Technological University of the Philippines Manila

Ayala Blvd corner San Marcelino Street Ermita, Manila

Building Utilities 3: Acoustics and Lighting Systems

“Research 2: Acoustic quality criteria for Speech Rooms & Music performance”

Submitted to:
Ar. Cedrick Almoros

Submitted by:
Valencia, John Vincent T. Valencia
BSA 3B

May 13, 2022

Criteria for Speech rooms

The main criteria for speech rooms is intelligibility. Since speech of short disconnected
sounds. Which can be high-frequency, low-energy phonomes, the ideal room must be
small and compact to assure the ears' reception of these phonomes are heard.

A slow decay rate helps in masking noise, reverberation must be kept to a specific T R
Level , as determined by only one well known source.

However, too low reverberation time (very high absorption, minimum reflection) is
undesirable because it limits the coverage of direct sound. And it disturbs the speaker
due to absence of reflection which prevents him from speaking at a normal voice level
and opts him to use excessive effort.

Criteria for Music Performance

The design for a music space requires the following:

(a) A typical Musical performance room is a large-volume space that requires

direct-path sound reinforcement by reflection.

(b) A long reverberation time in order to enhance the music. However, it does not
include clear echoes.

(c) Directivity in large ensembles, gives the sense of depth and clarity or definition in
music.

(d) Brilliance of tone is primarily a function of high-frequency content. A good direct path
must exist between sound source and listener. A good sound path exists when a good
vision path exists. At the other end of the spectrum, lack of sufficient bass expresses
·Itself as a loss of "fullness", which is often· caused by resonant absorption.
The actual design of music performance space is a very complex procedure involving
extensive calculations of reverberation time and diagramming, and juggling of materials,
dimensions, and wall angles.

Simulation techniques and acoustics models are aiso employed. Most modern design
also uses movable 'reflector panels and other active variables. After construction is
completed extensive· tests are conducted and field adjustments are made.
Reverberation of sound waves is a must and therefore designers must take into
consideration the sound paths.

Soundpaths:
(a) Reflect - occurs when sound hits a surface that is neither predominantly absorptive
nor sound transparent at the specific frequency. Non-absorptive surfaces that are large,
reflect sounds. However, it does not significantly affect the lower frequencies, because
lower frequencies (longer wavelengths) simply diffract around the obstruction.

(b ) Specular Reflection Specular reflection occurs when sound reflects off a hard
polished surface. These characteristics can be used to good advantage to create an
effective image source. For example, in the ancient Greek and roman theaters, seats
were arranged on a steep, conical surface around the performer. Which makes the
sound power travels to each location, with minimal attenuation.
(c) Ray diagramming is a design procedure for analyzing reflected sound distribution
throughout a space, using just the first reflection only.

(d) Echoes A clear echo is caused when reflected sound at sufficient intensity reaches
a listener approximately 70 msec or more after hearing the direct sound. This occurs
whenever the reflected sound path is more than 70 ft. longer than the direct path.

Echoes are undesirable in rooms and

make speech less intelligible. The
relative annoyance is dependent on
the time delay, and loudness relative
to the direct sound.

Typical echo-producing surfaces in an

auditorium are the back wall and the
ceiling above the proscenium.

(e) Flutter

A flutter is perceived as a buzzing or clicking sound, and it is composed of repeated

echoes traversing back and forth between two non-absorbing parallel surfaces. Flutters
often occur in shallow domes and hard, flat floors.

(f) Focusing

Concave domes, vaults, or walls will focus reflected

sound into certain-areas of rooms. Which deprive
some listeners of useful sound reflection and cause
hot spots at other audience positions.
 (g) diffusion

Is the opposite of focusing and

occurs primarily when sound is
reflected from convex surfaces. A
degree of diffusion is also
provided by flat horizontal
inclined reflectors as shown.

(h) Creep

This describes the reflection of sound along a curved surface from a source near the
surface. Although the sound can be heard at points along the surface, it is inaudible
away from the surface.

(i) Standing Waves

standing waves and flutters are similar in principle and cause, but are heard
indifferently. Such as when an impulse like a hand is the energy source. a flutter will
occur between two parallel walls. Compared to a steady pure tone is source, a standing
wave will occur, parallel walls that is spaced apart at some integral multiple of a half
wavelength.