Sonic Environment Sound

• When matter vibrates or moves back and

• Model studies of roof and wall construction
forth very quickly, sound is produced.
• Noise control
• Example: When you hit a drum, parts of the
• The physical basis of noise control in building drum will vibrate creating sound.

• Elementary room accoustics

Building Acoustics Sound Environment

 The term may refer to actual environments, or to abstract
– sonic media creations and sound
constructions such as musical compositions and tape
Building acoustics is the science architectures
montages, particularly when considered as an artificial – interdisciplinary sound creation beyond the
environment. of controlling noise in buildings, concert hall

 The study of the systematic relationships between humans including the minimization of – urban spaces as venues for creative work
– creative responses to networked sound
and sonic environments is called SOUNDSCAPE ECOLOGY, noise transmission from one technologies
whereas the creation, improvement or modelling of any – architecture and performa
such environment is a matter of SOUNDSCAPE DESIGN.
space to another and the
control of noise levels and
characteristics within a space.

Composing for Media

How noise is measured
•

– aesthetics of screen music, from early years to

auteurist cinema and present day work with digital 3 dB increase represents a doubling of intensity
video and music • The decibel ( dB) is used to measure sound level, but it is E.g., 35 dBA + 35 dBA = 38 dBA
– practical work in soundscape composition, ambient
music and found sound
also widely used in electronics, signals and
– musical pros and cons of the small ensemble, solo communication.
performance, electronic music, and composing for the
Increase in sound level does not correlate to what we
voice • The dB is a logarithmic unit used to describe a ratio. perceive
– work in the Music Department’s Electronic Music • The ratio may be 3 dB increase is just barely noticeable
Studio
power,
10 dB increase will sound 2 x as loud

– develop composing techniques for screen work
– receive training in relevant software including Logic  sound pressure,
Pro, Pro Tools, and Max/MSP  voltage or intensity or 20 dB increase will sound 4 x as loud
 several other things. Cannot estimate sound intensity by what we hear!
 Some use dBA as measuring unit which means A-
Weighted Decibel
 Decibel level of common sounds
Volume
• Volume is the loudness or the softness of a
sound.
• Example: The harder a drum is hit, the more
the drum will vibrate . The more an object
vibrates, the louder the sound it makes.
CONT.
• Musical instruments make different sounds by
plucking the strings.
• The shorter the string, the quicker it vibrates
producing a high sound.
• The longer the string, the slower it vibrates
producing a low sound.
What might good SNR sound like?
1. Microphone placed on body of listener,
12 feet from the sound source
2. Microphone placed on lapel of talker
Pitch
• Pitch is the highest or lowest sound an object
makes.
• Objects that vibrate slowly, make a low pitch.
Example-drum.
• Objects that vibrate quickly, make a higher
pitch. Example-recorder
Noice
• Noise can be defined as sound that is
undesirable, but this can be subjective and
depends on the reactions of the individual.
When a noise is troublesome, it can reduce
•
comfort and efficiency
Signal-to-noise ratio (SNR)
• Signal-to-noise ratio (SNR):
– difference in dB between the speech (signal) and
the noise
• Example:
– Teacher’s voice (signal) = 60 dBA
– Background noise = 45 dBA
– SNR = 60-45 = +15 dB
•Wave A and B have the same
frequency, but A is louder.
•Waves A and B have the same
pitch.
•Waves C and D have the same
frequency, but C is louder.
•Waves C and D have the same
pitch.
CONT.
• The best defence against noise is to ensure
that proper precautions are taken at the
design stage and during construction of the
building.
• The correct acoustic climate must be provided
in each space and noise transmission levels
should be compatible with usage.
• If a person is subjected to noise for long
periods, it can result in physical discomfort or
• Ideally, the sound insulation requirements of the
building should take into account both internal and
external sound transmission.
In any existing sound insulation problem, it is
•
essential to identify the weakest parts of the
composite construction
CONT
• The term ‘building acoustics’ embraces sound
insulation and sound absorption
Sound Insulation
• Sound insulation could be achieved through
• The walls or floors, which flank the dividing
element, constitute the main paths for
flanking transmission, but this can also occur
at windows, heating or ventilation ducts,
doorways, etc
Building Regulation
• The Building Regulation requirements
regarding the sound insulation of walls and
partitions only relate to the transmission of
airborne sounds.
• These include
– speech,
– musical instruments,
– loudspeakers and
Sound Insulation
• Sound insulation is the term describing the reduction
of sound that passes between two spaces separated
by a dividing element.
• The sound energy may pass through
• The dividing element (direct transmission) and
through the surrounding structure (indirect or
flanking transmission)
• The acoustic environment of the room and /
or the building and the ability to reduce or
eliminate air paths in the vicinity of the sound
reducing element.
• e.g. door-sets, glazing, suspended ceiling
cavities, ductwork, etc, will have a significant
effect on its performance
1. Indirect paths (flanking transmission)
• Flanking sound is defined as sound from a
source room that is not transmitted via the
separating building element.
• It is transmitted indirectly via paths such as
windows, external walls and internal corridors.
 2. Deflection head details – acoustic
performance
Deflection head detail

• Deflection heads, by definition, must be able

to move and, therefore, achieving an airtight
seal is very difficult without incorporating
sophisticated components and techniques.

3. Partition to structural steelwork junctions

• When designing the layout of rooms requiring
separation by sound insulating walls abutting
structural steelwork, consideration should be
given to the potential loss of sound insulation
performance through the steelwork.
4. Sound by-passing a partition via the void 5. Composite construction
above a suspended ceiling
• A common mistake made when designing a
• This is a common source of sound building is to specify a high performance
transmission particularly where the ceiling is element and then incorporate a lower
porous to sound performing element within it.
• e.g. a door within a partition

Acoustic privacy Sound insulation performance

• Two main factors affect the level of acoustic
privacy achieved when designing a building:
– The sound insulation performance of the structure
separating the two spaces.
• Typical partition to structural steel junctions –
example of potential loss of sound insulation
performance.

– The ambient background noise present within the

listening room.
 Ceiling or partition junctions
• Performance of typical ceiling / partition
junctions – example stages of sound insulation
(excluding other flanking paths)

SOUND TRANSMITTION IN A TYPICAL

OPTIMUM DESIGN FOR PANEL LINNING
CLASSROOM