BUILDING SERVICES IV ACOUSTICS & NOISE CONTROL - 18 ARC 7.

3
MODULE 2 – ACOUSTICAL TOOLS , MEASUREMENTS & MATERIALS
 18 ARC 7.3 BS IV

Frequency bandwidth for music

Frequency bandwidth for speech

Dynamic range is the ratio
of the loudest undistorted
sound to the quietest
discernible sound,
expressed in decibels, that
a system is capable of
producing.
It is often used in the
context of signals, like
sound and light.

Figure 1: Map of human hearing audio range with sound level in decibels versus frequency (light blue). The human speech frequency range
(orange), is critical to speech being understood properly. Any background sound that occurs in this frequency range interferes with human
speech and makes it more diðcult to understand.
 18 ARC 7.3 BS IV

The time for which this sound persists before it becomes

inaudible is called reverberation time (The time required
by sound to decay by 60dB after the source has stopped).

Sound energy from point source drops off by

6dB for each doubling of the distance from the
source. The spread of sound energy from a point
source is spherical .

Sound energy from line source drops off by 3dB

for each doubling of the distance from the
source. The spread of sound energy from a line
source is cylindrical .
 18 ARC 7.3 BS IV

RATIONALE OF 60dB REVERBERATION TIME

The time for which the sound persists after the source is stopped
before it becomes inaudible is called reverberation time (sound
to decay by 60dB after the source has stopped). It is dependent
on the intensity of the sound.

The choice of the relative intensity to use is of course arbitrary, but

there is a good rationale for using 60 dB since the loudest
crescendo for most orchestral music is about 100 dB and a typical
room background level for a good music-making area is about 40
dB. Thus the standard reverberation time is seen to be about the
time for the loudest crescendo of the orchestra to die away to the
level of the room background. The 60 dB range is about the range
of dynamic levels for orchestral music.
 18 ARC 7.3 BS IV

SOUND LEVEL METER (SLM)

Sound level meters have a microphone which transform
sound pressure variations in air into corresponding
electric signals.
The signals are amplified internally and measured by
electronic filters which reject all signals outside a
selected frequency band or by electronic weighting
networks.
Results displayed in dB.

The weighting networks tend to represent the frequency

characteristics of human hearing by modifying the
sensitivity of the meter in patterns similar to equal
loudness contours.

Standard weighting network are identified as A – E – like

dBA, dBB etc
A weighting considerably ignores the low frequency
sound energy, B moderately and C hardly at all.
 18 ARC 7.3 BS IV

FREQUENCY WEIGHTINGS
The human ear responds more to frequencies between 500 Hz - 8000 Hz and is less sensitive to the low - pitch
or high - pitch noises.

The frequency weightings which are used in sound level meters are often related to the response of the
human ear, to ensure that the meter is measuring as close to what is actually heard.

A WEIGHTINGS

The most common weighting that is used in noise

measurement is A-Weighting. Like the human ear, this
effectively cuts off the lower and higher frequencies that
the average person cannot hear.
Defined in the sound level meter standards (IEC 60651,
IEC 60804, IEC 61672, ANSI S1.4), a graph of the
frequency response can be seen to the right.
A-weighted measurements are expressed as dBA or
dB(A).
 18 ARC 7.3 BS IV

SPEECH INTELLIGIBILITY
Speech intelligibility can be defined as how clearly a person speaks so that his or her speech is comprehensible
to a listener . Reduced speech intelligibility leads to misunderstanding, frustration, and loss of interest by
communication partners. As a result, communication decreases or remains at a low level.

Factors that affect speech intelligibility are

• Noise (Signal to noise ratio - audibility)
• Room architecture ( Signal decay – reverberation and echoes)
• Acoustics ( harmonic distortion – amplitude distortion, frequency distortion , wiring and power)
 18 ARC 7.3 BS IV

ARTICULATION INDEX (AI)

The articulation index (AI) is a subjective measure of

speech intelligibility.
Articulation Index (AI) is a sound metric that was
developed to indicate how much background sound
levels can interfere with human speech.
It has a value that ranges between 0% (no speech
understood) to 100% (all speech understood).
Two key human hearing phenomena that influence the
Articulation Index:
human speech frequency range and
masking and octave bands:
 18 ARC 7.3 BS IV

Human speech frequency range

Even though the humans can hear from 20 Hertz to 20,000 Hertz, the frequencies produced in human speech
cover a much narrower range.
The speech range covers from 200 Hertz to about 6000 Hertz. When Articulation Index is calculated, the
background sound levels that occur within this frequency range are given the highest importance, since they
will interfere with human speech. Background sounds outside of this range are not important.
Masking and Octave Bands
If the level of background noise is high enough, it will mask other sounds, including human speech. Masking
means that it makes the speech inaudible: in other words it covers it up, or blocks it.
To understand the masking potential of a background sound, it is broken into individual frequency ranges that
mimic human hearing. The human ear, due to the construction of human ear (called the cochlea), tends to
aggregate sound into these frequency bands. These bands are called octave bands.
The sound levels of one third octave bands covering from 200 Hz to 6300 Hz are used to calculate Articulation
Index.
 18 ARC 7.3 BS IV

The contours indicate very good speech

listening conditions (AI >0.70) near the
source located at the left end of the
stage.

AI drops off with distance from the

source.

Reshaping the ceiling and control of

echoes off the rear walls could raise the
AI at the remote locations.
 18 ARC 7.3 BS IV

SPEECH TRANSMISSION INDEX (STI)

The Speech Transmission Index, or STI, gives a numerical value to speech transmission quality. As a purely
objective measure, the STI can rate anywhere between 0 and 1. An index of 1 means that a speech has
absolutely perfect intelligibility (which is virtually impossible, of course). The lower an STI value gets, the more
degraded the quality of speech intelligibility becomes.
 18 ARC 7.3 BS IV

SOUND ATTENUATION

Sound attenuation is the loss of energy from sound waves. Attenuation is the damping of sound , an
interruption that diminishes the volume and quality of the sound wave The weakening of sound energy
through a medium happens from 2 basic causes – scattering and absorption. The combined effect of
scattering and absorption is called attenuation.
 18 ARC 7.3 BS IV

ABSORPTION COEFFICIENT OF ACOUSTICAL MATERIALS

Sound Levels in a room can be reduced by adding sound absorbing materials like fibrous ceiling board,
curtains, carpets etc.

Effectiveness of a sound absorbing material can be expressed by its absorption coefficient α

Absorption coefficient - is a fraction of the sound energy that a material absorbs (not reflected because it is
either dissipated by losses occurring in the interface or transmitted through it). It’s value varies from 0 (no
sound energy absorbed) to 1 (perfect absorption - all incident sound energy absorbed).
 18 ARC 7.3 BS IV

The total room absorption ( sum of all room surfaces x their respective sound absorption coefficient α )

Total room absorption a = Σ Sα

Where
a = Total room absorption (Sabins)
S= Surface area (sq ft)
α= sound absorption coefficient at given frequency (decimal percent)

Sabin = A unit of sound absorption - 1 sqft of perfect absorption is equivalent to 1 Sabin.

Absorption coefficient for building materials vary from Difference in coefficient Effect for most situations
0.01 - 0.99. values

> 0.50 - sound absorbing materials < 0.10 Little (hardly noticeable)
< 0.20 - sound reflecting materials
0.10 - 0.40 Noticeable

> 0.40 Considerable

 18 ARC 7.3 BS IV

NRC VALUES

Noise Reduction Coefficient is a single value that indicates how much sound is absorbed by a material.
Materials with NRC values > 0.7 are good sound absorbers.
NRC 0.75 means 75% of the sound energy is absorbed, alternately 25% is reflected.

NRC - noise reduction coefficient - is the arithmetic average rounded off to the nearest multiple of 0.05, of
the sound absorption coefficients α s at 250,500,1000 & 2000 Hz for a specific material and and mounting
condition. ( α at 125 Hz and 4000Hz are not used to calculate NRC)

Therefor NRC ia a single number rating of sound absorbing efficiency at mid frequencies.

α250 +α500 + α1000 + α2000

NRC = —------------------------------------------
4
Where NRC = noise reduction coefficient (decimal % )
α = sound absorption coefficient (decimal % )
 18 ARC 7.3 BS IV

NC CURVES FOR VARIOUS SPACES

Indoor spaces are subject to several noise sources, including internal sources such as noise from an air
conditioning unit or external sources such as road noise. Isolating the noise from external sources and
ensuring internal noises are low is essential for providing an acceptable acoustic environment within a
building.

Noise Criteria NC Curves help to evaluate existing indoor noise levels. They are often used in the
measurement of noise from mechanical sources such as air conditioning systems in environments such as
hotels, cinemas and schools.

The Noise Rating or NR curves were developed by the International Organization for Standardization (ISO) to
determine the acceptable indoor environment for hearing preservation, speech communication and
annoyance.

NR curves are commonly used in Europe whereas NC curves are more commonly used in the US.
 18 ARC 7.3 BS IV

The method is based on a measurement of sound pressure levels and a set of sound pressure criteria curves
ranging frequencies from 63 to 8000 Hz - and a tangent rating procedure. The criteria curves defines the limits
of the octave band spectra that must not be exceeded to meet the occupants acceptance in the actual spaces.

The NC rating can be determined by plotting the measured sound pressure at each octave band.
 18 ARC 7.3 BS IV

Noise 63 125 250 500 1000 2000 4000 8000

Criteria Hz Hz Hz Hz Hz Hz Hz Hz
Sound Pressure Level (dB)
NC-15 47 36 29 22 17 14 12 11
NC-20 51 40 33 26 22 19 17 16
NC-25 54 44 37 31 27 24 22 21
NC-30 57 48 41 35 31 29 28 27
NC-35 60 52 45 40 36 34 33 32
NC-40 64 56 50 45 41 39 38 37
NC-45 67 60 54 49 46 44 43 42
NC-50 71 64 58 54 51 49 48 47
NC-55 74 67 62 58 56 54 53 52
NC-60 77 71 67 63 61 59 58 57
NC-65 80 75 71 68 66 64 63 62
NC-70 83 79 75 72 71 70 69 68
 18 ARC 7.3 BS IV

RECOMMENDED NOISE CRITERION

NC rated noise should not

exceed the limits listed
below
 18 ARC 7.3 BS IV

Acoustic absorbers prevent sound waves from reflecting off hard surfaces, which reduces the amount of
airborne noise within a space. Their open-cell or porous structure allows them to take in and trap—rather
than reflect—sound waves, converting the sound energy into thermal energy.

Types of Sound Absorbers

● Porous Absorbers (Suitable from mid - high frequency- Fibrous materials, open celled foams)
● Membrane absorbers (used to absorb low frequency sound - membrane is positioned at a distance
from the rigid wall with an airgap - acoustical ceiling, wooden panelling, Dry wall partitions, window glazing)
● Cavity or Helmholtz Resonators (Resonant absorbers) (Suitable for low frequency sound)
● Panel absorbers
● Functional Absorbers
 18 ARC 7.3 BS IV

Please learn these from the acoustic sound absorbers presentations done by the various
groups.
 18 ARC 7.3 BS IV

ADJUSTABLE ACOUSTICS & VARIABLE SOUND ABSORBERS

A building project with a large space, which might want it to be used for a broad range of activities.

Depending on the building, the activities could be:

● amplified music performances

● quiet acoustic music performances
● loud acoustic music performances
● drama performances
● conferences or lectures
● sports events
● exams
● fairs
● and more.
 18 ARC 7.3 BS IV

The space will not only need to be very flexible physically to accommodate these activities, but also
acoustically. In fact, each activity requires very different sound reverberation conditions to work
optimally and ensure acoustic comfort for the users (and listeners for some cases).

One of the ways to make a space acoustically flexible is by changing the sound absorption in the
space.

● reveal or add sound absorptive materials to make the room less reverberant, and;
● hide or take away sound absorptive materials to make the room more reverberant (or more
lively).

This is done with systems called variable acoustic systems or also variable sound absorption
systems.
 18 ARC 7.3 BS IV

● Acoustic curtains / drapes

● Acoustic banners / blinds
● Rotating acoustic systems
● Hinged acoustic panels
● Acoustic sliding panels
● Moveable acoustic panels
● Other variable acoustic
Acoustic curtains
systems

Hinged acoustic panels

Rotating acoustic systems
 18 ARC 7.3 BS IV

ACOUSTICAL CORRECTION AND RETROFITS TO EXISTING SPACES WITH POOR ACOUSTICS

Closed plan spaces like conference rooms and cabins -

● Install or replace false ceiling with a NRC value > 0.7

● Take partitions above the false ceiling till the true ceiling.
● Dry wall partitions to have insulation in the cavity
● If partitions are till false ceiling, then ceiling panels with NRC>0.7 & Ceiling Attenuation Class (CAC) f
35-40 to be installed.

This improves sound quality and speech privacy

Open plan spaces like open offices, restaurants etc

● Install or replace false ceiling with a NRC value > 0.7
● Install fibre glass acoustical ceiling panels with high Articulation Class (AC) rating.
 18 ARC 7.3 BS IV

Open plenum spaces - Malls and offices

● In open plenum designs, acoustical considerations are often abandoned in favor of the aesthetics provided by an exposed structure,
which leads to problems with noise and reverberation. Sound reflecting off the exposed deck generally results in excessively loud
and “lively” spaces.
● The panels can be installed in long runs, grouped in sections, or placed individually, all based on the acoustic and aesthetic needs of
the space.

Free floating options - acoustical clouds, canopies, baffles and blades

● Noise issues related to open plenum designs can also be addressed through the use of acoustical clouds, canopies, baffles, and
blades — four types of “free-floating” options that add sound absorption while still allowing for the exposed look.
● These four options all absorb sound on both their front and back surfaces. As a result, they actually provide greater sound absorption
than a continuous ceiling of the same surface area.
● Acoustical clouds suspended above work areas provide a type of interrupted ceiling plane. As such, they help control distant
reverberation and reflections between cubicles, reducing occupant annoyance and distractions.
● Acoustical Canopies also help reduce reverberation, but are much different in size and look compared to acoustical clouds. Visually,
acoustical clouds are flat, while canopies are curved and can be installed as hills and valleys.
● Vertically hung Baffles and Blades also provide substantial sound absorption. Installation is easy because all of the components
needed to mount a baffle or blade are contained in a hanging kit.
 18 ARC 7.3 BS IV

https://community.sw.siemens.com/s/article/articulation-index
https://bedrock-usa.com/speech-transmission-index/
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5516402/

https://ncma.org/resource/noise-control-with-concrete-masonry/

https://www.emseal.com/article/sound-attenuation-expansion-joints/

http://hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/revtim.html

https://www.noisemeters.com/help/faq/frequency-weighting/

https://www.crystalinstruments.com/blog/2018/9/27/noise-criteria-nc-curves

https://www.engineeringtoolbox.com/nc-noise-criterion-d_725.html

https://www.audioreputation.com/audio-frequency-spectrum-explained/

https://www.troldtekt.com/product-properties/good-acoustics/advanced_acoustics/different-absorber-types/

https://www.techniconacoustics.com/products/acoustic-absorber/

https://www.acousticfields.com/resonant-absorbers/

https://www.hunecke.de/en/knowledge/absorbers/panel-absorbers.html
 18 ARC 7.3 BS IV

https://www.baswana.com

http://www.awci.org › pdfs

http://www.facilitiesnet.com/emails/custom/20130314-Armstrong.asp?email=brian.mccririe@gmail.com

https://ateliercrescendo.ac/variable-sound-absorption-systems/