ACOUSTICS Kaushalya Ma'Am

ACOUSTICS
LECTURER NOTES
KAUSHALYA ROHITH
HEAD OF THE DEPARTMENT
DEPT. OF INTERIOR DESIGN
IIFA LANCASTER DEGREE COLLEGE
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ACOUSTICS
Unit-1 INTRODUCTION TO ACOUSTICS
ACOUSTICS : Acoustical materials are a variety of foams, fabrics, metals, etc. used to quiet
workplaces, homes, automobiles, and so forth to increase the comfort and safety of their
inhabitants by reducing noise generated both inside and outside of those spaces.
Role of Acoustics
Acoustics involves many areas. Knowledge in acoustics is important for many professional
engineers and architects, but also for professionals from other faculties, such as medical doctors,
psychologists, biologists, oceanographers, media professionals and so forth. The figure bellow is
an attempt to illustrate the area from the core ‘fundamental physical acoustics’ to its applications
and relations to a range of disciplines.
Knowledge in acoustics is essential to promote the creation of environments, both indoors and
outdoors, involving rooms with good listening conditions for speakers, musicians and listeners
and also living environments and working areas which are reasonably free from harmful and/or
intruding noise and vibrations and with acoustic comfort. In other words; acoustics is a discipline
of great importance for a sustainable development.
According to classic acoustics theory there are five requirements which, when met, result in
good acoustics:
IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

HOD – DEPT. OF INTERIOR DESIGN
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 Appropriate reverberation time depends on the size of the room. W. Furrer’s

recommendations can be used in rooms which are between 200 and 20,000 cubic
metres. Unless it concerns a concert hall for classical music, the reverberation time must
in so as far as possible be the same throughout the entire frequency range.
 Uniform sound distribution is important in large rooms and halls, where the sound must
be able to be heard equally well everywhere. It is important to take sound distribution into
account in the architecture. A variation of max. ±5 dB anywhere in the room is an
appropriate requirement.
 Appropriate sound level for normal conversation is 60-65 dB, and in a busy street 70-85
dB. In large gatherings, a public address system in a dampened room can be used to
ensure an appropriate sound level.
 Appropriate, low background noise is one of the most important acoustic criteria –
especially in concert halls and theatres. In a room, the background noise may come from
technical installations or ventilation systems.
 No echo or flutter echoes must occur for the acoustics to be good. It is easy to prevent
echo by installing a little sound-absorbing material on the wall.
In addition, ensuring that the sound field in the room is diffuse is another fundamental
rule. This can be achieved by distributing the sound absorbers on several non-parallel
surfaces, by avoiding spherical, cuboid or cylinder shapes in for the room and by using
as many sound-spreading elements as possible. In addition, it must be ensured that
control rooms, listening rooms and cinemas in particular are built up symmetrically
around a vertical plane bisecting the central space.
Introduction to good acoustics
Good acoustics entail more than just controlling the reverberation time. This section describes
the five parameters which must be met to create acoustic comfort.
What are good acoustics? In fact, is it even possible to talk about good acoustics in general
terms? It is, and as acoustics are based on experience, a best practice has evolved which,
when followed, results in acoustics which most people will think of as being good. By this we
mean a situation where a room (and we still only talking about room acoustics) will be perceived
as comfortable, well-balanced, suitably furnished for its purpose and as having a clear and
distinct sound reproduction and experience.
Good acoustics are linked to human well-being. It is a question of whether you feel comfortable
in the acoustic environment, whether it is at home, in a restaurant, at a concert, in the theatre or
wherever. There is a lot of discussion at the moment about acoustic comfort as the subjective
experience of good acoustics, which in fact is a more objective issue. Here, we will try to take a
slightly closer look at which objective elements are involved. According to classic acoustics
theory there are five requirements which, when met, result in good acoustics:
 an appropriate reverberation time

 uniform sound distribution
 an appropriate sound level
 an appropriately low background noise
 no echo or flutter echo

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Take note of the word ‘appropriate’. It means that the individual factors must be adjusted
according to the conditions. We will take them one at a time.
Appropriate reverberation time
An appropriate reverberation time results from the following: The reverberation time must be
tailored to the room and the function of the room, and the reverberation time frequency
spectrum should be reasonably flat and even. The exception to this is concert halls for classical
music, where the reverberation time may increase slightly towards the lower frequencies. There
are a number of recommendations which link the size of the room, its use and the resulting
reverberation time. Here, we have followed W. Furrer’s recommendations. See Figure 16.
Here we have the room’s size (volume in cubic metres) on the horizontal axis, with several
common applications as parameters. As can be seen, the diagram can be used for room sizes
of approx. 200 cubic metres and up to 20,000 cubic metres. For example, a 1,000-cubic-metre
room which is used for both music and talking (i.e. a multi-purpose room) should have a
reverberation time of about 1.2 seconds. Spaces larger than about 20,000 cubic metres, for
example some stadiums, are not suitable for the stated applications.
Figure 16: Optimum reverberation time
In addition to the reverberation time of 1.2 seconds, as mentioned there is also a requirement
that this reverberation time should in so far as possible remain constant throughout the entire
frequency range. In addition to the recommendations stated in the table, a number of empirical
values exist which can be used as guidelines for specific applications such as sound studios,
cinemas etc. The empirical values may be found in specialist literature or on the internet.

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Uniform sound distribution
The requirement for uniform sound distribution is actually very banal. It is based on the fact that
in large spaces such as theatres or auditoria, it must be possible to hear well everywhere, i.e.
that the sound pressure level in dB only varies slightly across the audience. It is obviously very
important in a theatre that everyone can hear, even those sitting right at the back. The uniform
sound coverage requirement can be formulated very simply – that the sound level in the seats
may only vary by a few dB, for example ± 5 dB. This can easily be ascertained using a decibel
meter at selected spots, and it can also be included in the specifications for the room before
work starts on designing the acoustics.
Uniform sound distribution is not just a function of how much sound absorption is installed in the
room, but especially about how the sound-absorbing material is distributed, the shape of the
room and whether reflectors etc. have been used. Here, the architecture of the room comes into
the picture. If, for example, you have achieved the correct reverberation time with an acoustic
ceiling (to meet the first of the requirements above), then the very same acoustic ceiling may
cause the sound to be dampened too much across the ceiling before it reaches the seats at the
very back, which is perhaps an unfortunate solution. The sound-absorbing material must
therefore not necessarily be concentrated in the ceiling, but distributed across several surfaces.
This is all part of the process of acoustic design, in other words getting the various acoustic
requirements to harmonise with the other room requirements.
If there is also a PA system, then the key purpose of the system is to create uniform sound
coverage. Troldtekt speakers, which are integrated and concealed in the Troldtekt acoustic
panels, are an example of such a PA system.
As mentioned, if there is a requirement of a max. 5 dB variation in sound distribution throughout

the room, this will ensure a good distribution in sound. This discussion is only relevant for large
spaces such as theatres, auditoria etc.

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Photo: At Hillerød City Hall, Troldtekt acoustic panels are installed on both the ceiling and walls.
Appropriate sound level
There must be a sufficiently high sound level in relation to the background noise. With the
widespread use of electrically amplified music and speech, this is seldom a big problem. On the
other hand, sometimes it is necessary to limit the sound, for the sake of neighbours for example.
In ordinary communication, the sound level when we speak is 60-65 dB(A) at a distance of one
metre. In a busy street, the sound level on the pavement can easily reach 70-85 dB(A), so it is
necessary to raise your voice or shout in order to be heard.
For people with impaired hearing, normal vocal intensity is often not enough for them to hear
what is being said. In other words, it is either necessary to raise your voice, or the person in
question must use a hearing aid which is designed to increase the sound level sufficiently to
compensate for the hearing loss.
In large gatherings, where a speaker is addressing an audience, an appropriately dimensioned

PA system in a sufficiently dampened room could certainly solve the problem of appropriate
loudness and good speech intelligibility.
Low background noise
The above comments on the appropriate sound level are closely related to the need for low
background noise. The difference between the available sound level (the appropriate loudness)
and the inevitable background noise is called the dynamic area, and it should be as large as
possible.
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When talking about background noise, the focus is often on external noise sources – for
example traffic noise – but background noise is also generated by technical installations such as
projectors, computers and ventilation systems etc.
Photo: In refurbishing Brædstrup School, close attention was paid to the acoustics.
It is important to pay close attention to background noise, because it can completely ruin the
experience of good acoustics in a room. Therefore, it is necessary to specify requirements for
background noise, and to adapt the actual requirements according to what the room is going to
be used for. Usually, we do not consider this much, but in demanding situations, in other words
when we have to strain our ears to hear what is being said, then the problem becomes
apparent: it may be in the classroom, where it should be possible to hear the teacher, at the
theatre, where the actor’s vocal intensity is a given, limiting factor, or at a restaurant, for
example, where it is sometimes difficult to hear what the person sitting opposite us is saying. All
three are examples of how background noise can interfere with the primary function and mar the
experience.
In small rooms there are rarely problems, but as soon as we find ourselves in rooms designed
for teaching, open-plan offices etc., it is important to be aware of the background noise. In really
demanding venues such as theatres and concert halls, the requirement for low background
noise is simply one of the most important acoustic criteria. If this is overlooked, it can be a very
expensive problem.
Notice how concert halls and opera houses often have a large foyer which almost completely
surrounds the auditorium.
This is not just so that the audience can enjoy a drink in the interval, but to also create a buffer
zone which acoustically insulates the auditorium from the outside world.
Based on experience, the following values are recommended for the maximum acceptable
background noise level:

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No echo or flutter echo
Another fairly obvious issue: An acoustically good room must not have any echo or flutter echo.
We all know what an echo is. When the reverberation time in a (large) room creates strong,
single reflections, we perceive it as echo. Echoes may occur if you have a large smooth, hard
wall at one end of an otherwise dampened room, while you are at the opposite end of the room.
If you clap your hands (once), it can produce such an echo. There has to be a certain time delay
for the ear to perceive this delayed sound.
The time delay must be greater than approx. 50 milliseconds, which corresponds to the sound
moving approx. 17 metres. In other words, if there is more than approx. 8.5 metres to the
reflecting wall, we will be able to hear an echo.
Flutter echoes are a slightly different matter. They typically occur where you have two large,
smooth and hard wall surfaces which are standing parallel and opposite to one another, for
example in a sports hall. If you clap your hands (once), it can produce an echo that travels
backwards and forwards between the two parallel walls. It can be heard as a rapid pulse train
which is reflected between the walls. Most of us will have experienced it, but without necessarily
thinking about what it was. However, installing some sound-absorbing material on one of the
walls will effectively remove the flutter echo. If the room does not have parallel walls, it is
impossible for flutter echoes to occur.
Diffusion
We have now described the five basic requirements for good acoustics. However, there is an
additional factor which has been shown to have a major impact on how we experience good
acoustics – diffusion. The concept is slightly complicated to explain, as there is no actual
definition, and because it is not possible to directly measure it. It relates to the fact that sound
must/should be spread around the room in a random fashion. Sabine’s reverberation equation is
only valid when the sound field is diffuse, so how can we ensure this when there is no fixed
definition? Here, we have chosen an approach where we set up three rules of thumb, and which
– if they are met – ensure adequate diffusion for Sabine’s reverberation equation to be used
with reasonable accuracy. At the same time, together with the five basic rules which have been
described, they are an effective recipe for good acoustics. Having a diffuse sound field in the
room could be considered a sixth rule.

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A diffuse sound field occurs by:
 Distributing the absorbers on several non-parallel surfaces

This means that the absorbing materials do not need to be concentrated on the ceiling
and floor, for example, but instead on the ceiling and back wall.
 Using as many sound-spreading elements as possible
‘Sawtooth’ profiles on walls, diffusers, furniture and general disorder – the more the
better.
 Using non-regular room shapes
In other words, no ball, dice or cylindrical shapes.
However, it may be difficult to avoid the box shape.
 Ensuring that control rooms, listening rooms and cinemas are built up
symmetrically around a horizontal plane which bisects the space.
The first two points are obviously the most important, the last two slightly more exotic.
Acoustics Terminology
Acoustic Noise: any unwanted sound.
Acoustic Frequency: a measure of the pitch of a sound, expressed in Hertz (abbreviated

Hz) or cycles per second (cps).
Acoustic Pressure: rapid fluctuations in the atmospheric air pressure at a point in space,
expressed in microPascals (N/m2).
Air-borne Sound: Sound that travels from one space to another via the impact of air
molecules on one another. This includes sound transmission through walls, windows,
doors, ceilings and floors, provided that the source of the sound is in the air.
A-weighting: A commonly used frequency weighting that closely approximates the

frequency response of the human ear. It should be noted that the human ear does not
perceive sounds of equal sound pressure level as being equally loud if the frequencies
are different. The ear is less sensitive at low frequencies. For example, a sound of 50 dB
at 1000 Hz will sound twice as loud as a sound of 50 dB at 125 Hz, and four times as loud
as a sound of 50 dB at 75 Hz.
A-weighted Sound Pressure Level: the overall sound pressure level of a sound
(including all frequencies) after it has been frequency weighted with the A-weighting filter,
abbreviated dBA.
A-weighted Sound Power Level: the overall sound power level of a sound after it has
been frequency weighted with the A-weighting filter, abbreviated LwA.
Decibel: a numerical scale, which is proportional to the common logarithm of the ratio of
the quantity of interest to some reference value, abbreviated dB. An increase or decrease
of 10 dB represents an order of magnitude (10X) increase or decrease in the value of the
quantity of interest. An increase or decrease of 20 dB represents two orders of magnitude
(20X) increase or decrease in the value of the quantity of interest.

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Sound Pressure Level: a measure of the strength or intensity of a sound, expressed in

decibels (abbreviated dB) with a reference level of 20 microPascals (2 x 10-5 N/m2). The
sound pressure level generated by a steady source of sound will usually vary with both
distance and direction from the source.
Sound Power Level: a measure of the total acoustic power output (in all directions) of a
sound source, expressed in decibels (abbreviated dB) with a reference level of 1 picowatt
(10-12 watt). The sound power level of a source is totally independent of the receiver
distance and location.
Frequency Range: the range of acoustic frequencies of interest. In terms of audio

recording studios, this is usually limited to the range of 20 Hz to 20,000 Hz, which
represents the full range of human hearing.
Room Background Noise: any and all noise in a room when the primary source of sound
is off. This is also called ambient noise.
Noise Criteria: the highest level of background noise that is acceptable for a given space.
This depends on frequency and the intended use of the space. Recommended
background noise criteria for various spaces can be found in the 2003 ASHRAE
Applications Handbook.
NRC Rating: a single number rating that describes a material's ability to absorb sound.
The NRC rating considers only the frequency range from 250 Hz to 2,000 Hz. Values
typically range from 0.05 to 1.0, with higher values representing better sound absorption.
Octave: the audible frequency range is often divided into bands of frequencies because
sound transmission through solid barriers can vary dramatically with the frequency of the
sound. The broadest bandwidth commonly used is an octave. An octave is any band
where the highest included frequency is exactly two times the lowest included frequency.
For example, the frequency band that covers all frequencies between 707 Hz and 1,414
Hz is an octave band. The band is identified by its center frequency, which is defined as
the square root of the product of the highest and lowest frequency. In the above case the
center frequency is 1000 Hz. The entire frequency range of human hearing can be
covered in the following 10 standard octave bands: 31 Hz, 63 Hz, 125 Hz, 250 Hz, 500
Hz, 1000 Hz, 2000 Hz, 4000 Hz, 8000 Hz, and 16000 Hz.
One-Third Octave: A frequency band that has a width (in Hz) that is only 1/3 of the width
of an octave. It takes 31 one-third octave bands to cover the entire frequency range of
human hearing. One-third octaves are used when octave band analysis does not provide
adequate resolution in the frequency domain.
STC Rating: A single number rating describing a material's or an assembly's ability to

prevent sound transmission through the assembly or the material. The STC rating only
considers sound transmission loss values at frequencies from 125 Hz to 4000 Hz, and the
higher frequencies are given more weight than the lower frequencies. Higher values
represent better sound control, (i.e. less sound penetrating the material or assembly).
Structure-borne Sound: Sound that travels from the source to the receiving space
primarily via solid materials. This includes sounds generated by impacts to a structure

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(e.g. hammering, drilling, etc.) and sounds from rotating mechanical equipment that are
supported by the structure (e.g. pumps, motors, fans, etc.).
Subterranean Sound: Sound that travels from the source to the receiving space primarily
through the ground. This includes sounds generated by any device that causes ground
vibration including, street traffic, pile driving, core drilling, and earthquakes.
Transmission Loss: a value that is proportional to the common logarithm of the ratio of
the incident to transmitted acoustic power, expressed in dB. A sound wave will pass
through a material with a transmission loss of 0 dB without any loss in energy. A sound
wave will pass through a material with a transmission loss of 10 dB with a 90% reduction
in energy. If a material has a transmission loss of 20 dB, the transmitted wave will have
only 1% of the energy of the incident wave.
SOUND IN INTERIOR DESIGN
An enclosed space is a room or area bounded on every of its sides. The materials for enclosure
may be classified into two
 Those that allow sound rays to pass through and

 Those that do not allow sound rays to pass through.
Areas bounded with materials that allow sound rays to pass through tend to enjoy good acoustic
as the effect of indirect sound from reflection is reduced within the space. In this space, sound
from external source can pass through the material into the enclosure as background noise. The
vibration of some of the materials can be a source of noise within the space and this can be a
bane to the achievement of clear and audible speech and music.
The effect of indirect sound may be pronounced in spaces enclosed with materials that do not
allow the passage of sound rays through them. Adjustments to the material to aid diffusion will
improve the acoustic of the space. Some of these materials can absorb sound, reducing the
effect of indirect sound.On encountering barriers posed by the enclosure, sound waves are
likely to behave in the following ways
 Reflection
 Absorption
 Refraction
 Diffusion
 Diffraction
 Transmission
Reflection
This occurs when the wavelength of a sound wave is smaller than the surface of an obstacle. In
the case of an enclosed space, the sound waves hit every side of the enclosure continuously
until the sound energy reduces to zero. The amount of waves reflected depends on the
smoothness, size, and softness of the materials of enclosure. The angle of incidence of sound
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rays is equal to that of the reflected rays only if the surface of the reflector is flat. But when it is
curved, the angles are different.
Absorption
When sound waves hit the surface of an obstacle, some of its energy is reflected while some
are lost through its transfer to the molecules of the barrier. The lost sound energy is said to have
been absorbed by the barrier. The thickness and nature of the material as regards its softness
and hardness influences the amount of sound energy absorbed.
Refraction
This is the bending of sound when it travels from one medium into another medium. The
difference in the composition of the two different media bends the sound i.e. the angle of
incidence changes into an angle of refraction as it travels into the new medium.

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Diffusion
This is the scattering of waves from a surface. It occurs as a result of the texture and hardness
of the obstacle is comparable to the wavelength of the sound. The direction of the incident ray
changes when it strikes the surface of the obstacle. Satisfaction is achieved when sound is
heard in all direction at equal level.
Diffraction
When the wavelength of a sound wave is smaller or equal to the size of the obstacle, the sound
rays tend to bend round the edge of the obstacle thereby turning the edge to a sound source.

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Transmission
In this phenomenon, sound wave is carried by molecules of the obstacle through vibration and
re-emitted at the other side irrespective of the medium. It can be structure borne, air borne or
impact sound.
Reverberation
This is the persistence of sound in an enclosed space as a result of continuous reflection or

scattering of sound after the source has stopped. It is one the most prominent behaviours of
sound in an enclosure. It occurs when sound waves hits a surface and are reflected toward
another surface which also reflects it. Some of the sound is absorbed with this continuous
reflection which gradually reduces the energy of the sound to zero. The phenomenon can affect
the audibility of sound in an enclosure, especially if the reverberation time, which is the time
taken for the sound pressure level to diminish to 60 dB below its initial value is considerably
long.
Echo
This occurs when the reverberation time is long enough to cause a distinct repetition of the
direct sound. This condition is an advanced form of reverberation where the sound is heard
clearly and repeatedly after some time until it fades.
Unit-2 ABSORBENTS
Introduction to absorbents,

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Absorbents are typically used to clean up spills in repair shops. Absorbent material can
be granular (kitty litter type) or made of foam. Absorbent foam pads can be used to
absorb spilled oil and then pressed to remove the oil so the pad can be reused.
Absorbent books or pigs can be used to reduce the amount of absorbent material needed
for clean-up by initially diking the spill. Absorbent usage can be reduced by practicing
good housekeeping procedures such as the use of drip pans, funnels, and detection and
repair of leaks.
Correct:
 Use drip pans, keep lids on, and repair equipment leaks to prevent spills and avoid
the need for absorbents.
 Use the minimum amount of absorbent to complete the job.
 Keep absorbent materials nearby or in a well placed spill kit to quickly clean up any
spills.
 Clean up any spilled material immediately. If the spilled material is hazardous, then
label the container and submit the collected waste for pickup.
Incorrect:
 Do Not put used absorbents into drains or on the ground.

 Do Not mix non-hazardous material with absorbents containing hazardous waste.
CLASSIFICATION OF ABSORBENT
,
Types of Sound Absorbing Materials

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Acoustic absorption is the process by which sound energy is dissipated and transformed into
another form of energy: heat, mechanical, or deformation.
From a scientific standpoint, there are three primary types of sound absorbers: porous,
membrane, and resonance.
A number of sound-absorbing materials exist. Their ability to absorb sound waves is highly
dependent on frequency, composition, thickness, and method of mounting.
Porous Absorbers
Materials with a high sound absorption coefficient are usually porous.
Unlike soundproofing materials, sound absorbent materials aren't dense, they're permeable.
Soundwaves penetrate the surface of these materials, and flow into the fibrous or cellular
structure that it's comprised of.
It's important to remember that energy can never be created or destroyed, it can only be
transformed. Porous absorbers will convert incident sound energy into heat energy through
frictional and viscous resistance in the fribrous or cellular structure of the material.
The amount of heat that soundwaves generate is minimal; less than 1/1,000,000 of a watt.
When porous sound absorbers are used, only a small portion of the sound energy is reflected
back into the space.
Porous sound absorbers are most effective for mid-range frequencies or treble tones. They tend
to have less effect towards lower frequencies and have minimal effect with bass.
Common examples of porous sound absorbers include mineral wool, carpets, fibreboards,
insulation blankets, and certain forms of foam plastic.

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Membrane/Plate Absorbers
A membrane or plate absorber is an air impervious, non-rigid, non-porous material that's placed
over an airspace. When sound energy is applied to the absorber it causes the oscillating system
(mass of the front panel and the spring formed by trapped air) to transform into mechanical
energy.
These materials are typically solid in appearance, and as such, they are commonly overlooked
as sound absorbing materials. With that said, they are particularly effective against low-range
frequencies, such as bass.
They also will reflect higher frequency sounds. Other forms of soundproofing and absorbing will
need to be applied to counter-act this added effect.
Common examples of membrane absorbers are wood or hardboard paneling, suspended

plaster ceilings, windows, wood doors, gypsum boards, and wood floors.

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Resonate/Resonance Absorbers
These types of sound absorbers are typically only used when you need to combat sound in a
narrow, yet defined frequency range. They're used to focus on issues related to bass
frequencies.
These types of absorbers work based on sound pressure. It's essentially a mass (front wall or
diaphragm) vibrating against a spring (the air inside the resonant absorber). By changing either
the mass or the spring's stiffness, you can adjust for resonant frequency.
They work in a similar manner to that of a membrane absorber. Meaning they consist of a
mechanical oscillation system with a solid plate and tight air space.
An example of a resonance absorber would be a bottle of Coca-cola. However, a more practical

example would be layers of perforated plasterboard or perforated metal corrugated sheets.
Where the perforations are the bottle's neck and the space behind the sheets are the bottle's
container.
Materials Used as Sound Absorbers
The following are practical applications of the aforementioned concepts. Remember, just
because you're trying to absorb sound doesn't mean you have to live in a space that's devoid of
aesthetic.

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Cushions and Pillows
Cushions and pillows are considered porous sound absorbers. Their soft surfaces, and porous
material can absorb soundwaves and turn them into heat energy. Generally speaking, the
thicker they are the more sound you can absorb.
Arrange over-sized pillows and cushions on chairs, sofas, and beds. You can even arrange
them on the floor to create a casual yet welcoming seating area that can absorb sound.
Wall Hangings
You can also use wall hangings to absorb soundwaves. Paintings, tapestries, and large pictures
can reduce reverberations that pass through walls. If you have bare walls in your home or
workplace, arrange wall hangings to cover the void space.

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Of all of these options, cloth/linen tapestries are best for absorption, as they’re highly porous,
thick materials.
Carpets and Area Rugs
Carpets and area rugs can help to absorb impact noise and prevent the transmission of sound
through structures. For instance footfalls through shared floors/ceilings.
If you have the budget, installing wall to wall carpet with a sound deadening underlayment is
your best option.
However, wall-to-wall carpet is expensive. A good substitute are thick area rugs with a layer of
mass loaded vinyl (MLV) affixed to the bottom. They add mass to the floor and prevent
structure-borne noise.

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Curtains and Blankets
The best way to soundproof windows is by replacing them with double/triple pane windows or
laminated glass.
However, replacing windows is rather expensive. As an alternative you can use soundproof
curtains and blankets to help absorb and slow the passage of soundwaves.
These mediums can also be hung above doors, on walls, etc.
Acoustic Window Film
Glass is thin, highly conductive, and very reflective, which makes them very poor sound
barriers. Acoustic window film will beef up the density of the window and absorb the
transmission of soundwaves, thereby minimizing unwanted sounds.
Acoustic Partitions
Another product that you can use to absorb sound is an acoustic partition. While they don’t do a
lot to block out sound, they do offer great sound absorption capabilities.
These partitions are made of sturdy structural materials that are covered with porous fabrics that
act as sound absorbers. Essentially, they act as a large piece of soft furniture in the middle of an
open room.

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Acoustic Foam Panels
Acoustic foam panels are made of soft, porous material that feature notches or cups. Hang
them on walls, doors, or ceilings so that instead of soundwaves reflecting off these surfaces,
they'll be absorbed within the porous material.
Acoustic foam panels come in a variety of sizes and colors. For improved visual appeal, choose
a few different colors and hang them in a pattern on the surface you are applying them to.
Porous absorbers
Standing wave in front of a massive wall

p: sound pressure
v: sound velocity
λ: wavelength

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A porous absorber is any kind of porous or fibrous material such as textiles, fleece, carpets,
foams, mineral wool, cotton wool and special acoustic plasters. They all absorb sound energy
as they damp the oscillation of the air particles by friction.
Let us take a look at a plane sound wave vertically incident on a rigid wall. It is completely
reflected. The incident and the reflected wave superimpose each other according to the
principle of superposition to form a standing wave. Directly in front of the wall, which is
supposed to be stationary, the air cannot move. Directly on the wall, the sound velocity of the
standing wave must be zero. A high sound pressure, however, is very apt to develop at this
position. The first maximum of sound velocity is at a distance of a quarter of a wavelength from
the wall.
Porous absorbers are most effective in slowing down air particles with a high sound velocity.
When mounted directly onto the wall they therefore must be of a certain thickness in order to
absorb sound waves down to a certain lower limiting frequency. If, however, the absorber is
mounted at a distance from the wall, its thickness can be reduced accordingly. Manufacturers of
acoustic ceilings take advantage of this effect. Besides the distance from the wall, the flow
resistance of the material also is of high importance.
Textiles:
In room acoustics textiles play a part in the form of curtains or people’s clothes. Curtains with a
wall distance of about 10 cm are good absorbers down to a lower frequency of about 125 Hz.
This, however, requires that they are not covered by an air-tight synthetic coating. Very thin
curtains that can be looked through hardly absorb any sound. Their flow resistance is too low.
Fleece:
Most manufacturers of perforated metal, wood, or gypsum board ceilings use special acoustic
fleece. This thin fabric offers an optimum flow resistance and fulfils the relevant fire protection
requirements. If the perforated portion is high, the panel or board only serves as a mechanic
carrier for the acoustic fleece. If the perforated portion is small, the panel or board and the air
volume behind it act as a Helmholtz resonator. With most constructions the absorption
coefficient can be increased by an additional layer of mineral wool.
Carpets:
As the thickness of carpets hardly ever exceeds 1 cm, they only absorb high frequencies from
about 1 kHz onwards. Carpets alone are therefore not sufficient to achieve good acoustics.
Additional measures must be taken for the absorption of lower frequencies.

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Foam:
Foam is often used as upholstery in furniture. Since upholstered furniture is usually distributed
over the room the diffusion of the sound field is increased. Foams especially produced for
acoustic purposes are used as inserts in metal ceilings, as a filling for panel absorbers, or
as edge absorbers. A visually unobtrusive finish can be achieved by covering the foam with a
kind of textile wallpaper.
Mineral wool, cotton wool:

Mineral wool in the form of pressed, stiff boards is often used in acoustic ceilings. These boards
are inserted into rail systems with different profiles and are available in a variety of colours and
finishes. In loose form mineral wool is frequently used as an additional layer on perforated
panels and to improve sound insulation in lightweight interior walls. In this form it can be
replaced by cotton wool.
Acoustic plaster:
The term acoustic plaster refers to special plasters that are applied in such a way that many
interconnected cavities are formed. If only a thin layer of acoustic plaster is applied, it is only
effective for high frequencies, similar to carpets. If, however, the plaster is applied to a sound-
permeable carrier material mounted at a certain distance from the wall, a good absorption
coefficient can be achieved for low frequencies as well. In this way it is possible to install
jointless acoustic ceilings that look like a normal plastered ceiling.
Resonant panels or membrane systems

Resonance Panels are an ideal sound absorbing decorative material. The raw material is
100% polyester fiber, which is sound-absorbing, fire resistant, insulating, moisture-proof, anti-
mildew, easy cleaning, easy cutting, simple installation, and ECO friendly.
Space or functional absorbers
Generally, such acoustic space absorbers have consisted of large sheets of sound absorbing
material and in some cases other large bodies of sound absorbing material sandwiched
between porous walls
Unit- 3 FUNDAMENTALS TO SOUND

Fundamentals of sound-
Sound can be defined as a wave motion in air or other elastic media (stimulus) or as that
excitation of the hearing mechanism that results in the perception of sound (sensation). Which
definition applies depends on whether the approach is physical or psychophysical. The type of
problem dictates the approach to sound. If the interest is in the disturbance in air created by a
loudspeaker, it is a problem in physics. If the interest is how it sounds to a person near the

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loudspeaker, psychophysical methods must be used. Because this book addresses acoustics in
relation to people, both aspects of sound will be treated.
These two views of sound are presented in terms familiar to those interested in audio and
music. Frequency is a characteristic of periodic waves measured in hertz (cycles per second),
readily observable on a cathode-ray oscilloscope or countable by a frequency counter. The ear
perceives a different pitch for a soft 100 Hz tone than a loud one. The pitch of a low-frequency
tone goes down, while the pitch of a high-frequency tone goes up as intensity increases. A
famous acoustician, Harvey Fletcher, found that playing pure tones of 168 and 318 Hz at a
modest level produces a very discordant sound. At a high intensity, however, the ear hears the
pure tones in the 150-300 Hz octave relationship as a pleasant sound. We cannot equate
frequency and pitch, but they are analogous.
The 9 fundamentals of sound design are:

 Amplitude Envelopes (ADSR)
 Pitch.
 Layering.
 Keep It Simple.
 Cleaning.
 Tone.
 Size.
 Movement.
What is Sound?
A sound is a vibration that propagates through a medium in the form of a mechanical wave. The
medium in which it propagates can either be a solid, a liquid or a gas. Sound travels fastest in
solids, relatively slower in liquids and slowest in gases.
In physics, the sound is defined as
A vibration that propagates as an audible wave of pressure, through a medium such as a gas,
liquid or solid.
In psychology, the sound is defined as
The reception of sound pressure waves and their perception by the brain.
What is a Soundwave?
A sound wave is the pattern of disturbance caused by the energy travelling away from the
source of the sound. Sound waves are longitudinal waves. This means that the propagation of
vibration of particles is parallel to the energy wave propagation direction. When the atoms are
set in vibration they move back and forth. This continuous back and forth motion results in a
high-pressure and a low-pressure region in the medium. These high- pressure and low-pressure
regions are termed compressions and rarefactions, respectively. These regions are transported
to the surrounding medium resulting in the sound waves travelling from one medium to another.
Understand the concept of sound clearly by watching the video below which visualises
the occurrence of sound waves when a guitar string is strummed.

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14,39,741
Nature Of Sound
The sound produced by a guitar is different from the sound produced by a drum. This is
because the sound produced by different sources have different characteristics. Sound can be
characterized by its frequency, wavelength, and amplitude.
 Frequency of sound
The number of rarefactions and compressions that occur per unit time is known as the
frequency of a sound wave. The formula of the frequency of a wave is given as:
Where,
 f is the frequency of a sound wave and

 T is the time period.
 Wavelength of sound
The distance between the successive compression and rarefaction is known as the wavelength
of a sound wave. The wavelength of the sound formula is given as follows:
Where, f is the frequency of the sound wave and v is the velocity of the sound wave.
Amplitude of sound
The amplitude of the sound is the magnitude of the maximum disturbance in a sound wave. The
amplitude is also a measure of energy. Higher the amplitude higher the energy in a sound
wave.Humans can hear a limited range of frequencies of sound. Physicists have identified the
audio frequency spectrum of the human ear to be between 20 Hz and 20,000 Hz. Under ideal
laboratory conditions, the human ear can detect frequencies that are as low as 12 Hz and as
high as 20,000 Hz.
Speed of Sound
The speed at which sound waves propagate through a medium is known as the speed of sound.
The speed of sound is different in different media. The speed of sound is highest in solids
26
because the atoms in solid are highly compressed. The interaction between atoms in a particle
is highly dependent on the distance between them. Higher the interaction between the atoms,
the quicker the energy is transferred. As the interaction of the particles in solids is high, the
speed of sound is faster than liquids and gases. The table below lists the speed of sound in
different media. The formula used to calculate the speed of sound is given as:
Where,
 d is the distance traveled by sound

 t is the time taken to cover the distance.
Medium Speed of sound
Water 1481 m/s
Air 343.2 m/s
Copper 4600 m/s
Hydrogen 1270 m/s
Glass 4540 m/s
Reflection of Sound
Reflection of sound is similar to the reflection of light. The reflection of sound obeys the
following laws of reflection
 The angle of incidence is equal to the angle of reflection.

 The incident sound, the normal sound and the normal sound all lie in the same
plane.
When a sound hits a hard surface, it reflects back to its source. This reflection of sound is
otherwise is called an echo. Hard surfaces have a tendency to reflect sound while soft surfaces
absorb sound and silence them. If the frequency of the sound wave is low, then the sound wave
will not get reflected. Sometimes, we hear multiple echoes from a source of sound if the area is
large and has multiple reflecting surfaces such as valleys and huge empty rooms. This
phenomenon is known as reverberation.
Stay tuned to BYJU’S to know more about concepts like Doppler Effect that is commonly
associated with sound waves.

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Terminology
Sound Terminology
Sound Waves
Molecular movement (air) at 1,130 ft. per second in all directions
(at sea level)
Sound Waves - Air Compression

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Phasing
Diagram of sound pressure movement
Frequency - measured in Hertz

Number of peaks (cycles) in a given distance (time)
100 cycles per second = 1 Hertz
As number of peaks per second changes, pitch of sound changes
More Hertz (Hz) = higher pitch
Amplitude
Intensity of frequency, height of sine wave = Volume
Change in height of peaks (number of cycles per second remains the same)
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Volume measured in decibels (dB).

More dB = more Volume.
0 dB is arbitrarily set at the threshold of hearing
Contrasting Sound Wave Graphics
Inverse Square Law

As distance from the source increases, volume drops at the square of the distance from source.
For a sound to have the same apparent volume at twice the distance, it must be amplified four
times as much. At a distance three times as far away, the sound must be amplified nine times
as much.
Harmonics
Equal division of Cycles

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Middle C = 256 Hz
1 octave above middle C = 1st Harmonic: 512 Hz (256 x 2)
2 octave above middle C = 2nd Harmonic: 1024 Hz (512 x 2)
In and out of Phase

Multiple sound sources in combination
Doppler Effect
Sound approaching appears to increase in pitch
Sound waves are compressed creating the illusion of more cycles per second.

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The Human Ear

32
Cross section of Cochlea
Discernment
Ears are located on the sides of human heads

33
Horizontal discernment: 15 degrees

Vertical discernment: 45 degrees
Dynamic Range
20 - 20,000 Hertz
Envelope
Shape of sound as defined by how it begins, changes internally over time, and how it ends.

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Attack
Decay
Sustain
Release (acoustic environment)

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Reverberation
RT60: Time of decay 60 dB (1 millionth of original sound)
Directionality of various pitches (higher frequencies are more directional)
Reflectance
Acoustic Shell at the Duluth Entertainment and Convention Center
Absorption

36
SOUND INSULATION MATERIAL
Soundproofing vs Sound Absorption
Before exploring soundproofing materials, it is advised to firstly understand the key differences
between sound absorption and soundproofing.
It’s a common misconception to think that sound absorption is the same as soundproofing.
In reality they are not one and the same.
Sound absorption is in actual fact one element of sound proofing and is used in two ways:
Firstly, as part of a soundproofing system, as a material which is invariably added within a
structure such as between the voids created in a stud wall, which can reverberate sound,
adding sound absorption can prevent this.
Secondly, when sound absorbing materials are added to the surface of a wall or ceiling, it
absorbs sound waves and reduces resonance and regeneration of the sound back into the
room.
In doing so, improves the acoustics of a room which is called acoustic calibration.
For example, a noisy restaurant with hard surfaces typical of industrial influenced design of
today’s trendy eateries, can result in a cacophony of sound from clattering cutlery and chattering
diners.
This noise can be softened with panels of sound absorbing materials which equalize and
balance the internal acoustics of a room which is acoustic calibration.
Hopefully this explanation is reasonably clear, but in a nutshell, sound ‘absorbing’ materials
reduce the resonance and reverberation of sound waves within a space or room.
Sound ‘proofing’ materials prevent sound waves from passing in or out of the room.
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Key Principles of Soundproofing
Soundproofing is acoustic isolation – the prevention of sound waves passing in or out of a

room.
In order to understand soundproofing or acoustic isolation, it is best to start by highlighting the
key principles, namely:
Deflection
Deflection of sound is achieved by adding mass and density to any structure such as a wall,
floor or ceiling.
All solid materials which have a thick consistency and are dense or somewhat heavy, can help
to block sound.
By adding mass and dense materials between the source of the sound and the receiving point
will offer additional bulk that the sound wave will have to pass through and in doing so will
reduce its energy.
Increased mass and density of a wall ‘s construction can be achieved with concrete for
example, or dense finishing boards such as ply, OSB, drywall or plasterboard.
Deflection with mass and density proves more effective with airborne sounds such as voices or
music, and not so effective with impact noise such as foot fall, which is usually associated with
stronger power, pressure and therefore vibration.
As sound waves strike the mass and dense materials, vibration will occur and in doing so will
pass the energy from one side to the other through the materials’ own rigidity.
This is the principle of flanking transmission noise – a common problem with all structural
scenarios.
Absorption
Open cell woven types of material such as QuietFibre Stone Wool Cavity Insulation, which
provides a soaking up or absorption of the acoustic energy entering it.
These are available in differing thicknesses and densities for an increasing effect and are
usually installed in open cavities where the depth of material can be tolerated.
Not only do these types of absorptive materials offer absorption, but it is also important to know
that by filling a cavity they can also prevent the potential of additional resonance, reverberation
or amplification of sound waves that could be created if the cavity were to be left completely
empty.
Decoupling
The principle of decoupling is to reduce the area of direct mechanical linkage between the
substrate or structure, say for example of a wall, and the finishing materials.
This process is a way of interrupting sound vibrations or flanking transmissions that travel
through the structures’ own connectivity or rigidity from one side to the other.

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This may well be by a complete decoupling of an internal structure such as what is commonly
called a ‘room within a room’ or a ‘cell within a cell’ or may simply be a decoupling by counter
battening or resilient channels.
A good example is the use of acoustic brackets, acoustic hangers or resilient channels, which
will help to decouple drywall from the rest of the building’s structure.
As a result, the strength of the acoustic vibrations are reduced, thus slowing their potential
passage through the wall.
Decoupling is best done during the construction phase of a building.
Thermal Conversion
Acoustiblok Isolation Membrane is a material which works by converting sound energy into
trace heat energy.
When sound waves come into contact with the membrane, it vibrates the molecules of the
materials which in turn creates friction which is cleverly converted to a trace heat energy.
Thus the material works by converting a more problematic acoustic energy into a less
problematic heat energy which is simply transferred through the material sideways to reduce
flanking transmissions.
In any serious or advanced strategy to isolate sound, this is an absolute must to work in tandem
with the other principles.
At only 3mm thick, the depth of the material is hardly noticeable in the grand scheme of things,
but the benefits to uplift acoustic performance are immense.
The material has an optimum balance of mass and flexibility, however it does not rely only on its
mass for acoustic performance, making it a unique and standalone sound proofing material.
Constrained Layer Damping
Constrained layer damping is a principle of using specific materials in particular ratios to reduce
the natural resonant frequencies of the structure, thus reducing the resulting flanking
transmissions through from one side of the structure to the other.
Damping compounds are effective when applied between two rigid panels, such as drywall or
plasterboard for example.
As a result, when the sound hits it, shearing forces between the panels creates friction in the
damping layer and the sound ceases as it is converted to heat, in essence thermal conversion
occurs.
This solution is ideal for low-frequency noises.
Key Takeaway
These essential principles of soundproofing outlined above work independently of each other,
but can also complement one another.
Often, combining different methods by using two, three, four or more of these principles offers
the best results.

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Types of Soundproofing Materials
There’s an extensive list of soundproofing materials that you can choose from, for various
applications.
Each of these materials has different best use scenarios, and they work by means of one or
more of the soundproofing principles outlined above.
Let’s go over them in more detail to highlight key aspects of the material and how and when
they are best used:
Acoustic Isolation Membrane
There are quite a few ‘acoustic membranes’ on the marketplace, with some being better than
others.
The most advanced membrane in this category is the unique Acoustiblok Isolation
Membrane which is the thinnest and highest performing material available, mm for mm.
It is considerably lighter and enables a higher thermal conversion of energy from an acoustic
energy into a less problematic heat energy and transfer through itself.
This material which is available in 3mm and 6mm thicknesses, is commonly installed within
walls, ceilings and floors to mitigate airborne and impact sound.
Remarkably, it helps to block sound transfer more effectively than a sheet of lead and is ideal
for sound insulation.
It is polymer-based and thus very flexible, adaptable and easy to install.
It offers effective acoustic insulation without increasing the thickness of walls or ceiling, or
loading with excessive weight for example.
Some other materials are known as Mass Loaded Vinyl (MLV) which are simply a rubber
compound impregnated to increase mass and density. These are much heavier materials and
rely heavily on a deflective principle.
Open Cell Cavity Insulation
This material is typically installed into cavities, and tends to be made from rock wool,stone wool,
mineral wool or fibreglass. QuietFibre is an example of a stone wool.
They are designed to fit snugly between wall studs, ceilings and floors and uses the principle of
sound absorption.
By doing so they will effectively pack out the airspace usually found in these areas, and so the
transmission of sounds are impeded or considerably reduced by their presence.
Decoupling Products
Based on the principle of decoupling materials through which sound is transmitted.
 Resilient Channels – there are varying types from simple timber battens to aluminium
metal rails that are specially designed to lay over soundproofing insulation once they are
mounted across wall studs or ceiling joists.
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 Acoustic Hangers – which are isolation mounts which mechanically fix to the main
structure and act as a gasket between the structure and the resilient channel / cross
batten.
Acoustic Flooring
The principle of decoupling comes into play here.

This material is used to decouple the main floor surface from the subfloor, and thus reduce
noise transmission.
Common materials for acoustic flooring include Acoustiblok, rubber based crumb, cork and felt
for example.
Soundproof Windows
Specialist types of soundproof windows use the principle of decoupling to reduce the sound that
enters or leaves a room where installed.
These windows typically have thick glass panes and a layer of air trapped in between each
layer.
Soundproof Doors
This is another type of architectural soundproofing solution.

Much like soundproof windows, soundproof doors are designed to use the principle of increased
depth and mass as well as decoupling to reduce sound transmission.
Acoustic Panels
These panels are another type of sound absorption board, commonly referred to
as AcoustiCloud Panels and AcoustiWall Absorber Panels and are installed invariably on the
surface or near the surface of ceilings and walls.
Again these are used more so for controlling internal acoustics to equalise and calibrate.
They are reasonably effective when positioned correctly and cover sufficient volume and
surface area as well as being aesthetically pleasing on the eye.
Acoustic panels are seen as a decorative alternative to acoustic foam and come in a range of
colours, shapes and designs.
Acoustic Fabrics
Typically used for theatre curtains, blackout curtains and studio blankets, acoustic fabrics are a
very thick type of fabric which are effective when it comes to dealing with acoustics in large
rooms or halls.
They are also used as a wall lining to increase acoustic equalisation within rooms such as
cinemas.

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Acoustic Foam
Acoustic foam, also commonly known as Studio Foam, is wall mounted foam panels that can be
flat, chamfered, convoluted, wedged or have pyramidal shapes protruding from them.
They mostly help to improve audio quality in studios and music rooms.
Acoustic foam works on the principle of sound absorption and re-calibration of internal
acoustics, and so they are not as effective as other materials when it comes to blocking sound.
They should make a noticeable difference to internal acoustics and the audible values, but if
you are looking for a sound blocking solution, there are far better materials you should consider.
It’s important to note that the thickness and densities of these foams vary, which in conjunction
with correct positioning, plays a significant part in their effectiveness and performance.
You should also take into account the type and amount of surface area to be covered.
30 Best Soundproofing Materials
Soundproofing materials come in all forms and kinds, as we have already outlined.
However, it is important to be aware of how and where they should be applied for best results.
Needless to say, it’s also important to consider the quality of the particular soundproofing
material you intend to use to achieve the very best possible results.
Here’s a rundown of the 30 best soundproofing materials available on the marketplace and how
best to use them:
1. Acoustic Membrane
There are different types of

acoustic membrane on the market, some much heavier than others and some higher performing
than others.
These will be rated by different dB reduction levels across differing Hz frequencies and are
available in different thicknesses.
The thicknesses and weight will affect their application and effectiveness, so it’s important to
choose well.

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 Uses: ideal as a sound insulation membrane as it works well when it comes to reducing
sound transference.
 Pros: minimal depth to existing structures such as walls and ceiling, easy to install, long
lasting.
 Cons: some are rather heavy with increased mass which in turn provides a contra effect.
Some brands are more expensive but as the saying goes, you get what you pay for.
2. Acoustic Mineral Wool Cavity Insulation
Mineral, rock or stone wool

insulation, such as QuietFibre, are essentially open cell insulation materials which work very
well at absorbing acoustic and thermal energies.
Invariably used in cavities such as stud walls, this rather rigid material comes in different
thicknesses and densities and is used in both households and commercial projects as it is quite
affordable.
Not only good at acoustic and thermal energy absorption but almost as important if not more so,
it is very useful for filling cavities. This prevents the cavity from being an open and resonant
‘cave’ like hole which can lead to an amplification of acoustic energy.
Despite being quite rigid, it is easy to cut.
 Uses: to soundproof walls and ceilings, make acoustic panels and bass traps, and as
soundproofing insulation in various places, from residential to commercial spaces.
 Pros: affordable, natural material, fire and moisture resistant.
 Cons: need a lot of depth of the material to be effective by itself. Protective breathing
gear must be worn as cutting causes slivers which lodge in the skin, or may be inhaled
and irritate the lungs.
3. Fibreglass

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Soundproof fibreglass comes in

boards / slabs rather than rolls and can be used in various places and applications including to
make acoustic panels in home studios, theatres and commercial buildings.
This soundproofing material is very effective in diminishing noise that enters or leaves a room,
and also improves internal acoustics.
There are different types which you can choose from with differing thicknesses, densities and
strengths.
For example 703 boards are best for reducing high frequency noises whilst 705 boards are
more suited to low frequency bass noises.
 Uses: in recording studios, home cinemas, theatres and anywhere where soundproofing
is needed, extremely versatile.
 Pros: suitable for various frequency ranges, come in different thicknesses, easy to cut.
 Cons: known to be an irritant so protective gear must be worn when handling.
4. Resilient Channels
Resilient sound channels are the

main way of decoupling drywall from internal structures of buildings.

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This system can also be installed with acoustic hangers or gaskets which further reduce the
vibration.
Resilient sound channels are strips of metal or timber that are installed to the walls so that the
soundproof insulation within the walls can be kept firmly in place, whilst providing a platform
onto which all finishing systems can be attached.
This eliminates the direct contact that there would otherwise be through the layers of structure –
walls, ceiling, floors.
Screws can pass through several holes or gaps found in these channels to ensure easier
screwing, making them easy to install.
Any sounds that pass through will basically keep vibrating against the resilient sound channels,
and so they are isolated from the room.
 Uses: generally used during construction as they help to achieve very good
soundproofing in a building due to decoupling principles.
 Pros: relatively easy to install, come with practical gaps/holes
 Cons: low cost, will take considerable time to install if there’s a large surface area to
cover.
5. Acoustic Hangers (Mounts)
Sound isolation clips are designed

to allow a decoupling separation between the walls and ceiling from the underlying framing
studs and joists.
These moulded rubber and steel isolation clips are used to control sound and are designed to
reduce vibration through a structure.
 Uses: in wall, ceiling and floor applications for treating both airborne and impact noise.
6. Soundproof Drywall (Plasterboard)

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Apart from the common varieties

of drywall which can be purchased at most DIY stores, there is also a more specialised form of
drywall, namely soundproof drywall.
This comes in different thicknesses, and promotes having an increased sound transmission
class than the other types of common drywall used in everyday construction, due to its
increased density and mass.
Soundproof drywall typically combines several layers of gypsum boards, along with steel, with
the main aim being to increase its density and mass so as to block sound effectively.
Having said that, any type of drywall can work well for soundproofing as long as decoupling is at
the back of one’s mind.
To achieve good results in terms of soundproofing, it is important to choose thick drywall in
conjunction with some other soundproofing methods, such as Acoustiblok 3mm Isolation
Membrane, sealants, tapes and caulks for example.
 Uses: can be used in any building or room

 Pros: quite effective
 Cons: increased weight over effect, expensive option, requires professional installation
7. Dense Board (OSB, Plywood, Particle Board, Fire Board)

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OSB or Oriented Strand Board is

a versatile and durable building board.
An alternative, plywood can be used as the construction is similar with multiple layers of
opposing-oriented wood fibres that creates rigidity and strength with increased mass and
density.
8. Soundproof Floor Underlay
Floor underlayments are a great

way to reduce sound transmission that naturally occurs between engineered floors and
hardwoods.
There are different kinds of soundproof floor underlayment but felt underlayment is among the
most popular options for floors of various kinds, including laminate floors, hardwood and
engineered wood.
They are typically made from fibres which are compressed and treated with heat, so as to form
a dense sound absorbing material.
A great example of this is Acoustiblok AcoustiWool Acoustic Underlay, which comes available in
rolls and works best if installed in conjunction with Acoustiblok Isolation Membranes.

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 Uses: ideal for most kinds of wood or engineered floors in both residential and
commercial premises.
 Pros: quite affordable, easy to install, hardwearing and effective at absorbing sound as
well as moisture.
 Cons: simply an acoustic underlay and will only offer a moderate level of acoustic
performance.
9. Anti-Vibration Soundproof Floor Mats
Soundproof floor mats are another

interesting option to arrest impact sound and vibration leading to structural airborne noise.
It is a known fact that certain appliances and machines create a lot of vibration and noise.
Anti-vibration soundproof mats help to kill annoying humming sounds and vibrations.
These types of mats are effective at reducing noise, and since they eliminate vibration they are
also ideal for installation beneath and inside machinery and appliances, as well as to
soundproof cars.
They can also offer a level of acoustic absorption on a surface or within a room to help reduce
unwanted regeneration/resonance and enhance high-end audio performance.
 Uses: beneath or behind appliances or machines, to reduce the transmission of noise

and vibrations.
 Pros: simple and effective soundproofing solution when the source of the noise is from
machines or appliances.
 Cons: ideally used in conjunction with other soundproofing methods for best results.
10. Acoustic Sealants

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Acoustiblok Acoustical Sound

Sealant is one of a number of well-known brands on the marketplace that is most renowned as
a reliable soundproofing compound which works on the principle of decoupling..
It comes in dispensing tubes like sealant products, and so is very easy to apply.
This product is meant to be used as a sound dampening method that maintains Sound
Transmission Class (STC) in applications where required, yet remains permanently flexible.
It is mostly used during the construction of walls that require soundproofing as it can be applied
directly between layers of differing materials, Acoustiblok Isolation Membrane, drywall or
plasterboard.
It works to dissipate sound vibrations that would otherwise manage to pass through walls.
Essentially this is a form of sealant that reduces leakage considerably and can be used on
countersinking the heads of mechanical fixings.
 Uses: used on walls and ceilings as well as any gaps or open spaces such as seams,
seal holes and screw holes.
 Pros: a product that is easy to apply, affordable and quite effective, eco-friendly
 Cons: a complementary soundproofing option and will not soundproof a room in isolation
11. Acoustic Caulk

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A complementary soundproofing
solution which is intended to seal overlaps of materials, fill small gaps, cracks, or spaces in a
room.
Sound can travel through even the smallest areas, and so it is important to seal off a room
completely for the best possible results.
Acoustic caulk is a must where plasterboard or drywall is installed to reduce possible weakness
but should not be relied upon to achieve acoustic levels by themselves.
Areas like corners between walls, lines where walls and ceilings meet, and doors and windows
must be completely sealed.
 Uses: to fill any gaps easily to ensure best soundproofing results

 Pros: inexpensive, easy to apply
 Cons: a complementary soundproofing option and will not soundproof a room in isolation
12. Acoustic Putty
Flexible acoustic and intumescent

putty is designed to maintain a building separation and wall partitions structural integrity and
acoustic properties.

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AcoustiPutty pads are designed to maintain the integrity and acoustic properties of flexible wall
assemblies.
 Uses: suitable for most flexible wall partitions constructed from timber and steel studs
with all types of finishing board. For acoustic, fire and insulation resistance.
 Pro: quick and easy to apply, fire resistant
 Cons: a complementary soundproofing material and will not soundproof a room in
isolation
13. Acoustic Plaster
Like acoustic plasterboard,

acoustic plaster finishes have been around for years.
Varying ingredients, compounds and systems can increase or decrease weight and flexibility to
further reduce surface reflections and in doing so help with equalisation of the internal
acoustics.
 Uses: shopping centres and theatres, universities, restaurants, office spaces, entrance
halls, museums, libraries, dining areas as well as some very exclusive private
residences.
 Pros: can further help to reduce surface reflection and resonance.
 Cons: although increased depth and weight can add to deflection of sound waves, these
are invariably used for increased acoustic calibration.
14. Soundproof Spray

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Soundproof or sound deadening

spray is used mainly for spot treatments.
Floor mats for example, may have been installed to reduce unwanted noise yet microscopic
gaps between the matt and the adjoining surface can still allow vibrations to occur.
Using a sound deadening spray will minimise those gaps and as such one would expect some
improvement on overall acoustic performance, – the saying, ‘every little counts’ could be applied
here.
 Uses: used mostly in doors, car boots and compartments

 Pros: easy to apply, quite effective
 Cons: a complementary product only to improve soundproofing performance
15. Soundproof Paint
Soundproof paint, sometimes also referred to as sound deadening paint, is exactly what it says
on the tin!
As a paint it can be applied either by means of a roller or sprayed on.
The concept is that the thicker the layer of paint, the better the result.
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Spraying will naturally lead to a thicker coating and so it is generally the recommended method
of application for soundproof paint.
Having said that, soundproof paint is not the most effective soundproofing method and won’t
produce significant results.
Due to its lack of mass once applied, the resulting soundproofing effects can be mixed.
Since it contains latex, similar to rubber, it is definitely better to apply rather than regular paint
where breathability of the wall is not a concern.
Latex has a tendency to settle into cracks, just like silicone caulk, so will perform better than
standard water-based paints, although again is non breathable.
 Uses: applied to walls to reduce sound transmission

 Pros: simple and affordable option
 Cons: not the most effective of methods as it does not rely either on the principle of
mass nor decoupling.
16. Soundproof Wallpaper
Like soundproof paint, it is highly

debatable whether soundproof wallpaper can effectively soundproof a room, especially when
used in isolation.
Mass is one of the main principles of soundproofing, so it is difficult to have a thickness
considered adequate by using just wallpaper.
Soundproof wallpaper is generally made from closed-cell polyethylene foam.
This has very good sound absorbing properties, so soundproof wallpaper can and should act
like an acoustic absorbing layer but as it is so thin the effects are minimal at best but again the
saying, ‘every little counts’ could be applied.
Since soundproof wallpaper comes in an assortment of designs, it is obviously more
aesthetically pleasing that acoustic foam, and much easier and less invasive to install.
 Uses: can be used in any setting, both residential and commercial

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 Pros: easy to apply, comes in rolls, works reasonably well for soundproofing purposes,
aesthetically pleasing.
 Cons: actual efficacy is questionable so consider using alongside other soundproofing
methods to improve results.
17. Acoustic Wall Covering
Acoustic wall covering is a sheet

material made from composite fabric layers.
A flexible hybrid composite that is strong, yet highly compressible and soft at the same time.
It is installed onto the internal surface of a wall to offer great results in acoustic calibration
(softening) and acoustic isolation (conversion).
 Uses: can be used in residential and commercial spaces, including engine rooms and
any heavy industrial facilities where there’s a lot of noise
 Pros: innovative material that is flexible but durable, easy to apply, effective option
 Cons: rather expensive
18. Acoustic Glass (Soundproof Windows & Frames)

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Worth mentioning that whatever

approach one undertakes, it is only as effective as its weakest point.
Acoustically rated windows are specially designed windows that are ideal for soundproofing
purposes.
Since these windows are constructed to include multiple layers of glass, with each being quite
thick, the amount of sound that enters or leaves a room is minimal.
For improved results, such windows would incorporate air or inert gas, that is trapped in
between each glazing panel to further effect movement of acoustic waves.
Soundproof windows are effective and they can even be installed right over the top of existing
windows as necessary.
 Uses: ideal for those who experience a lot of external noise, such as traffic and city noise
 Pros: effective soundproofing option
 Cons: relatively expensive
19. Soundproof Doors / Frames
Once again it is worth mentioning

that whatever approach one undertakes, it is only as effective as its weakest point.
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Soundproof doors are of increased thickness, sturdy construction, designed to effectively block
sound from entering or leaving a room.
Double door principles can also be a realistic method should the increased acoustic values and
space be available to do so.
Well-fitting doors and frames with effective use of gaskets will of course be an important part to
any success.
Such sound-blocking doors include rigid steel doors, solid-core doors, and other materials
where mass is high, and their subsequent weight.
In such doors you will not find any openings like mail flaps or pet doors, because the emphasis
on soundproofing cannot be minimised by making way for any gaps whatsoever.
Fire doors are a good example of soundproof doors.
 Uses: ideal for houses or premises which are situated on busy roads to minimise the
amount of noise pollution entering the building
 Pros: effective soundproofing option, sturdy
 Cons: costly
20. Door Seals, Sweeps & Gaskets
Weatherstripping tape, door seals

and sweeps are available in all sizes and are usually made from rubber and act as gaskets,
similar to many draft stoppers.
These are attached to the door frame or bottom section of doors, in order to seal gaps between
the door and door stop or frame, or door and the floor.
Rubber seals include hollow rubber weather-stripping tapes which compress whenever a door
or window is shut, thus forming a tight seal.
Rubber sweeps tend to scrape against the floor whenever a door is open or closed and there
are also sweeps which come in the form of a very dense brush.
Also a useful approach on an internal door can be to increase the size and thickness of the door
stop or beading around the perimeter.
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This increases the surface area of the door closing onto the door stop and can also increase the
width of draft gasket that can be used.
 Uses: mainly used in door frames, to complement improved sound absorption in

conjunction with other soundproofing methods.
 Pros: inexpensive, quite effective
 Cons: intended as a minor solution to soundproofing, other methods of soundproofing
will need to be used for increased results.
21. Acoustic Foam
Ideal for sound absorption,

acoustic foam is available in a wide range of thicknesses as well as sizes and colours.
There are many brands names that sell acoustic foam.
Some even offer this material in appealing colours as some customers look for the aesthetic
appeal of this product aside from its practical value.
 Uses: to improve audio quality in a room. As a result, acoustic foam is used for this
purpose as well as to reduce sound leakage. Often found in games rooms, home
theatres, music rooms and recording studios.
 Pros: ideal for improving sound quality in a room, helps to reduce noise pollution, can
improve the design appeal of a room or space.
 Cons: doesn’t perform well at preventing sound transference from room to room, some
foams can be flammable
22. Sound Absorber Panels

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Sound absorbers are available in

many styles and types, most of which come in appealing colours.
When installed, they can also make a room or space look more visually appealing.
These types of Absorber Panel such as Acoustiblok Quiet-Cloud, AcoustiWall can be
mounted to ceilings and to walls as it helps to cut down on acoustic reflections and sound
reverberations.
That is why it is called sound ‘absorber’ as it works on the principle of sound absorption.
 Uses: ideal for recording studios, cinemas, theatres, classrooms, games rooms,
gymnasiums and entertainment areas.
 Pros: quite effective and affordable method if your main intention is sound absorption
and improving acoustics in one room and aesthetically pleasing.
 Cons: can be expensive, needs calculating and installing correctly for maximum
calibration and limited performance for sound isolation.
23. Acoustic Ceiling Systems & Tiles

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Directly fitted to a ceiling or used

as a structural drop ceiling to create a grid system, acoustic ceiling tiles are similar to acoustic
panels to provide effective acoustic control.
Available in a wide variety of materials, sizes, depths and designs.
Acoustic ceiling tiles are an easy solution for improving the acoustical qualities of any space.
 Uses: in soundproofing ceiling spaces to create a finished ceiling with a void above in
which to house services, HVAC ducting etc.
 Pros: allows a large surface area of acoustic absorption and creates a finished ceiling.
 Cons: structural framing system sometimes on wire or steel drop rods to the above
structure to create a grid work for the tiles to lay which needs professional installation.
24. Soundproof Curtains
Soundproof curtains, sometimes

referred to as blackout curtains or acoustic curtains, are widely used to reduce noise passage
as a temporary partition or privacy material, such as backstage at a theatre.

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When hung in strategic positions the thick fabric greatly reduces the spread and movement of
sound waves within an area which reduces unwanted sound from travelling from space to
space.
 Uses: in theatres, nurseries, bedrooms and home theatres.

 Pros: high quality material that is long lasting, helps to block sound as well as improve
acoustics in a room.
 Cons: most fabrics are costly due to their thickness and the fact they need to be made to
measure.
25. Soundproof Blankets
Soundproof blankets are used in

various cases where sound absorption needs to be attained and offer a low-cost alternative to
relatively expensive soundproofing solutions.
In fact, soundproof blankets are probably the most practical option for someone on a tight
budget who wants a temporary and moveable solution.
They are made from thick, plush fabric which is designed to absorb sound and prevent acoustic
transference.
 Uses: these blankets can be hung to walls or over doors and windows.
 Pros: relatively affordable, easy to install.
 Cons: are a localised solution but certainly not as effective as full and complete coverage
of an area with more advanced soundproofing methods
26. Furniture & Finishings

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Unsurprisingly, furniture and other

household items can play an important role in soundproofing.
In some rooms, you might experience more sound reverberation than others.
This can be a nuisance yet funnily enough, can sometimes be resolved by simply moving your
furniture to better sound dampening positions.
You could also try adding lining to walls, such as tapestries or fabrics, as well as make use of
sofas and large soft cushions.
If specific walls are thin, it’s recommended you place heavy pieces of furniture against them,
such as a wardrobe or a wooden bookcase full of books to dampen the sound.
 Uses: a basic means of reducing sound reverberations or low-level noise travelling

between thin walls
 Pros: quick and easy fix, inexpensive
 Cons: limited results can only be expected
27. Acoustic Fencing (External)
Acoustic fencing is essentially an

acoustic barrier or noise insulator for outside spaces.
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It’s ideal for those who want an effective solution to block external sounds and noises.
Establishing correct height and length of fence is essential to create the necessary angles of
incidence for maximum effect.
Acoustic fencing can tackle noise from road traffic, trains and railway tracks, and any noise
from neighbouring plots.
Some fencing solutions will be as expected, constructed from thick, dense materials to work
principally on mass and density to block line of sight.
These types of fence are great where a new structure has to be built although quite time
consuming and expensive due to the amount of material and labour involved in their erection.
However, where a fence structure is already in evidence but not performing quite as well as one
would like, there is also a material known as AcoustiFence.
This flexible membrane is designed to attach to an existing fence structure such as a post and
rail or even chain link to increase performance.
Available in rolls of material and very easy to install with minimal labour offering a further saving
on cost.
The material is essentially a membrane, and it can be hung or secured in place to post and rail,
to lattice or attached to a timber frame, depending on the individual case.
Installation of soundproof fencing is fairly quick, easy and effortless.
 Uses: can be installed to perimeter fences, chainlink, hoardings to block sounds entering
from adjoining plots
 Pros: very effective soundproofing option in areas of high noise pollution such as busy
cities, noisy neighbours, and any other exterior environment which is causing noise
pollution
 Cons: Typical rigid construction, quite costly due to materials and labour.
28. Acoustic Absorber Panels (External)

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As almost all regular absorber

panels are compressible and work on the factor of absorption, they tend to also absorb and
accumulate moisture which can create an issue when trying to use them externally.
Some materials though are hydrophobic.
An alternative to these is external acoustic absorbers which are a rigid, durable panel made
from recycled glass beads with an appearance of a lightweight granite / stone.
Offering good resistance, they produce a sound absorbing, impact resistant panel solution
which is not affected by liquid or moisture.
Also noncombustible, chemically inert and non-fibrous.
 Uses: external where unwanted noise reverberates from buildings although can be
internal especially where an element of increased impact resistance is required.
 Pros: good impact resistance and not affected by rain, moisture.
 Cons: relatively expensive but will perform in areas where other solutions struggle.
29. Industrial Acoustic Soundproof Panels

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These acoustic panels are

invariably manufactured from more industrial materials such as steel and aluminium to be
employed to mitigate noise sources with higher power and pressure output.
Specifically designed to withstand outdoor exposure in full sunlight, extreme weather conditions,
and harsh industrial environments (NRC of 1.0 is the highest sound absorption rating possible).
Examples like Acoustiblok All Weather Soundproof Panels are a triple core approach to
include a perforated facia for diffusion, an internal layer of U.L. classified Acoustiblok 3mm
Sound Isolation Membrane material for acoustic conversion plus a specifically engineered
50mm Acoustiblok QuietFibre hydrophobic/weather-proof, open cell, core sound absorbing
material.
 Pros: very effective soundproofing option in areas of high dB, sound and power noise
pollution such as plant, generators, HVAC and any other external environment.
 Cons: typical rigid construction, quite costly due to materials and labour.
30. Acoustic Louvres
Typically, acoustic louvres are

used in building openings permitting air to flow, whilst shielding the environment from unwanted
noise.
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As an open shutter with horizontal, curved or linear blades/slats that are angled to admit light
and air, but to keep out rain and direct sunshine.
The angle of the slats may be adjustable
 Uses: multi-purpose as acoustic screens around mechanical plants where equipment

requires airflow.
 Pros: effective at reducing acoustic energy whilst allowing direct flow of air where
required.
 Cons: allows for a weakness and a break in any acoustic isolation strategy but essential
where needed.
Unit-4 CONTROL ROOM NOISE

WAYS TO CONTROL ROOM NOISE,
WHAT IS SOUND AND CAN YOU PLEASE MAKE IT STOP?

First, a quick lesson on acoustics. There are two types of sound: airborne and structural.
Airborne sound travels through the air -- every sound the ear picks up is airborne sound.
Structural sounds are vibrations carried through an object, like footsteps on a floor or a hammer
banging on the wall. When structural sound becomes airborne sound, we hear it. Because
these types of sounds travel in different ways, soundproofing often requires several different
tools.
A DIFFICULT PROBLEM TO SOLVE
Sound waves will travel the path of least resistance, which can make it difficult to find exactly
where the sound originates. The noise keeping you up at night might be sound bouncing around
an air vent, or entering the room through an electrical outlet that hasn’t been properly sealed.
Unwanted noise can sneak into a room under a door, through a window and anywhere there’s a
small hole or space. Even hanging a picture on a wall can ruin the soundproofing quality of that
wall.
Because sound can be hard to pinpoint, soundproofing experts advise the best time to consider
soundproofing products is at the blueprint phase of a project.
Noise’s Worst Nightmare: Tips for Soundproofing

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NEW CONSTRUCTION
Building a soundproof room from scratch can be easier and cheaper than trying to solve the
problem after the walls and flooring have been installed. According to a 2015 New York Times
article, Manhattan residents can find themselves spending over $200,000 to silence an existing
living space, often resorting to stripping the room down to the studs and floorboards and starting
over from scratch with soundproofing products. For that reason, it’s never too early to think
about room acoustics when planning a project.
The good news is that products on the market make it easier to soundproof a room. From
specially designed drywall that absorbs and blocks sound, to smart insulation solutions, there
are great options for your space. Follow these steps to dramatically improve the sound quality in
any room.
1. WALLS
When soundproofing a room start with the walls.
Choose a Noise Reducing Drywall
Traditionally to reduce noise transfer between rooms you'd use a resilient channel. A resilient
channel is a thin metal channel that attaches to the framework of the wall isolating the drywall and
weaking the soundwaves. Today that isolation can occur in a single-piece of noise redusing
drywall. Noise redusing drywall consists of two dense gypsum cores separated by a layer of
viscoelastic polymer. making a drywall perfect for reducing interior noise. Great for use in offices,
bedrooms, TV rooms and anywhere you want to block distractions.
Products needed:
 SilentFX® QuickCut drywall

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Insulate Interior Walls

To soundproof, you need to stop vibrations, and the proper insulation can act as a muffler
against unwanted noise. Fill the wall cavity completely with a sustainable insulation.
Insulation fills the gaps between walls and the spaces between studs, absorbing noise and
breaking the path of sound. To stop noise transfer between rooms use it in both interior and
exterior walls. Not sure if you need more insulation? Follow along with our decision tree.
Products needed:
 Sutainable insulation
2. FLOORS
Now that the walls are quieted, it's time to tackle the floor.
Float the Floors
Floating floors are not nailed into the subfloor like typical flooring. Instead, they are installed
using special adhesive. Without the use of nails in a floor joist, floating floors can eliminate
creaks and will help prevent sound from traveling between levels of your house. There are
several ways to achieve a “floating floor,” most involve using a vibration absorbing material
sandwiched between pieces of flooring.
Joist Tape - If squeaking floors are ruining an otherwise perfect room, joist tape can fix the
problem and reduces noise traveling through the floor. While you can use joist tape in an
existing room, like most sound reduction products it’s best to use this before installing the walls
and flooring, or else you will have to remove part of the wall/floor to use the tape.
Noise between floors can also be buffered by laying insulation between the floor joists. Similiar
to when insulating to hinder sound transfer between rooms, make sure the cavity is filled
completely.
Products needed:
 Joist Tape
 Foam underlayment
 Selected flooring planks
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 Sutainable insulation
SOUNDPROOFING AN EXISTING ROOM

If you don’t have the luxury of building a new room, but still want to quiet an area, there are a
few quick tips on how to add some peace and quiet to your life.
Soften the Surfaces
Sound loves to bounce off and through hard, flat objects such as glass, hardwood floor and tile.
Adding carpet, plush furniture, window trimmings and even plants can turn a hard, flat room into
a softer, quieter area.
Seal it Up
Gaps under and around doors can turn into welcome mats for unwanted noise. Electrical outlets
and vents are also big problem areas that homeowner may not consider. Basically, anywhere
air can enter a room, sound can follow. Properly sealing a room is a great way to keep the room
quiet.
White Noise
A relatively new way to fight unwanted sound is by masking it with white noise. A white noise
system uses soft sounds like that of moving air to cover up annoying noise nearby. Popular in
commercial use and among new parents, white noise systems can turn a bustling office into a
quiet workspace or keep a fussing baby sleeping longer. There are white noise machines and
free smartphone apps that you can try.

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Factors affecting sound attenuation:
In cavity wall and floor construction the sound attenuation can be increased by:
 increasing the mass per unit area of the materials on each side of the wall or floor - the greater
the weight per unit area, the better the sound insulation.
 eliminating all solid connections between each face of the wall or floor
 increasing the cavity depth
 increasing the thickness of the sound-absorbing material in the cavity.
 increasing the distance between studs or joists
 increasing the distance between resilient metal channels
SPEECH PRIVACY
Speech privacy is achieved when speech can not be understood. This effectively means that in
a meeting room, someone listening from outside would know there was a conversation but
would not be able to understand what was being communicated. In an open plan area, speech
privacy is less practical, however reducing the distance that a conversation can be understood
is a practical goal. With sound masking the radius in which speech can be understood is greatly
reduced by raising the background noise level therefore reducing the speech to noise ratio.
Why Speech Privacy is Important
An open plan office can suffer from two speech problems. First, other people’s
conversations can be a disturbing and irritating distraction; and secondly, confidential
conversations can be almost impossible to conduct. Similar problems also exist in cellular
offices, particularly where acoustic partitions, false ceilings and access floors are

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installed. Sound flanking paths are abundant in such situations, even when people
remember to close doors. Apart from noise breakthrough via partitions, flanking over,
under and around them, other problem areas include light fixtures, air conditioning
systems and services trunking.
Office Acoustics
Attention to office acoustics at the building planning stage will obviously produce the best
results, and it is at this stage that the acoustic specification for each area should be
determined. The acoustician’s objective must be to create an environment which will
allow communication within individual work areas, while minimising distractions and
providing speech privacy in adjacent work areas for open plan areas and to provide
speech privacy for cellular offices but still retaining a flexible partitioning system because
of the rate of churn in today’s business environment.
Achieving Speech Privacy
Communication occurs whenever the speech level exceeds the background noise level,
and conversely, privacy of speech is achieved when the speech level and background
levels are equal. Speech intelligibility ranges from 0% (speech privacy) to 100% (perfect
communication). For privacy of speech in office situations the speech intelligibility target is
usually about 5%. This allows some words to be heard, but complete sentences cannot
be understood; thus people’s conversations become less distracting. The 5% level can be
achieved in three ways:
 Reducing speech level so it is close to background noise levels.

 Increasing the ambient noise level so it exceeds the speech level.
 A combination of the two, i.e. increasing the ambient level slightly and reducing the
resultant effect of speech to achieve speech and ambient level parity.
Direct Speech Path
The direct speech path might be blocked by a screen, which could be a purpose
designed acoustic screen with a solid core and acoustically absorbent surfaces, or it
could be office furniture, e.g. lateral filing etc. Workstation orientation is also important,
and benefits will be attained by arranging the layout so that staff do not face each other.
The larger the screen or sound barrier, the more effective it becomes in blocking the
direct speech path; however, the open plan concept usually restricts the number and size
of screens which are acceptable. With cellular offices the screen is already there in the
form of the walls.
Reflective Speech Path
The reflected speech paths can be minimised in a number of ways. Soft furnishings will
help significantly, but purpose designed acoustic wall panels will be much more effective.
Lightweight panels can be fixed to reflective walls or columns, and their fabric facings
matched to the office decor scheme, enhancing the visual aspect of the office in addition
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to improving its acoustic characteristics. Doors should have acoustic seals fitted to all
four sides. Ceilings also play a major part in reflecting sound, and ceiling systems with
higher absorption coefficients should be installed. It should be noted, however, that some
perforated metal ceilings can be highly reflective acoustically at certain angles, and need
careful consideration. Carpets can also make a significant contribution.
What System is Required?
When increasing the background noise level, a system is needed which is capable of
producing predictable and adjustable results, i.e. a background sound level with precisely
controlled frequency spectrum and amplitude. Sound Masking systems were designed
and developed specifically for this function.
The basic principle of sound masking is very simple, with sound being generated
electronically and introduced into the open plan area through a number of loudspeakers.
The low level background sound which is thus produced is a combination of frequencies
carefully selected to mask speech and other noises, typically from office machines.
The Loudspeaker Network
The loudspeaker network is usually installed within the false ceiling void with the speaker
cones facing upwards (i.e. towards the solid structural ceiling slab above), in order to
provide a diffused sound field in the office area below. Grouping the loudspeakers in
zones allows individual adjustments to the speaker background sound, to suit different
areas of the office.
Speaker density is very important, with too low a density of speakers leading to the
directional effect of the sound source becoming apparent. If people are able to identify
speaker positions, either visibly or audibly, the system will not be as effective as it can be
in providing speech privacy without being obtrusive. This is why we endeavour to place
the speakers out of sight in the void, rather than in the ceiling tiles facing down. The
systems flexibility for speakers to go under floor, or be surface mounted always enables
us to give our clients the best sound masking solution available.
ROOM GEOMETRY
The configuration of fenestrations has a significant impact on the distribution of daylight within a
room. The different fenestration types are discussed below:

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Single Side Lighting
Intent: Usual method of fenestration, introduces light on

one side[1].
Quality: Light is brighter on the side with fenestrations.
Other end of the room will appear darker.
Use: To achieve useful work surface illumination
throughout the space, the ratio between the depth of the
room and the height from the floor to the top of a full-
room width window in single sidelit spaces should be
limited to 1:2 or 2:5 if interior surface reflectances are
high [2].
Bilateral Lighting
Intent: Windows placed on opposite sides introduce

light from opposite ends. Also achieved by placing a
clerestory at the opposite end.
Quality: Provides relatively even illumination.
Use: To achieve adequate lighting quantity in a space
on opposite ends.
Skylight
Description: Introduces light from above through

aperture in the roof [3].
Quality: For spaces with demanding visual
requirements, brightness control of a skylight is
necessary based on the shape of the room and location
[4].
Use: To deliver daylight deep into interior areas of
buildings [5]. Often used with diffusing or prismatic
glazing [6].
Clerestory
Description: Use of high windows above the ceiling

line. Usually oriented to the north [7].
Quality: Perfomance could be more controlled than a
skylight, as they can be oriented to prevent the
penetration of direct sun [8].
buildings [9].

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Roof Monitor or Double Clerestory
Description: The use of high windows on two

opposite sides above the ceiling line. Usually oriented
along the east and west axis [10].
Quality: Relatively even and balanced quality of light
achieved compared to a single clerestory.
buildings. Used especially in churches.
Sawtooth Clerestory
Description: Use of high windows and angled ceiling

to produce more indirect reflected light. Usually
oriented to the north [11].
Quality: Even lighting quality and deep penetration
achieved when oriented to the north due to indirect
reflection of light in the interiors
buildings. Used especially in factories and
warehouses.
Light Shelf
Description: Provides both indirect light and shading,

increasing the amount of daylight penetration [12].
Quality: Reduced brightness contrast between the
interiors and the exteriors, and prevents the direct view
of sun or sky.
Use: Increased daylight penetration
Awning
Description: Extended shades used on the east and

west facades of the building.
Quality: Reduced brightness contrast between the
interiors and the exteriors.
Use: To provide shade to the building apertures.
Multilateral lighting
Intent: Light from multiple directions. Less use of

artificial lighting during daylight hours.
Quality: Better brightness balance; Glare control still
needed. Controls by zone
Use: Light from multiple directions.

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Unit-5 SOUND ENGINEERING

Sound engineering: Introduction.
Sound Engineering is the technical study of sound, its characteristics, and nature. A sound
engineer, also known as an audio engineer, are the individuals responsible for curating, mixing,
reproducing and sound equalization and electronic effects.
What Is Audio Engineering?
Audio engineering is the craft of handling technical aspects of sound reinforcement, audio
recording, post-production mixing, and mastering. Professionals who work in audio
engineering are called audio engineers, recording engineers, studio engineers, and sound
engineers. Some do specialized work; for example, live sound engineers focus on sound
reinforcement at live events while others are generalists, providing their audio engineering
skills to all aspects of the music industry.
Skills For Sound Engineering

Since the competition is increasing rapidly in the present scenario, mere degree is not enough.
And since it is a creative stream, it is always better to keep learning by using various online
resources like YouTube, Coursera and others. One must make note that even after having a
proper Sound Engineering Degree from a reputed institute, no job guarantee is there. With a
degree, a candidate must have the skills to promote himself/ herself to the employer. To be an
authentic sound engineer, one must have these basic skills -
Sound Engineering Skills
Sound knowledge of Musical/ Instrumental Creative mind
Motivation Perseverance
Troubleshooting and problem-solving know-how Knowledge of scripting systems

Sound knowledge of software like Protools, Ableton
Self-confidence
Live 10, Logic Pro X etc
Post-production skills Sound mixing skills
Sound Engineering Syllabus & Subjects

In the present day scenario, a lot of crash courses or short term courses of maybe a month or
two are offered for the programme. Make note that these courses hold no value in the market.
So, it is always better to go for a certificate course or a proper Sound Engineering degree
courses. Although the Sound Engineering syllabus varies from one college/university to another,
given below are some of the common subjects that are taught in the engineering programme:
Sound Engineering Subjects

Basic production techniques (camera, mic, and othe
Fundamentals of Audio Production
related equipment)

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Technical & aesthetic aspects of Sound Foley recording & Dubbing

Recording, editing, and mixing sound Sound manipulation techniques
Recording technology, from analogue tape to digital
multitask recording programmes like Ableton or Training in listening & analysing sound
Protools
Other activities that are also conducted to prepare the candidates for the future are:
 Workshops conducted by in-house faculty and industry professionals
 Hands-on experience through various exercises (original recordings, practical and group
exercises and more)
Sound Engineering Scope & Job Profiles

Even though Sound Engineering is a less travelled profession by the students, but in the
present day scenario, it offers a promising career. There is a vast scope for aspirants in this field
and one having a keen interest in the technical aspects of sound can opt for this field. In the
music industry, sound engineers are considered extremely important. Anyone who has ever
been to a concert and been blown away by the clarity and overall quality of the music should
thank the brilliant engineer in charge of the sound. But, their career path is not limited to the
music industry, they can work in a number of environments, including film, radio, television,
computer games, theatre, sporting events, and corporate events. Major industries that employ
sound engineers are:
 Music recording studios
 Film/ Movies
 Radio
 Television
 Gaming Sectors
 Event Management Companies
Which Type Of Sound Engineer Are You Destined To Be?
A sound engineer, sometimes referred to as an audio engineer, is a professional trained in the

mechanics of recording, mixing, and reproducing sound. Working solely with the technical
aspects of music, sound engineers manipulate the different aspects of sound as a part of the
overall commercial production process.
If you have ever seen an amazing concert in the heart of Baltimore, attended a large community
event, or have watched a film in the theater, you can attribute the wonderful sound you heard to
a talented sound engineer.
There are four areas that make up the commercial recording production:
 Recording
 Editing
 Mixing
75
 Mastering
All of these areas need different music and sound manipulations before they are added to the
final project.
Because of this, there are many sub-disciplines to sound engineering that all contribute to
bringing audiences high-quality sound. And chances are the sound engineers bringing music to
the Baltimore community attended a high-level audio-engineering school.
For those of engineers, we’ll look at the different specializations you can get involved during the
commercial production process.
Front of the House Sound Engineer
This is the position that most people imagine when they hear the term “sound engineer.” The
front of the house (FOH) sound engineer is the person that stands behind a mixing desk at
manipulating the sound the audiences hears.
You often find these engineers mixing music for parties but you can also find them at corporate
meetings, live concerts, sporting events, or live television shows. Though quite popular in the
audio engineering industry, it is important to note that the FOH position plays a relatively small
part in creating high-quality sound.
Monitor Sound Engineers
A monitor sound engineer supervises the audio during a live production. Their responsibilities
include making adjustments to a band’s instruments, mixing the sound the performers hear as
they perform, and mixing the performers’ voices as they act or sing before a live audience.
Monitor sound engineers, also known as foldback engineers, utilize a stage monitoring system
to communicate with performers as a production plays out in real-time. Performers usually
receive personalized feeds via stage floor or in-ear monitors which open the lines of
communication between sound engineer and performer. Each performer has the ability to
communicate with the monitor sound engineer independent from what the audience hears so
that the performance remains seamless.
Systems Engineer
Not to be confused with the field of system engineering (which focuses on how to design and
manage complex engineering systems over their life cycles), a systems engineer is responsible
for the design and setup of PA systems.

76
PA systems allow someone to address a large audience and include the microphone, amplifier,
and loudspeakers. For example, Baltimore’s Oriole Park at Camden Yard requires the
announcer to address the audience over loudspeakers during the game.
Since modern PA systems are very complex, there is a lot of technical knowledge required to
perform the job well. In addition, systems engineers usually manage the FOH and monitor
sound engineers. This is a lot of responsibility and requires the completion of audio engineering
courses to fully understand the position.
Studio Sound Engineers
Sound engineers work strictly in-studio. Sometimes called a re-recording mixer, studio sound
engineers make high quality recordings of music, speech, and sound effects.
Working in post-production part of a commercial recording, a studio sound engineer attempts to

achieve balance between all parts of the audio the audience hears. This is in addition to
matching the director’s desired vision for the production.
Studio sound engineers work to mix recorded dialogue, sound effects, and music to create the
final product for a film, television show, or advertisement commercial.
It is important to note that studio sound engineers must follow the national sound laws that are
in place to protect consumers’ hearing.
One such bill, the CALM Act, was created by the FCC to lay out specific regulations regarding
television volumes. These regulations apply to all states, Maryland included. Because of this,
those seeking a career as a studio sound engineer should invest in audio engineering classes
to learn all of the techniques of post-production sound processing.
Other Sound Engineer Disciplines
As mentioned earlier, there are many sub-disciplines in the field of sound engineering. And with
the right education from one of the best audio engineering schools in Baltimore, you can easily
find work in any of these fields.
Here is a quick rundown of some specializations in the sound engineering industry that you may
be interested in:
 Research and Development Sound Engineer: Inventing new audio technologies,

equipment, and techniques, a Research and Development Sound Engineer enhances
the process and art of audio engineering.
 Wireless Microphone Engineer: These sound engineers handle the wireless
microphones for theatre productions, sporting events, and corporate events.

77
 Game Audio Designer Engineer: These engineers work on audio for video and
computer game development. Their responsibilities include adding audio to the game,
improving the overall sound, and delivering quality audio to those playing the games.
 Recording Engineer: Recording Engineers work specifically on recording sound for
various productions.
 Mix Engineer: Another focused sound engineer position, Mix Engineers mix different
tracks to create new ones.
 Mastering Engineer: This particular sound engineer works on finalizing the work of a
mix engineer by making the parts created into a whole.
5 Audio Engineer Roles
There are five specialized roles within the world of audio engineering: recording engineer,
mixing engineer, mastering engineer, live sound engineer, and multimedia sound engineer.
Each plays a specific role within the music industry, and the path to each career has its own
unique characteristics.
1. 1. Recording engineer: There are three main paths to becoming a recording

engineer. One is apprenticing at a recording studio and learning skills like monitoring
sound levels, audio equalization, and navigating mixing boards. This path may also
involve serving as an assistant engineer. You can also enroll in an audio engineering
program—either at a fine arts college or at a trade school—which can help you get a
full-time job upon graduation. You can also build up your credentials at home, working
with your own audio equipment and advertising your services directly to musicians.
2. 2. Mixing engineer: Mixing engineers enter the music production process after the
initial recordings are over. They work to create a balanced audio mix using a digital
audio workstation like Pro Tools, Logic, or Ableton. The path to becoming a
specialized mixing engineer is quite similar to that of becoming a general recording
engineer. You can apprentice in a studio, get a bachelor's degree or certificate, or start
at home and build your own business organically. It can also help to network with
professional record producers, who may need help navigating new technologies like
auto-tune and drum machines.
3. 3. Mastering engineer: The career path of a mastering engineer is similar to that of a
mixing engineer. The difference is that mastering engineers focus on the very tail end
of the recording process. Mastering involves the final level of volume balancing, EQ,
and compression required to make a recording sound finished. If the idea of being the
final check on a record's sound quality appeals to you, consider an audio engineer job
in the world of mastering.
4. 4. Live sound engineer: To break into the music business as a live sound engineer,
you will need to work at live venues and learn how their sound systems function. It
may make sense to start as an assistant sound technician setting microphone stands,
mic-ing amps, and connecting monitor speakers. As you learn the tricks of the trade
from industry professionals, you'll gain the confidence to become the lead engineer on
live performances ranging from concerts to sporting events.
5. 5. Multimedia sound engineer: Multimedia sound engineers incorporate many forms
of sound—from music to dialogue to diegetic sound design and sound effects—into an
overall audio mix. They work on movies, TV, live theater, and video games, where all
of these sounds merge into a cohesive audio landscape. To make it as a multimedia
sound designer, it helps to network with directors and designers. They are the kind of
people who will need to hire sound engineers and sound designers but may not have a
robust network of people to hire from

78
UNIT-6 ADVANCED TECHNOLOGY IN ACOUSTICS.

Acoustics and environment - Introduction, material and its types, methods, applications and its
benefits and advantages
New Technologies Improve Acoustic Renovations
April 15, 2019
Acoustic renovations are challenging at best. While the preference is to start from scratch,
renovation is becoming more attractive due to rising construction costs and recent advances in
technology.
Build from scratch or renovate existing space? That’s the question everyone asks when creating
an acoustic space. Every studio owner, theatre designer, interior designer and architect has
pondered the merits of a purpose-built bespoke space vs. renovating existing spaces.
The preference is usually to start from scratch. A custom-built building has always been the best
solution to have complete control over a space’s acoustic isolation and signature performance.
However, with rising construction costs and recent advances in technology, the option to
renovate is becoming more attractive to designers, owners and managers.
Acoustic renovations are challenging at best. As anyone who’s ever tried a do-it-yourself solution
knows that creating an organic, smooth-sounding acoustic signature or isolating a room from
abhorrent external noise is far more complex than it appears at first glance.
Challenges in Acoustic Renovations
Isolation has traditionally been and continues to be the hardest acoustic characteristic to create
with excellent performance.
To keep all audible frequencies from entering a space, including those pesky low frequency
soundwaves, takes more than a couple of layers of 5/8-inch drywall on staggered studs. Planes,
trains, cars, motorcycles and music have more low frequency energy than ever before. This
means more isolation is required to keep the noise out.
Acoustic signatures have their own challenges. The trend toward healthier building materials
has driven many health-conscious clients to steer away from fiberglass-based acoustic
absorption and turn toward plant-based recycled materials. They are softer, easier to handle,
and as effective as many fiberglass batting solutions. Plus, new technological advances have
opened the door for incredibly thin (1 inch) quantum acoustic devices that can control all
frequencies.
Acoustical Performance Materials
The real question is: “What type of acoustical performance is right for the space?” As with all
types of renovation, the performance and aesthetic are tied to budget and attention to detail.
From old-school 4-inch-thick, 6 psi fiberglass or rockwool wrapped in fabric, to new-technology
½-inch-thin recycled cotton absorption panels, acoustic renovations typically have wall-
mounted absorption to control high frequency reflections.

79
However, there’s a new movement in visual acoustics. Across the board, the new trend is high
resolution custom imagery printed on high-performance acoustic devices. With it, art and
acoustics are blended into one package.
Innovations Aid in Renovations
As for acoustical isolation, 1-inch-thick walls that can soundproof a space are still a few years
away, along with the transporter and holodeck. Because of new technology products integrated
within innovative designs, a new low-profile 4-inch-thick wall type attached to existing walls
achieves the same performance as 18-inch or 24-inch-thick freestanding traditional style wall
types.
Technology Guide: Acoustical Engineering

Acoustical Engineering seeks to improve the quality of sound and reduce noise. It concerns:
 building design and building materials

 noise control
 environmental regulations
 speech
 hearing
 music
 sound recording, broadcast and reproduction
Acoustics and its applications often involve several different disciplines, so you may need to do
your research within multiple subject areas, and even in different library locations. For example, in
the New York Public Library many books and journals about musical acoustics are held at the
Performing Arts Library, a research library that holds materials on music and musicians. The
collections at the Science, Industry & Business Library (SIBL) are strong on theory, research, noise
control and building design, as well the technology of sound recording.
Acoustic Innovation 1: Very Low-Frequency Absorbers

80
Membrane Absorber: Modex module RPG Acoustics

These little acoustic panels might not look like much, but they can make a big difference
in small rooms, where sounds in the lower register can be especially problematic.
“Low frequencies have very long wavelengths that pose a problem in small rooms
because the interference patterns of the reflected waves create a very uneven sound
field in a room,” Julian says.
Whenever sounds hit the low frequency absorber membrane, they die down instead of
reverberating. Recording studios have used these acoustic panels for years; and concert
halls and other music venues are jumping on board.
Acoustic Innovation 2: 3D Volumetric Diffusers

81
Acoustic Innovations 2: 3D Volumetric Diffuser, St. Gallen Auditorium, Arau Acoustics

The next time you are at a concert, look up. If you see a grid-like thing hanging from the
ceiling, it’s likely a 3D volumetric diffuser.
“A volumetric diffuser is composed of a series of alternated parallel acoustic panels

installed in the ceiling of a small room,” Julian says. “Whenever the sound travels
upwards it reflects between the multiple acoustic panels, increasing the number of
reflections within the room and increasing reverberation time as a result.”
By increasing reverberation, these diffusers can make a small space sound big. The
result benefits the audience and musicians. The audience feels like they are listening in
a larger space, and musicians are able to hear themselves better and have more
confidence in how the room sounds.

82
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Acoustic Innovation 3: Electro-Acoustically Controlled

Acoustics
Electro Acoustically Controlled Acoustics- Meyer Constellation

The size and shape of a room can’t be changed, but there is plenty of opportunity to alter the way
it sounds through complex placement of microphones and algorithms.
“This system allows for variable acoustics without compromising room volume and the aesthetics
of the original architectural design,” Julian explains. It is made from a series of miniature
transducers placed strategically in the room. These transducers pick up the sound in the venue,
transform it acoustically through an algorithm, and play it back from a series of speakers mounted
in the room.
“With electro-acoustically controlled acoustics, we are finally able to control the ambience using
multiple speaker arrays to enhance early reflections or add reverberation,” Julian adds.
Acoustic Innovation 4: Inflatable Concert Halls

85
Inflatable Concert Halls: Ark Nova by Arata Isozaki and Anish Kapoor, Picture from:
https://www.dezeen.com/2013/09/26/ark-nova-by-arata-isozaki-and-anish-kapoor-completes/
Want to have a concert but don’t have a space for it? Inflate one! Once impossible, these
structures have come a long way in the past decade. They do not require much set up time and are
easy to transport from one location to another.
The most notable use of an inflatable concert hall was in Japan in 2013. Once constructed,
engineers control the acoustics just like they would in any other room.
“Inflatable concert halls are a quick and cost convenient alternative for outdoor events. The
designs can range from a fully operational concert hall to an acoustic shell for orchestral
performances,” Julian says.
Acoustic Innovation 5: Micro Perforated Acoustic Panels

86
Micro-perforated acoustic panels: Topakustik Topperfo.

Take a closer look at the walls of a recording studio or concert hall and you’ll likely see tiny
holes in the panels. These micro perforated acoustic panels control which frequencies are
absorbed. They are made of just about any substance and mounted on the walls or the ceiling.
The perforations come in different sizes and can be added or removed from a space to achieve a
desired effect, or perhaps changed from event to event as needed for each.
“The end user can customize a series of materials and incorporate them into their original design,
maintaining the original architectural intent of the design,” Julian says.
More information about Topakustik is available here
Acoustic Innovation 6: Distributed Mode Loudspeakers

87
Distributed mode speaker: NXT Distributed mode loudspeaker

If you want the sound of a high quality speaker but don’t want to see bulky speakers, look no
further than Distributed Mode Loudspeakers. These speakers are built into the wall and invisible
to the public.
They are most commonly used in high end residential projects and commercial spaces like
shopping malls. They provide quality sound in these environments while remaining invisible to
listeners.
“A speaker can now become part of your wall or ceiling, and be completely invisible,” Julian
says.
Acoustic Innovation 7: Inflatable Variable Acoustics

88
Inflatable variable acoustics: Flexacoustics aQflex system.

As we’ve seen, there are many ways to change the amount of reverberation in a room. If acoustic
panels or diffusers are too permanent, look no further than inflatable acoustics.
Inflatable tubes can be used to absorb sound at the low end of the spectrum. This is not ideal for
rock and pop concerts and results in a rumbling that detracts from what’s happening on stage.
Individual tubes can be inflated or deflated as needed to customize the sound in a room.
“Long reverberation times may be flattering for orchestral music, but they do not work well for
amplified music such as pop and rock,” Julian says. “Most variable acoustic systems are
somewhat limited when it comes to decreasing the low-frequency content. This system allows for
high frequencies to remain in tact while reducing the annoying rumble on the low end.”
Acoustic Innovation 8: 3D Impulse Response

Measurement

89
3D Impulse response measurement: Marshall Day Acoustic’s Iris System.

This technology allows us to hear and see sound. IT maps recordings captured by a set of
microphones and creates a 3D visualization of them.
This visualization becomes important for designing or correcting a room’s sound. Everyone’s
ears may perceive sound differently, but no one can dispute what’s in front of them on a screen.
“This is advantageous for treating early and late reflections and eliminating echoes in rooms. It
also allows easy identification of trouble areas, and optimizing placement of acoustic treatment in
the room,” Julian says.
Acoustic Innovation 9: 3D Sound Technology
3D sound technology: DTU’s AVIL (Audio-Visual Immersion Lab)

We’ve just seen how 3D technology can help improve the sound engineering process. Related to
this, 3D effects also enhance the listening experience.
Any one microphone can only capture part of the sound our ears hear. But, a sphere of 64
microphones recording through separate channels at once comes very close to replicating sound
as we hear it. This technology can enhance virtual reality environments or take music recording
to the next level.
“This technology is currently used in different fields such as architectural acoustics, for
evaluation of acoustic design of auditoriums, gaming and entertainment for generating realistic

90
3D sound effects and soundscapes, and for clinical studies to understand and map how different
regions of the brain in sound localization,” Julian says.
Acoustic Innovation 10: Acoustic Holography
Acoustic holography reading: Microflown’s Scan and Paint system.

Another way to visualize sound is through the practice of acoustic holography. This is a method
of estimating sound by measuring pressure and particle velocity in a given area.
“The system outputs an acoustic photograph that indicates the differences in noise level for
different frequency bands,” Julian says. “The probes are useful for outdoor scanning and are not
highly affected by background noise and reflections.”
Paving the way for Acoustic Innovations of the

Future: Acoustic Meta-Materials

91
Acoustic Meta materials

While the previous 10 acoustic innovations all come from the past decade, acoustic meta-
materials represent an unknown in the world of acoustics. These substances make sound
disappear entirely — things known as acoustic black holes and acoustically Invisible wall.


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ACOUSTICS

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

 Appropriate reverberation time depends on the size of the room. W. Furrer’s

Introduction to good acoustics

 an appropriate reverberation time

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Appropriate reverberation time

Figure 16: Optimum reverberation time

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Uniform sound distribution

As mentioned, if there is a requirement of a max. 5 dB variation in sound distribution throughout

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Appropriate sound level

In large gatherings, where a speaker is addressing an audience, an appropriately dimensioned

Low background noise

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

No echo or flutter echo

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

A diffuse sound field occurs by:

 Distributing the absorbers on several non-parallel surfaces

Acoustic Noise: any unwanted sound.

Acoustic Frequency: a measure of the pitch of a sound, expressed in Hertz (abbreviated

A-weighting: A commonly used frequency weighting that closely approximates the

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Sound Pressure Level: a measure of the strength or intensity of a sound, expressed in

Frequency Range: the range of acoustic frequencies of interest. In terms of audio

STC Rating: A single number rating describing a material's or an assembly's ability to

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

SOUND IN INTERIOR DESIGN

 Those that allow sound rays to pass through and

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

This is the persistence of sound in an enclosed space as a result of continuous reflection or

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

 Do Not put used absorbents into drains or on the ground.

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Materials with a high sound absorption coefficient are usually porous.

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Common examples of membrane absorbers are wood or hardboard paneling, suspended

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

An example of a resonance absorber would be a bottle of Coca-cola. However, a more practical

Materials Used as Sound Absorbers

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Cushions and Pillows

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Carpets and Area Rugs

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Curtains and Blankets

These mediums can also be hung above doors, on walls, etc.

Acoustic Window Film

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Acoustic Foam Panels

Standing wave in front of a massive wall

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

Mineral wool, cotton wool:

Resonant panels or membrane systems

Unit- 3 FUNDAMENTALS TO SOUND

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

The 9 fundamentals of sound design are:

IIFA LANCASTER DEGREE COLLEGE LECTURER NOTES OF KAUSHALYA ROHITH

 f is the frequency of a sound wave and

 d is the distance traveled by sound

ACOUSTICS Kaushalya Ma'Am

ACOUSTICS Kaushalya Ma'Am