhat less.
3. The volume per seat value should be kept within 2.8 to 4.3 Cu. M. preferably,
closer to the lower figure.
4. Overhead sound reflectors should be used above the screen, the centre ceiling
or at least its major central portion should be made reflective.
 5. The initial time-delay gap between direct sound loudspeaker (behind the screen)
and first reflected sound from any reflective surface should not exceed 40
milliseconds, corresponding to a path difference of 13.7 m between direct and
reflected sounds.
6. The audience floor should be steeply ramped toward the rear to provide clear
sight lines for the entire audience, thereby providing ample supply of direct
sound.
7. The projection screen and the loudspeaker behind it should be high enough for
the entire audience to be well covered by the sound.
8. The vertical boundary surfaces, except those close to the screen, should be
generously treated with sound absorbing finishes in order to achieve shorter RT.
9. Parallelism between reflective surfaces close to the screen should be avoided.
The wall behind the projection screen should be made absorptive.
10. Excessive room length, above 46.0 m should be avoided, partly to obviate the
need for excessive acoustical power of the loudspeakers and partly to prevent
lack of synchronism between sight and sound at the remote seats.
11. Balconies should not be too deep.
12. The correct distance between the screen and the first row of seating should be
determined by the ‘Aspect Ratio’ (height to width ratio) and the dimensions of the
screen.
13. Heavily upholstered seats should be used to counteract the detrimental room
acoustic effect of widely fluctuating attendance.
14. The floor between the screen and the first row of seats should be carpeted.

The stereo-phonic sound reproduction will require a meticulous approach to acoustical

design, affecting room shape, RT, distribution of acoustical treatments and layout of the
sound system.

A somewhat higher background noise level can be tolerated in motion-picture theatres

than elsewhere because of the higher sound level produced by the loudspeakers.

6.5 Acoustical Design of Studios:

The design of rooms for microphone pick-up is a special subject governed by highly
technical requirement. An elaborate procedure takes place in a contemporary sound-
studio complex during broadcast, telecast or recording.

In addition to general acoustical principles applicable to studio design, the room

acoustical requirements have to be met with greater precaution and a particularly high
degree of isolation must be provided against extraneous noise and vibration.

Pertinent acoustical calculations are applied to a wider frequency range than in normal
cases, that is, from 63 Hz usually up to 8000 Hz. See figure below:
This meticulous approach to studio acoustics is necessary because the human
(binaural) listener in the studio is replaced by the microphone, a most sensitive
electronic instrument which picks up sounds very much like a person would with
monaural hearing.

The microphone will indicate clearly (1) when reverberation characteristics are not
optimum over a wide frequency range, (2) when diffusion is not high enough, (3) when
any acoustical defect such as echo or sound concentration is noticeable, and (4) when
the faintest noise or vibration exists in the studio.

The following requirements should be observed meticulously:

1. The size of a studio is determined by the physical space required for its
occupants, equipment, and furniture, by the function for which the room is to be
used, and by the acoustical requirements. The smallest dimension should not be
less than 2.4 m. In establishing the necessary floor area, a total of 1.40 to 1.85
sq. m. of floor space is required for each musician in a small studio and about
1.85 to 3.7 sq. m. of floor space for a large one. If audience participation is
required, a separate floor area must be set aside for their seating. For
rectangular studios the ratios of room proportions are shown in Table below:
 Recommended Proportions for Rectangular Studios:
Type Height Width Length
Small 1.00 1.25 1.60
Medium 1.00 1.50 2.50
With relatively low ceiling 1.00 2.50 3.20
With unusual length relative to width 1.00 1.25 3.20

2. Provision of a high degree of diffusion is of vital importance in studio acoustics.

This way, microphones can be placed safely in almost any convenient position.
3. Optimum RTs for studios are generally shorter than those for auditoriums in
which the sound program is perceived by binaural listeners. An optimum RT for a
studio is of vital importance to the final quality of sound. See Graph below:

4. It is essential that acoustical treatments, as indicated by the reverberation

calculations, be uniformly and proportionately distributed over the three pairs of
opposite enclosures of the studio

5. Broadcasting and recording studios must frequently be used for programs

differing widely in type, scale or complexity. The necessary variable
reverberation conditions can be achieved by the following means:

a. Variable absorbers on wall or ceiling such as hinged or sliding panels, rotatable

cylinders, adjustable drapery etc
b. Portable acoustic screens (flats)
c. A reverberation chamber
d. A special mechanism to control RT electronically which is operated from the
control room.
6.5.1 Radio Studios:

Used for broadcasting purpose, these can be divided into several types:

1. Announcer’s Booth: This is the smallest studio, normally associated with a

large one. It is used for newscasts, narrations, commentaries etc and has a floor
area of up to about 14.0 sq. m. It is usually linked with the associated studio by a
large sound-insulating observation window.
2. Talk Studio: (See figure below) used for newscasts, panel discussions,
addresses, talks, and sometimes recitals, it has a floor area of about 47.0 sq. m.
3. Drama Studio: The floor area is usually 56 to 140 sq. m.
4. Versatile Studio: The floor area varies from 140 to 370 sq. m. It is used for
spoken and musical presentations.
5. Audience Studio: used for broadcasting orchestral and choral program, this
large studio is, in fact, a regular concert hall; therefore the acoustical
requirements and design principles, mentioned earlier, should be strictly adhered
to. Besides other technical rooms, a control room and an announcer’s booth are
normally located adjacent to the audience studio, linked to one another by large
sound-insulating window. A sound amplification system is usually required to
provide adequate sound coverage for the audience. (See figures below)
6.5.2 Television Studios:

Acoustical conditions in T. V. studios are basically dead. Reverberation can be

increased, if necessary, by using appropriate settings, movable acoustical screens and
artificial reverberation.

These are constructed in different sizes, according to the required floor area and height.
There are four main types:

1. Audience Studios: They have permanent audience seating. Their area may be as
large as 1400 sq. m. and their volume about 14, 200 cu. m.
2. General- purpose Studios: For all types of programs
3. Small interview and announce studios.
4. Dubbing suites.

Considerable clear height is usually required over the working area in large studios to
accommodate lighting grid, catwalks and for flying scenery.

The T. V. studios normally have the following auxiliary rooms; Production (control) room
with a required RT of about 0.25 sec, sound (audio) control room, lighting control room,
sound effects room announcer’s booth with a required RT of about0.25 to 0.30 sec and
a number of storage rooms.
The T. V. Studios, sound amplification system is essential. The required low frequency
absorption can be obtained by using plywood, hardboard or plasterboard panels, which
form a suitable treatment for the lower portion of the wall up to a height of 1.8 to 2.4 m.

Most of the wall treatment is eventually shielded by a cyclorama curtain spaced some
0.9 to 1.8 m. away from the wall.

6.5.3 Recording Studios:

These are similar to Radio studios, with a dead acoustical environment and are
connected with a control room and the other auxiliary rooms. The floor area and the
shape depend on the furniture and technical equipment to be accommodated. As a rule,
public is not allowed.

6.5.4 Control Rooms:

Every radio, television, or recording studio is linked with one or more control rooms,
where the control desk, that is, the nerve centre of the broadcast or recording session,
is located.
All the sound sources are controlled and mixed here, before the signal finally leaves the
transmitter. Visual contact between the studio and control room is provided by a wide
control window, with an unobstructed view of the studio floor.

As long as the studio floor area does not exceed about 75 to 110 sq. m. both control
room and studio can be on the same floor. Control room, linked with large studios size,
must be elevated.

The size and shape depend upon the number of people and the number of equipment it
must accommodate. In control rooms, an RT of about 0.4 sec is recommended at the
mid-frequency range.

6.6 Simplified Calculations of Mid-frequency Average Reverberation Time:

The following example shows a typical auditorium in plan and section. The shape of the
wall and ceiling surfaces is developed to provide proper distribution of sound and
eliminate focusing or echoes.

Essential characteristics of the design include:

1. Ceiling and the side wall in the auditorium distribute sound to the audience. These
surfaces should be close enough to the performers to minimize time delays between
direct and reflected sound.

2. Ceiling and side walls provide diffusion.

Since, the largest area of sound absorbing material in any auditorium is the audience;
the difference that occurs without an audience may be minimized by using fully
upholstered seating.

Using the following auditorium as an example, the reverberation characteristics with

various materials may be examined – as shown in the following analysis. In one
configuration, the room use is assumed to be for music performances.

In second configuration, absorptive curtains are installed along the rear wall and a
portion of the side walls. This configuration might be used for lectures in a room that is
adjustable between speech and music configurations.

These simple examples indicate the effect of changes in the amount of absorption on
the characteristics of the room. Adjustable treatments permit the characteristics of the
room to be modified to any point between the extremes to meet the acoustic program
requirements of multi-purpose halls.

Existing spaces may require remedial treatment to eliminate unwanted phenomena

such as focusing and echoes. Such treatment will also affect the reverberation
characteristics.
Reverberation Time (TR) in seconds = (0.16 x volume in m3) / Total absorption I Sabins

More Reverberant Condition (curtains retracted):

Item Area Alpha Value Absorption

Seating & stage (with audience 309 0.92 284
and performers)
Wall area (concrete blocks) 743 0.2 149
Lower rear wall (permanent 42 0.88 37
sound absorbing treatment)
Total absorption 470
More reverberant condition (0.16 x 4404) / 470 = 1.5 sec

Less Reverberant Condition (curtains exposed):

Item Area Alpha Value Absorption

Seating & stage (with audience 309 0.92 284
and performers)
Wall area (concrete blocks, 334 0.2 67
balance covered with curtains)
Curtains 409 0.45 184
Lower rear wall (permanent 42 0.88 37
sound absorbing treatment)
Total absorption 572
Less reverberant condition (0.16 x 4404) / 572 = 1.2 sec

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