MODULE 3: Acoustical Design

• Acoustical Design of Auditoriums - Multipurpose Halls: History of

Greek, Roman theatres. Use of IS code 2526 - 1963 for design
and detailing of Auditoriums - Cinema Halls – Multipurpose Halls
- Halls for speech and music.
• Acoustical Design and Detailing of Other Spaces: Open air
theatres, Halls for Indoor Sports, home theatres, recording
studios, open plan offices, etc. Need and use of sound
reinforcement systems, sound masking systems and speech
privacy.
OPEN-AIR THEATERS

HISTORY AND DEVELOPMENT OF

GREEK AND ROMAN THEATERS

The theater (derived from the

Greek word OEaTPOV }–
a place for the seeing) was
initially place for seeing than
hearing.
 GREEK THEATERS

• The spectators stood on the hill side and watched the action (usually
dancing) which took place on the cleared place or stage on the foot hill.
• Later this was developed into circular area called orchestra with two third
area covered by rows of benches around it.
• Afterwards platform was added behind orchestra (Skene)
• All action took place on circular orchestra whereas skene was used as
utility, rest and recreational purpose only by actors.
• Further skene was developed into LOGEION which was elevated form of
stage used in Roman theaters.
• Greeks realized that the power of an average voice is inadequate to
provide distinct hearing in the distant part of a large open air theater hence
actors used large masks not only to emphasize characters but to enhance
or reinforce the power of voice (megaphone effect).
MASKS
MASKS
EARLY FORM OF GREEK THEATER WITH
SEPARATE SKENE BEHIND ORCHESTRA
GREEK THEATERS
GREEK THEATERS
GREEK THEATERS
GREEK THEATER (LOS ANGELES) 2007.
 ROMAN THEATERS

• It was usually located on the plane area outside city.

• It was the single unit i.e. Auditorium, orchestra and
stage all connected together.
• Auditorium and orchestra were reduced to semi circular
shape with semi circular benches.
• Skene became a large platform (LOGEION) well elevated
enclosed by side and rear reflective walls.
• The walls decorated with relief work and there were three
large doorways in the rear wall and one on the either side.
EARLY ROMAN THEATER WITH LOGEION
AND SEMI CIRCULAR ORCHESTRA

1 5

2 3 4
ROMAN THEATERS
ROMANTHEATERS
ROMAN THEATER
 THEATER AT ORANGE

In the Roman theatre the orchestra is a place to sit, instead of a performing

area as the Greeks had used it. The stage grows in importance and is
brought into direct contact with the audience. The auditorium is a semicircle,
often partially supported by a hill underneath as well as concrete vaulting.
Corridors under the tiers were used in case of rain. This is the best-preserved
Roman theatre.
THE ROMAN THEATRE IN ORANGE(50 AD)
ROMAN AMPHI-THEATERS

•The Roman amphitheatre was the centre of

entertainment in Rome, Ruins of amphitheaters
can be found all over the empire.
•The largest amphitheatre in the empire was the CoIosseum,
Rome which could seat up to 50,000 people.
•The amphitheatre was the place where people went to see
fights. These fights were between slaves, prisoners of war
or criminals, and sometimes wild animals.(bull fighting)
•These fights were so popular that schools were set up to
train ordinary men as special fighters known as Gladiators.
 AMPHI-THEATERS WERE USUALLY OUTDOOR
ARENAS WHERE ONE WATCHED SPORTING EVENTS.
ANCIENT ROMAN THEATERS & AMPHITHEATER
ALPHA-THEATRES ARE "THEATRES IN THE ROUND":
AMPHI- MEANS "AROUND" IN GREEK.
 COMPARISION

GREEK THEATER ROMAN THEATER

 PROBLEM

In both Greek and Roman open air

theaters actors were frequently
disturbed by the converging
reflectors – since action took place
on the stage which was located on
the centre of curvature with elevated
rows of seats.
 SOLUTION

•Forms other than circular should be adopted

for the theater including the seating
arrangements.
•Or centre of curvature to be shifted to
convenient place.
•Risers inclined slightly backward to ten
degrees to reflect sound upwards.
•Risers retaining walls etc. to be covered with
shrubs, plants and bushes for absorption.
 THE DESIGN OF OPEN – AIR THEATER
The design of open-air theatre should include:
1. Selection of site
2. Orchestra shell
3. Sound amplification system.

SELECTION OF SITE: Quietness is most important. It should be

away from traffic both on ground and in the air. It should be
covered on all sides by natural slopes of surrounding hills, by
artificial embankments, and by a dense growth of trees. It should
be free from winds. Noise survey should be conducted to know
max and min. noise levels which in any case should not exceed
40 db. The slope of seating area should be 12 degrees. A seating
capacity of 600 should be regarded as the upper limit for theater
size when there is no sound amplification system . This
corresponds to max. depth of 75 feet and max. width of 85 feet.
ORCHESTRA SHELL
 ORCHESTRA SHELL
• It increases the average sound level throughout the auditorium
and provides a more uniform distribution of sound pressure over
the entire seating area. It also enables the performers to hear
each other more clearly. The simplest type of orchestra shell has
highly reflective vertical wall behind the stage. Sound will be
almost equally reinforced in all directions in front of the wall and
to all parts of the audience. The stage floor should be well
elevated and the auditorium floor should be sloped up towards
rear to permissible limits. The addition of vertical side walls to the
shell will reinforce the sound further. They should be non parallel
with splays or convex surfaces incorporated which will diffuse the
sound throughout seating area. (useful when sound amplification
systems are used). An overhead inclined reflector is a valuable
addition to a vertical wall behind the stage.
 EXAMPLE
• This following example is quite attractive, simple and free from focusing
effects. The angle made by the overhead inclination with the horizontal is very
important which should be 45 +(0/2), where 0 is an angle of inclination of
seating area. If the seating area in an auditorium is inclined at angle of about
12 degrees above the horizontal, then the overhead reflective surface should
have an angle of 51 degrees above the horizontal. (12/2+45).
• Sometime if the stage is quite large and seating is steeply inclined then
greater angle of inclination has to be provided for overhead reflector which
would apart from looking odd is also impractical and creates echoes. To avoid
this, interior reflecting bands are introduced in the ceiling which would make
required angle of 45+)/2 and also reduce angle of overhead reflector.
• In general concave surfaces such as cylinders, ellipsoids, spheres and
paraboloids should be avoided which are expensive to build and are
acoustically unsatisfactory since provide non – uniform distribution of reflected
sound in seating area.
SPEECH ARTICULATION TEST

• These are employed as a measure of how well speech

can be heard in the open air in order to determine the
limiting dimensions of open-air theatres. If a speaker calls
out 1000 meaningless speech sounds and an observer
hears 850 of them correctly, the speech articulation is said
to be 85% (85%= very good, 75%= satisfactory, 65%=not
acceptable). These tests indicate that an open – Air
Theater should be located in a site which is free from
winds. If such a site cannot be found then the theater
should at least be so oriented that wind will blow from
stage toward the audience.
RESULT OF SPEECHARTICULATION TEST
OPEN-AIR THETER WITH ORCHESTRA SHELL
OPEN AIR THEATER
HOLLYWOOD BOWL HISTORY
HOLLYWOOD BOWL SEATING
ORCHESTRA SHELL
OVER ALL VIEW OF ORCHESTRA SHELL AND
OPEN AIR THEATER
ORCHESTRA SHELL SOMEWHERE
UNDER THE RAINBOW
ORCHESTRA SHELL WITH ROTATING
CYLINDERS
EXAMPLES OF O.A.T.
 DESIGN OF HALLS USED FOR
SPEECH,DRAMA AND MUSIC
• Selection of site in a quiet surroundings.
• Noise survey to determine the extent of sound insulation
requirements and construction.
• Arrangements of rooms within the building for controlling
noise, including solid and air borne noise.
• Shape and size that will ensure proper diffusion of sound in
all parts of room for speech, drama and music.
• Proper selection and distribution of absorptive and reflective
material and construction that will provide optimum
conditions for the growth decay and steady distribution of
sound.
• Proper installation of sound amplification system.
 DETERMINING THE AUDITORIUM FLOOR AREA

• The required floor area of an auditorium can be calculated

by multiplying the intended number of seats by about eight
square feet (or 0.75 Sqm.)then adding the required aisle
space and the desired stage area. i.e. central aisle 1.5 M.
and side aisles 1.00 M.

• Once the required floor area has been calculated, the shape
and layout of the auditorium should be determined by
acoustic requirements and the calculation of sight lines. Of
course, there may be some architectural and engineering
controls on the available shape caused by site constraints or
certain construction methods, but these need to be
addressed along with the acoustic parameters.
 WORKING ON THE AUDITORIUM VOLUME

• Some of the most basic auditorium design parameters

have a significant effect on the acoustic environment,
which is why they must be discussed in the earliest design
stage.

• Consider width as 1 then the ratio of the length to width

for a typical auditorium should be between 1.2 and 1.7.
(i.e. If width is 1 then length could be 1.2---1.7)
1: 1.2—1.7
• Even more important is the ratio of auditorium height to
width, which should be between 0.4 and 0.7.
1: 0.4—0.7
AUDITORIUM VOLUME

EXAMPLE
1:1.5:0.5=100’X150’X50’(30mx45mx10m If the ceiling is too low, it
1:1.5:0.5= 70’X105’X35’(20mx30mx10m) restricts stage sound from
reaching the people at the
rear of the room. If too high,
sound reflected from the
ceiling arrives much later
than the initial direct sound
from the stage and affects
intelligibility. Actual ratios
should be an acoustically
informed decision based on
required seating, auditorium
dimensions, shape, layout
and internal angles.
 VOLUME PER SEAT
• The optimum vol./seat for a room is the lowest value consistent with the visual
and aesthetic requirements with the comfort of the audience and with regard
to appearance.
AUDITORIUM AND MOTION PICTURE ---1000 CAPACITY---125 CFT/SEAT
APPROX. 3.55 CUM/SEAT. EX: 15.30MX21.5 MX10.70M=3520 CUM.
• EXAMPLE: 50’X70’X35’---ie. IN THE RATIO OF 1:1.4:0.7
------------------------------------------------------------------------------------------------------
• 2000 CAPACITY ----------------175 CFT/SEAT
• MUSIC ROOMS--------------- 1500 CAPACITY -------- 100 CFT/SEAT
Lower vol./seat will reduce the cost of maintenance, air conditioning, cleaning,
lighting, redecorating etc.
If the seats, carpets, draperies etc. have been carefully chosen there may be
no need for additional acoustical material to control reverberation. Further
lower the vol./seat, the higher will the sound level in the room for a source of
a given power.
 PLANNING THE AUDITORIUM
1. Examine the site with respect to noise
(tolerable noise level is 30 to 40 db )
2. Limit the size of the auditorium
3. Design the shape (ref. to sketches in the next
slide)
4. Provide optimum R.T. in all parts of the
auditorium.
The optimum reverberation time for an auditorium or room of
course depends upon its intended use. Around 2 seconds is
desirable for a medium-sized, general purpose auditorium that
is to be used for both speech and music. A classroom should
be much shorter, less than a second.
 DESIGN OF A ROOM SHAPE
• Floor plan:
The seating should be arranged as near to the stage as possible
taking into account distribution of sound and visibility. Ratio of
width to length to is between 1 and 1.2(width): 2(length) have
been found satisfactory. Circular or elliptically shaped floor plans
give rise to focusing effects and non-uniform distribution of
sound and echoes. In order to bring audience as close as
possible to the stage and auditorium –floor plan should be
designed with diverging side walls. If path length is 65’ or
more between direct and reflected sound it gives rise to echoes-
--and between 50’ and 60’ produce blurring quality of sound
resulting in lack of intimacy .
• It is very important to use floor area which has the best
acoustical environment for SEATING.
THE AUDITORIUM'S PLAN SHAPE
 THE AUDITORIUM'S PLAN SHAPE

• Of these, the most solid choices are fans, rectangles and

modified polygons; square is acceptable if the auditorium is
large enough; while cruciform and round shapes are the
hardest to design for good acoustics. After all, the cruciform is
actually four rooms joined together in the form of a cross, so
sound from each section affects hearing in other sections. The
problem with round or partially round rooms is that the walls
will reflect the sound waves to focus on a particular point. This
is similar to the way a semicircular reflector in a flashlight
focuses light rays into a narrow beam. At the beginning,
architect must resist the temptation to depart from acoustically
tried and tested shapes in search of something unique that
runs the risk of favoring form over function.
 CEILING

• If ceiling of an auditorium is too high not only will the volume

per seat will be excessive but also long delayed reflections
from this ceiling will create echoes. Slightly tilted ceiling at the
end will reinforce the sound reaching rear portion of an
auditorium and also will prevent echoes.
• Concave surfaces such as domes, cylindrical arches and
barreled ceilings should be avoided wherever possible.
• In order to avoid flutter echoes, a smooth ceiling should not be
parallel to the floor. If both ceiling and floor are smooth &
highly reflective the flutter echoes will be very prominent.
 CEILING (CONTD.)

• The ceiling should provide favorable reflections of

sound and also aid in diffusion of sound .
• If adequate means of diffusion are furnished by the
floor and wall surfaces then the ceiling may be utilized
for reflection of sound.
• Ceiling height used for music and speech should be
about – 1/3 rd or 2/3rd of width of the room –lower ratio
for large halls and higher for small rooms. E.g. for
auditorium of size 100’ x 150’ – a ceiling ht. of 30’ to 35’
is adequate whereas for a room size of 18’ x 24’ ht. of
10’ to 12’ is optimum.
THE AUDITORIUM'S INTERNAL GEOMETRY
 BACONY RECESS

• Good design of a balcony recess requires a shallow depth

and a high opening. Depth should not extend twice the ht.
of the opening. In large auditoriums and theaters it is
advisable to break up the rear wall in order to provide
proper diffusion in the recess.
• Balcony wall should never be overlooked since it is quite
large. By tilting this surface downwards it is possible to
utilize the resulting reflections to increase the sound level
in the middle and rear portion of auditorium.
• The balcony soffit and rear wall should be designed so
that large portion of sound coming directly from the source
will be reflected towards audiences under the balcony and
remainder absorbed by rear wall.
CEILING FLOOR AND BALCONY SOFFIT
CEILING FLOOR AND BALCONY SOFFIT
SOUND REFLECTED FROM
INCLINED REAR WALL
 SIDE WALLS

• The side walls reflecting the sound are beneficial to those

seats where sound is inadequate by providing splays. But in
large auditorium if these reflected sounds are delayed
echoes may be created, in such cases the side walls should
be treated with rough surface to diffuse the sound or treated
with absorptive material. Flutter echoes usually occur
between side walls which can be avoided by diverging non
parallel or tilted walls or splayed walls.
SIDE WALLS
 ELEVATION OF SEATS (RAKING OF SEATS)

• Elevation of seats in order to provide a free flow of direct sound from source
to the listeners – since sound waves which graze audience are greatly
attenuated as audience contribute highly absorptive surface. The first few
rows can be level—since they have a good line for both sight and sound.
The higher the source is elevated farther back level can be extended.
• An angle of elevation should not less than 8 degrees. In a demonstration
lecture hall it should be at least 15 degrees. Steeper elevation is desirable
without making aisles too steep.
• Raked seating (also referred to as retractable seating, or stepped seating)
is simply when the seating is on an upwards slope away from the stage, in
order to give those at the back a better view than if the seats were all of the
same levels.
• A ‘raked stage’ however, is the opposite, with the stage designed to slope up
at the back to allow actors occupying the space at the rear to be seen with
equal clarity as those at the front. Raked stages were very popular in the
Middle Ages and early modern era, but have since been eclipsed by the
raked seating approach instead.
RAKING OF SEATS FOR AUDITORIUM AND BALCONY.
PLAN-SECTION OF A LITTLE THEATER
SECTION THROUGH LEGITIMATE THEATER
AUDITORIUM, KONGU ENGINEERING
COLLEGE COIMBATORE, INDIA
AUDITORIUM, KONGU ENGINEERING
COLLEGECOIMBATORE, INDIA
IMAGES OF AUDITORIUMS
IMAGES OF AUDITORIUMS
IMAGES OF AUDITORIUMS
WALT DISNEY CONCERT HALL
ARCHITECT’S NEST
ACOUSTICAL DESIGN OF SEMINAR HALL

Seminar rooms are used for staff training and staff information
delivery. Seminar rooms are sometimes also used as 'rooms for
hire' to suitable third parties and will typically need appropriate
fixtures and access to amenities. The space may also be used as a
general student teaching space.
This space is to be located adjacent to or near office / administration areas,
and will ideally also have proximity to reception and lobby areas.
• Design occupancy minimum 20 persons.
• Preferred 50 persons.
Approx:Area
0.8m2 per staff member, 40 m2 for 20 persons and - 100 m2 for 50 persons
- Carpet finish, acoustic tile ceiling.
- Curtains to internal spaces where necessary.
- Sliding or swing doors are acceptable.
- Larger seminar rooms may have an end table or suitable for catering
delivery and serving. Blinds or curtains for windows.
- Acoustic treatment within walls and ceiling spaces to be incorporated.

- Noise disruptions and an echo of your own voice can just make things
more miserable. When it’s the meeting room, it affects interviews,
presentations, deals with your clients. Your integrity is also at risk when
your walls can leak out critical information. The last thing you want is to
lose a client just because you could not hold a decent conversation. To
avoid such uncalled occurrences, soundproof seminar hall and improve
sound acoustics.
• Noise could be an outside noise coming through the windows or other areas
of seminar hall.
• It could be a reflection from glass doors, whiteboards, or large screens.
• It could be a reverberation from roof, walls & floor. In order to completely
address both outside noise and reverberation inside the room, you’ll need a
combination of soundproofing and sound-absorbing solutions.
• Soundproof your drywalls – by Installing sound-absorbing panels such
as those made from cement boards with the help of Rockwool can absorb the
unwanted noise and produce a soft sound.
• Use of heavy curtains –will improve the sound quality in a seminar hall.
• Use sound-absorbing material for ceiling – Acoustical ceiling tile is one of
the most effective sound-absorbing solutions.
• Install acoustic wall partitions – A partition wall is lightweight, easy to
install, easy to move around, and works like baffles.
• Add a layer of acoustic foam – Foams do a great job at absorbing sound
but are not aesthetically very pleasing as compared to other options. It can
be attached to ceilings or walls. Lay thick carpets on the floor-
ACOUSTIC PANELS
 LECTURE HALL
• In any educational set-up, the acoustical effectiveness of the internal
lecture hall spaces for teaching-learning could be achieved if such spaces
are designed to provide good sightlines and speech intelligibility.
(Intelligibility of speech is the percentage of speech that a listener
can understand).
• When the teaching-learning environment is acoustically designed, the
learning space becomes alive, speech intelligibility will be obtained and
good sightline is assured. Good sightlines enable students in the remote
parts of lecture halls to see the chalk or white board, and the teacher
without any obstruction.
• Firstly, the screen could be kept really high off the floor. However, while
that may eliminate people in the back rows from being blocked, it creates
a new problem for people sitting on the front row with an extreme viewing
angle. They are going to have to lean their head back the whole time.
• Secondly, it is to have the rows of seats at different levels. This will allow
you to keep the screen positioned low enough to provide a great viewing
angle for everyone. Speech intelligibility on the other hand is critical for
proper development of school activities and communication between
teachers and student.
• Adequate loudness and good distribution of sound depends on the room size,
shape and absorptive properties of surface finishes. The type of building
materials to be selected will depend on their sound absorption coefficient.
• Some materials, usually porous or thin panel materials such as plasterboard,
mineral and glass wool, textiles, carpets, as well as the people present in a room
space have deep sound-absorbing effect. But, hard surfaces such as concrete,
masonry, plaster, glass, etc absorb very little sound and are generally classified
as sound-reflecting surfaces. Large-volume spaces with lots of hard finishes
such as concrete, stone and plasterboard will have longer RTs, while spaces with
soft finishes such as carpeted floors, acoustically absorbing wall panels, curtains,
acoustic ceiling tiles and furniture with open-weave fabric covers will have
shorter RTs
• When the reverberation time is long or has high values, it becomes difficult to
distinguish sounds and understand speech because the syllables will overlap
and interfere with intelligibility. Therefore, long reverberation time is not
appropriate for the teaching-learning classrooms, because the reflected sound in
form reverberation will be longer than the ideal. RT of 1.00 second or slightly less
is proffered.
• Acoustically enhancing teaching and learning therefore involves good sightlines
for students to see the chalkboard and the teacher through the stepping of the
floors with appropriate risers and rows of treads.
 LECTURE HALL-TREATMENT
• These multi-functional rooms are used regularly as classrooms but often play
host to additional events such as guest speakers and presentations. Though
lecture hall uses may vary, speech remains the constant factor across
events. In order for speakers to successfully communicate with an audience,
there must be high speech intelligibility and low background noise.

• CONTROLLING ACOUSTICS IN CLASSROOMS

• Background noise and reverberation in classrooms can be effectively
controlled with acoustic treatments that provide predictable results.
• ACOUSTIC GOAL : Reduce disturbing noise levels so that students can
understand their instructors clearly.
• DESIGN OPTIONS : Fabric finishes for typical settings, or wood finishes for
spaces such as prestigious lecture halls.
• PRODUCT ATTRIBUTES : Sound absorbing and impact-resistant panels to
reduce noise levels in rooms. Special ceiling tiles to control noise.
Fabric Finishes
Acoustical absorbers control echoes and reverberation in
classrooms for better learning environments.
For areas that are in close proximity to students, include
requirements for impact-resistance.
• Sound-Absorbing Panels – Acoustic Treatment Options
• Decreasing reverberations times will help reduce background noise,
which will make listening easier. To achieve lower reverberation times,
side walls should be treated with sound-absorbing material. Acoustic-
absorption panels are one of the most popular choices for this type of
treatment.

• A common question is how should the acoustic panels or stretched

fabric wall systems be spread out? the best rule of thumb, is to spread
them as widely as possible, so that the treatment is never concentrated
in a single area. Furthermore, acoustic treatments in lecture halls
should not be placed unnecessarily high, since lower reflections may
have more effect than those reflecting high off of the walls.
• Sound Treatment for Mechanical Systems
• Mechanical systems are often the main source of intrusive noise in
classrooms and lecture halls. HVAC and other mechanical systems are
needed to keep the building running, but can often create a lot of noise.
• For new buildings, you can minimize noise by locating machinery away from
walls to avoid additional structure-borne noise from vibrations. If on an
existing building where machinery cannot be relocated, treat the parts with
sound-absorbing material to reduce noise at the source.
• Sound Reinforcement : For smaller rooms, the speaker’s voice is typically
loud enough on its own to suffice. With larger rooms, or speakers with weak
voices, a sound reinforcement system complete with speakers and
microphones may be required.
• Lecture Hall Acoustics : In an area that is so critical for speech comfort and
intelligibility, acoustic treatment must be considered during the design phase
of these classrooms. Ensure that you implement sufficient acoustic treatment,
and design geometries for clear vision and minimal reverberation.
• TECHNICAL INFORMATION ABOUT REVERBERATION
• T60, or Reverberation Time, is the number of seconds it takes for sound to
decay 60 decibels.

• Classrooms have one of the lowest T60 targets. The quieter the room, the
easier it is for educators to speak and teach and students to hear and
learn. The table at the right lists some commonly accepted T60 times for
different types of rooms.
• Room Type Optimal T60 (seconds)
• Classrooms 0.6-0.7
• Band Rooms 0.9-1.1
• Movie Theaters 0.9-1.2
• Choral Rooms 1.2-1.6
• Multi-Purpose Rooms 1.6-1.8
• Concert Halls 1.7-2.2
PLAN- SECTION OF A LECTURE HALL
 AUDIO VISUAL/MEETING ROOM
• Drop ceiling :The drop ceiling is a change that has to be made virtually to the
structure of the meeting room. The lesser the height lesser the echoes. Echoes
will create confusions in the meeting room. So, drop ceiling will be an excellent
idea for meeting room.
• Acoustic mats : The mats are a need but unnoticed decors in the meeting
rooms. If you do not like to add any kind of decorations, then acoustic mats are
best.
• Curtains and drapes: Curtains and drapes are another soft surface decors
which will reduce unwanted noise. The windows are usually covered in the
meeting rooms.
• Acoustic door panels: The door of a meeting room is always made strong and
appeal elegant. Now, to make them more important, there are acoustic door
panels manufactured. The panels will be placed on the surface of the door
making it easy for them to absorb the high-frequency sound waves. It will be a
great idea to include acoustic door panels for an acoustic effect in the meeting
room.
• Conclusion: Above is the guide on how to improve office meeting room
acoustics. They are easy and understandable to anyone.
• Soft furniture : The hard surfaces and flat surfaces help in the reflection of
sound waves. It is then the sound waves turn into echoes. They can also
cause noise. It would be good to avoid hard surfaces either by eliminating
them or by covering them. Soft furniture will help to absorb the sound.
• Acoustic baffle panels: These are hung for decoration. Now, these baffles
are available with acoustic nature. They are made of different layers.
• Cover cloths: The soft materials help a lot in preventing echoes and noise
pollution. It would be great to add more soft cloths and coverings.
• The chairs and table in the office meeting room require covers. Instead of
plastic coverings use cloths’ cover. So, add more of cloth covers to the
furniture at your audio-visual meeting room.
• Acoustic art panels: Artworks always bring joy to anybody. There is
nothing wrong in adding artistic works in an office meeting room. So, add
some art panels with acoustic layer in them. The artwork can be
customized according to the theme or the design of your audio-visual
meeting room.
• Sound Diffusion: Distance from Speaker to Listener

• It may sound evident, but keeping as short of a distance as possible

between the last row of audience seating and the speaker is essential.
Not only will this make listening easier for the entire audience, it will
also create better sight lines so that everyone in the room can both see
and hear the speaker.

• Staggering the sight lines between adjacent rows means that you can
diminish the slope of the floors needed to provide clear vision, which is
an essential component for clear auditory comprehension.

• Note the sloped floor to improve line-of-sight auditory comprehension, as

well as the staggered ceiling which minimizes ray diagram reflections. Most
importantly, plush seats and stretched fabric wall systems minimize excess
reverberation.
• Speech is most easily understood in rooms with what is known as “dry”
acoustics, in other words, rooms that reduce the reflection of sound off
multiple surfaces that causes reverberation. But while good, dry meeting
rooms acoustics are universally important, the causes of poor audio-
visual meeting room acoustics are various.
• Areas and surfaces that cause poor acoustics:
• Hard surfaces, like glass walls, white boards, and large screens.
• High traffic areas with a lot of ambient noise.
• Is there a lot of distracting ambient or outside noise coming into your
conference room from other parts of the office? Are there many hard
surfaces in the audio-visual meeting room, like a concrete or wood floor
or glass walls?
• The first step to improving meeting room acoustics is to identify what
your problems or concerns are. Then you can invest in the right solution.
• Drywall, also known as plasterboard is a panel made of gypsum.
Drywall partition is usually employed to build interior walls
• Drywall is the most commonly used for soundproofing. It is a fire-
resistant board, and a board of 5/8″ thickness can resist fire for an
hour, which concurrently makes it the best drywall to reduce noise.
Drywall is a construction material used to create walls and
ceilings. It's quick and easy to install, incredibly durable, and
requires only simple repairs when damaged. In the commercial
building, drywall is used to wrap columns to conceal steel beams
and is an easy and inexpensive way to top off masonry walls and
ceilings. It is also used to add fire resistance at walls and ceilings,
containing the spread of fire so people can evacuate safely during
an emergency. Drywall is made primarily of gypsum.
• Despite being used to make drywall, there's a large amount
of water in gypsum. The water is in crystalline form, which is why
the individual molecules of gypsum are dry. These crystalline water
molecules give finished drywall its fire-resistance.
• Consider these Sound Masking Options
• 1. White noise.
• A soft background sound, like the kind created by a small water feature
or a white noise machine, can cover the sound of outside noise and
improve audio- visual meeting room privacy.
• 2. Soundproof drywall.
• Sound proof drywall is more expensive than regular drywall but it carries
the extra benefit of increased mass density to block outside noise.
• 3. Soundproof curtains.
• While acoustic curtains improve the sound quality in a room, soundproof
curtains are made with heavy vinyl, that block and contain sound.
• 4. Acoustical ceiling tile.
• Acoustical ceiling tile is one of the most popular sound absorbing
solutions.
• 5. Hanging baffles.
• Acoustic hanging baffles are panels suspended perpendicular to the ceiling.
Baffles are best for high ceilings and can act as both a noise reduction and
aesthetic solution as they come in a variety of colors, shapes, and sizes.
• 6. Acoustic partitions.
• Partitions work like baffles but on the ground instead of the ceiling. They
also have the benefit of being lightweight and easy to move around, so your
acoustical solution can travel to wherever you need it.
• 7. Acoustic foam.
• While not as aesthetically pleasing as products such as baffles or partitions,
acoustic foam does the same job. Foam usually comes in square or wedge-
shaped tiles of varying sizes and thicknesses. It is attached to ceilings or
walls.
DOON INTERNATIONAL SCHOOL, BHUBANEWAR, ODISHA
 NOISE CONTROL IN FLATS

• NOISE CONTROL IN MULTI-FAMILY RESIDENTIAL BUILDINGS

• The problems range from noise transmission by noisy upstairs
neighbors, through adjacent party walls between neighboring units or
through windows.
• The noise control problems associated with floors and ceilings range from
voices of TVs and music to footfall noise and from plumbing noise.
• Many of the problems could have been prevented in the first place if good
acoustic design principles had been followed during the design and
construction process. After the fact, when the noise problems are
discovered, solutions can be very difficult and expensive to resolve and in
most cases, there is no easy solution.
• Unfortunately, what is specified by architectural sound design and what is
subsequently built do not always coincide if proper attention is not given.
Privacy needs freedom from intrusive noise from your neighbors.
• HOW TO ARRANGE ROOMS IN BUILDINGS FOR NOISE CONTROL
• First things first – we need to divide rooms into two groups: less sensitive
and more sensitive to noise. Less sensitive rooms include the kitchen,
bathroom, and the likes. More sensitive rooms are rooms like bedrooms
and living rooms.

The rooms must be arranged in such a way that the more sensitive
rooms are shielded from the noise and that the less sensitive rooms are
closer to the noise source, guarding the more sensitive rooms.
• HOW TO ARRANGE BALCONIES FOR NOISE CONTROL
• Balconies or terraces provide access to the outside environment, as well
as fresh air and daylight. They are one of the most desirable parts of an
apartment complex, but their improper arrangement can nullify all that
through the undesirable noise.

You have to have in mind where the building is oriented. Exposure to the
high traffic area would promote the noise entering the building – a
common problem for high-density cities. In such cases, measures that
reduce the impact of noise must be put in place.
• WALLS
Fortunately, airborne sound leakage can be easier to detect; as one can
do so by getting close to the wall, and listening for the sound coming
through the wall. The sound will become louder as you get closer to the
leak.
Equally important, party walls that extend to the roof or floor structure
above the drywall ceiling in a dwelling unit should be fully sealed.
• Sound that travels through the ceiling space and into the adjacent
dwelling next door is characterized as “flanking” transmission, through
the floor structure. Generally, the sound will follow the path of least
resistance, therefore in new projects it is wise to trace potential paths of
sound and ensure that the pathways are blocked off.
• WINDOWS
• Sound level intrusion through windows can be a source of annoyance. If
the window can leak air it can also leak sound.
• Interior spaces between the frame and the wall should be insulated and
sealed before the window casings are installed.
• It is a case of letting your ears do the walking and listening. If you detect
noticeable differences in the sound you may have found the problem; the
solution will be to remove the casing and insulate and caulk any leaks.
• Some times, the thickness of the glass may be the problem. In that case, it
may be necessary to install another layer of glass on the inside in a similar
fashion to the windows on the outside. Just make sure that the additional
pane of glass is well sealed into the opening.
• FLOOR/CEILING ASSEMBLIES
• Floor and ceiling assemblies can be the pathway for two types of sound
transmission, the first is the airborne transmission of sound and the second
is the passage of impact sounds such as footfalls on the floor above.
Assuming that the floor-ceiling assembly has been designed and constructed
to provide adequate airborne isolation, impact noise can still be a problem.
If the finished floor surface has been designed to accommodate carpeting,
will normally provide a good degree of impact sound isolation.
• On the other hand, when the finished floor is tile, hardwood flooring, or
ceramic tile the solution is to install an impact sound-absorbing flooring to
separate the finished floor from the subfloor structure. (floating floors).
• One of the most common sound isolation elements in floor-ceiling
construction is the use of a metal resilient channel isolator that is attached
to the underside of the gypsum board ceiling.
• Soundproofing floors and ceilings and a bit of furniture rearranging can have
a positive impact on blocking the sound.
•
INDIAN CONTEXT
• One of the best ways to soundproof ceilings in flats is to install
acoustic insulation into a false ceiling built underneath the
existing structure. This is a method commonly used when
soundproofing a flat as it produces great results.
• WHAT MATERIALS CAN BLOCK SOUND?
• Acoustic Membrane.
• Acoustic Mineral Wool Cavity Insulation.
• Fiberglass.
• Resilient Channels.
• Acoustic Hangers (Mounts)
• Soundproof Drywall (Plasterboard)
• Dense Board (OSB, Plywood, Particle Board, Fire Board)
• Soundproof Floor Underlay.
• 1. Get your walls and ceilings to
absorb or reflect sound!
• Sound travels in waves and can easily
creep into other spaces where it’s
unwelcome! To prevent this, you need
noise barriers or absorptive
materials. Nowadays, there’s a whole
host of things that you can do!
• Install acoustic tiles or panels,
• Clad ceilings with perforated
gypsum boards,
• Clad walls with MDF boards or
integrate MDF boards in the ceiling
when it can take the weight,
• Install fiberglass on the ceiling
giving the impression of a false
ceiling.
• 2. Avoid creating large hollow spaces in your house!
• As much as possible, avoid high ceilings, long windowless hallways,
and staircases because they cause sound to bounce around. Wouldn’t
you much rather get cozier rooms with lower ceilings, or install a false
ceiling?
• 3. Think through the placement of your rooms!
• Do you really want the puja room adjacent to the kitchen? Try meditating
or chanting in the puja room while someone is cooking food in the
kitchen. Imagine them using the mixer-grinder!
• Washing machines and dryers also emit sound when in use. We
recommend you keep your living and bedrooms away from your puja
rooms, kitchens, staircases, etc.
• 4. Sound-proof your windows and doors.
• Instead of going for large slider French windows in the balcony, get
doors installed that can be tightly shut, especially if that balcony faces
the road. Larger the window, more the sound entering your house!
If you still want to go for windows, double glaze them to restrict sound
as it is one more barrier for the sound waves.
• 5. Invest in good-quality heavy doors.
• Most doors, especially in apartments or houses are made of panels
which have a hollow core. It is better to replace them with heavy doors
made of wood with a solid core!
• 6. Retrofit your walls and ceiling with perforated panels.
• Reduce sound-seepage from the overhead apartment by using
perforated panels hidden inside your false ceiling. These sheets absorb
the sound waves and limit their transmission. Similarly, add a few
centimetres of these sheets onto your walls. For a professional finish,
you could go in for special acoustics ceiling and wall materials that come
with acoustics star ratings. The higher the star-rating, the more silence
you can enjoy!
• 7. Invest in wooden furniture.
• Place it against the walls from where you plan to reduce noise seepage,
for eg: against a common wall that is shared between the master
bedroom and the entertainment room. Or a wooden bookcase against a
wall shared with a noisy neighbour can help absorb some of the sound
coming through the walls, especially if the bookshelf is arranged.
• 8. Use heavy furnishings and carpeting.
• Carpets, in spite of their many flaws, are one of the most economical and
durable ways of dealing with sound. They all absorb sound effectively.
• 9. Change your furniture around.
• If you’re already in a house that has hollow spaces around the staircase,
or no false ceiling, just fill up the space aesthetically with heavy furniture.
Move other things around as well.
• One of the best ways to soundproof ceilings in flats is to install acoustic
insulation into a false ceiling built underneath the existing structure.
This is a method commonly used when soundproofing a flat as it
produces great results.
• HOW TO SOUNDPROOF AN APARTMENT
• Living in an apartment has many benefits, but living so closely to
multiple neighbours can mean more noise pollution.
• To prevent noise between rooms and between apartments, or if you're a
music fan and want to keep noise in, consider replacing your doors,
soundproofing your windows, blocking any gaps and soundproofing your
floors.
• Blocking noise between rooms in your apartment
• Adding materials such as foam panels to the walls can have a hugely
positive impact on reducing sound as it travels from room-to-room. If you are
someone that prefers to leave the doors of each room open throughout the
house then consider closing a door or two. This will create a barrier between
rooms, reducing the level of sound heard. Using weather proofing strips
around the four edges of the door will help to seal the gaps that sound easily
passes through.
• Soft furnishings will also help to absorb the sound as it arrives in the room.
• Stop outside noise coming in
• Windows that are made up of single panes do not only ensure
lower levels of heat insulation, but they fail to do much to
protect you against noise pollution too. Double or secondary
glazing instantly lowers the amount of sound travelling in from
outside, with estimates ranging anywhere between a 15-20%
improvement.
• Most rooms have at least one window, and any rooms that
feature more are usually the most susceptible to being exposed
to external noise. Replacing your doors with either composite or
solid alternatives is another good way to absorb the sound as it
passes through into the room.
• Replacing your door
• If the source of the noise is coming from outside, rather than
above or through the walls from the adjacent building, it will
help to add some additional features to the front door which
makes soundproofing doors in flats much easier to do.
• The gaps that are naturally in place around the edge of the
doors allow sound and noise to get through into a flat.
Replacing the front door with a composite or solid wooden door
is the best solution for absorbing the sound. Alternatively, you
can also purchase an acoustic door seal kit to help with lighter
weight doors.
• There are a number of these available on the market at largely
affordable prices and these adaptations can be performed
easily within the home. When soundproofing doors in flats they
help to block out the gaps around the edges of the door, helping
to stop the transfer of noise from outside.
• Soundproofing your windows
• Location of your home next to a nearby busy road, making constant noise
throughout the day can prove to be extremely irritating, but some simple
alterations can help to make a difference. Thankfully, soundproofing
windows in flats is a relatively easy job to undertake.
• Wooden windows act as solid barriers to lower the level of sound coming in
through the window. Shutters are not only a popular and stylish window
dressing but because they are made of timber, they also offer effective
noise protection. They are easy enough to open and close, while helping to
make life more bearable inside.
• Soundproof curtains, are made from thicker material which helps to absorb
sound travelling through the window. Buying longer curtains that reach the
floor will also reduce the gaps in which sound usually pass through and are
one of the most economical ways to improve quality of life when
soundproofing windows in flats.
• Blocking noise coming through ceilings and walls
• One of the best ways to soundproof ceilings in flats is to install acoustic
insulation into a false ceiling built underneath the existing structure. This is a
method commonly used when soundproofing a flat as it produces great
results. Depending on the amount of height you can afford to lose in the
room, this will dictate what sort of insulation can be used.
• For example, smaller rooms will make it more difficult to install acoustic
insulation slabs without impacting on the space below. Higher ceilings make
this an easier job to use a product such as Rockwool Insulation Slabs high
performance levels when it comes to sound absorption.
• How to soundproof a floor in an apartment
• The soft material will help to absorb sound travelling through the floor.
• Carpeted flats or apartments will already benefit from the natural insulation
the material provides, with wool and pile carpets offering particularly good
levels of sound protection. This makes soundproofing a flat a far easier job
to undertake.
• SUMMERRY :
• Easy way is to add acoustic insulation panels to the ceiling when
soundproofing a flat, which can be purchased in a range of different colours.
This can be done by simply adding adhesive material to position it in place
on the ceiling. Alternatively, applying direct-to-wall insulation panels to the
existing ceiling will help to reduce noise transfer.
• Soundproofing walls in flats can be done in several ways. Adding items like
bookshelves and furnishings adds another layer of protection that will help to
dampen the noise. You can also choose to add soundproofing foam to the
walls, which will have a similar effect. This might not be the most attractive
option but it will prove to be effective.
• Installing insulation slabs into the wall will offer far more protection and a
longer-term solution to the problem. Rockwool RW3 Acoustic Insulation
Slabs are one of the most commonly used products for acoustic sound
insulation in the home, placed in both external and internal solid walls.
• You may also decide to build a false wall which can be filled with acoustic
insulation slabs similar to Rockwool Insulation Slabs which is ideal for cavity
walls, as well as internal stud walls.
SOUND ABSORBING PANELS FOR FLATS
HANGING SOUND ABSORBER
ACOUSTIC WALL TILES
 MOTION PICTURE THEATERS
Concave rear walls, parallel side walls, parallel ceiling and floor, and
surfaces that give long delayed reflections in the seating area must be
avoided.

• Because the sound is produced by means of electro-acoustical equipment

, the acoustical design of a cinema is not completely dependent on
beneficial reflections from walls, proscenium, splays, and ceilings as in
legitimate theater. The ave. sound level of speech is 65 db. for dialogue
and a capacity of 1000 seats should have an amplifier of at least 20 watts.

• Lengths greater than 150’ should be avoided. (1/7 second) since it will
create lack of synchronism between sight and the sound. The floor should
rise steeply towards the rear, the loudspeakers and screen should be well
elevated. Splays and other functional deviations in the wall and ceiling
contours can be used to give proper diffusion of sound.
 MOTION PICTURE THEATERS (CONTD.)

• A relatively deeper overhang of balcony can be tolerated since the ave.

speech level is somewhat higher. The balcony soffit should slope
downward toward rear and should not be absorptive. Vol ./seat ---- 125 to
150 cft is good but lower vol. is still better. By this building cost is
reduced, load on A.C.is reduced, (smaller units both for A.C. & sound
amplification system)

• Treatment of the walls behind the screen with highly abs. material
prevents sound radiating from the back of the loudspeakers from being
reflected to the audience.

• Since the projection booth is potential source of noise , it should be

treated with fireproof acoustical material. Doors and windows must be
made sound proof.
MOVIE THEATER
MOVIE THEATER
MOVIE THEATER
 UNIT – III d. SOUND REINFORCEMENT SYSTEMS
• A sound reinforcement system is the combination of microphones, signal
processors, amplifiers, and loudspeakers in enclosures all controlled by a
mixing that makes live or pre-recorded sounds louder and may also
distribute those sounds to a larger or more distant audience.
• In many situations, a sound reinforcement system is also used to enhance
or alter the sound of the sources on the stage, typically by using electronic
effects, such as reverberation, as opposed to simply amplifying the
sources unaltered.
• A sound reinforcement system(SR) for a rock concert in a stadium may be
very complex, including hundreds of microphones, complex live sound mixing
and signal processing systems, tens of thousands of watts of amplifier power,
and multiple loudspeaker arrays, all overseen by a team of audio engineers
and technicians.
• On the other hand, a sound reinforcement system can be as simple as a small
public address (PA) system, consisting of a single microphone connected to a
100 watt amplified loudspeaker for a singer-guitarist playing in a small
coffeehouse.
• In both cases, these systems reinforce sound to make it louder or distribute it
to a wider audience.
 SOUND REINFORCEMENT SYSTEM

• A basic sound reinforcement system that would be used in a small music

venue for the audience are to the left and right of the stage.

• The main loudspeakers ---A typical sound reinforcement system consists

of microphones, which convert sound energy such as a person singing
into an electric signal, signal processors which alter the signal
characteristics (e.g., equalizers that adjust the bass and treble,
compressors that reduce signal peaks, etc.), amplifiers, which produce a
powerful version of the resulting signal which convert the signal back into
sound energy .

• These primary parts involve varying numbers of individual components to

achieve the desired goal of reinforcing and clarifying the sound to the
audience, performers and other individuals.
 BACKGROUND-NOISE
• Background noise is any sound that tends to distract or interfere with the
ability of the individual to hear or be heard. There are many different
types of background noises, ranging from those that are almost
undetectable to others that are extremely irritating.
• In some cases, background noise is not considered unpleasant at all.
For example, many restaurants utilize music playing softly in the
background as a way to create a more inviting ambiance for diners. The
idea is to set the volume of the music so that conversing in normal tones
is possible, but the music helps to relax customers and enjoy the meal.
• Under 25 dB—A low background-noise level usually found in quiet
suburban or residential communities. Traffic noises are absent, and so
are the sounds of mechanical equipment.
• 25 to 35 dB—Average background-noise levels, in which one can hear
light or distant traffic noises and perhaps low- level mechanical
equipment.
• 35 dB and up— Prominent Street and traffic noises, noisy central air-
conditioning equipment and noisy window- mounted air-conditioner units.
 BACK GROUND NOISE(CONTND.)
• In any room in which extreme quietness is required, these back ground
noise levels may themselves become a nuisance that must be dealt with
rather than ignored.
• In general, however, low-frequency sounds are less easy to suppress than
high-frequency sounds. The higher the sound frequencies, the easier they
are to suppress, which is why such low-frequency sounds as traffic noises,
jet aircraft, fan rumble, and air-conditioning noises are difficult to suppress.
Fortunately, our sense of hearing makes up for this characteristic of sounds,
in part, by being much less sensitive to low-frequency sounds.
• Low-frequency noise (LFN) is generally taken to mean noise below a
frequency of about 100 to 150 hertz. The human ear is not very sensitive at
these low frequencies. However, people living close to airports may
experience LFN. They may experience LFN as a distant rumbling noise,
structural vibration, or objects rattling in homes, at distances beyond
“significant noise exposure areas.”
• Furthermore, distant rumbling noise, structural vibrations, or objects rattling
in homes due to LFN can contribute to annoyance.
 BACK GROUND NOISE(CONTND.)
• Both the home and the workplace hold great potential for hearing background
noise of different origins. Conversations conducted in loud voices can be
considered background noise, as can the constant humming of office
machinery or home appliances. In some cases, the level of noise in the
background is low and thus will not be noticeable to people who are in the
space on a continual basis.

• Fortunately, there are a number of ways to remove background noise or at

least engage in some sort of background noise reduction. Fabrics sometimes
help to absorb sound, and will help to minimize the impact of subtle noises. In
the workplace, creating rules of conduct can help to remind people that
speaking above normal tones is not acceptable and disturbs others.
Restaurants can make it a point to adjust the music level to an acceptable
range and mute the volume on television sets.
• Examples of background noises : environmental noises such as
waves, traffic noise, alarms, people talking, noise from animals or birds and
mechanical noise from refrigerators or air conditioning or motors.
 MASKING OF SOUND
• Have you ever increased the volume of your music or television program to
“drown out” your noisy neighbors? Or have you noticed how difficult it is to
hear a conversation while eating in a busy restaurant?
• In other words, some sounds are masking – or covering over – the other
sounds. Masking is the process by which the threshold of hearing for one
sound is raised by the presence of another sound.
• If someone listens to a soft and a loud sound at the same time, he or she may
not hear the soft sound. The soft sound is masked by the loud sound.
• Open Office
In an open office settings (especially call centers), the noise produced by
coworkers can be very distracting to someone who is trying to concentrate. To
address this problem, sound masking systems emit a soft background sound
with the use of a loudspeaker system.
• Sound masking makes undesirable conversations and other noise distractions
less audible. The result: Employees are able to concentrate better.
 BACKGROUND NOISE MASKING SYSTEMS.

• In sound masking, a precise electronic sound generator, providing

controlled "noise", is fed to an amplifier that supplies an array of
specialised wide-dispersion loudspeakers.

• Noise Masking is the addition of natural or artificial sound (such as white

noise or pink noise) into an environment to cover up unwanted sound by
using auditory masking.

• Sound masking reduces or eliminates awareness of pre-existing sounds in

a given area and can create a work environment more comfortable, while
enhancing speech privacy so workers can better concentrate and be more
productive.

• A typical system is comprised of loudspeakers, amplifiers and a digital

sound processor which is programmed to shape the noise to suit the
particular environment.
 SOUND MASKING SYSTEMS

• Sound masking is the addition of natural or artificial sound into an

environment to cover-up unwanted sound by using auditory masking. This
is in contrast to the technique of active noise control
• Sound masking works by subtlety raising the ambient background
sound level, thereby reducing sound's dynamic range. This effectively
"masks" unwanted noise, makes speech unintelligible (creating privacy),
and makes the work environment acoustically comfortable.
• Masking is the process by which the threshold of hearing for one sound
is raised by the presence of another sound. ... When the masking and
masked sounds come at the same time, masking is simultaneous.
Upward spread of masking is low-frequency sounds masking high-
frequency sounds.
• And even if you are awakened, the soothing quality of white noise can
make it easier for you to fall back asleep. ... The researchers concluded
that the white noise was able to mask environmental sounds, help
patients fall asleep, and stay asleep even in a noisy hospital environment.
MASKING SYSTEMS BY SPEAKERS
WHITE NOISE MACHINE
WHITE NOISE MASKING MACHINES
PINK NOISE MASKIG MACHINES
 SPEECH PRIVACY
• Speech Privacy can be defined as the inability of an outside listener to
understand a conversation between two or more separate individuals.
Effective speech privacy is an essential aspect of any office as it allows
employees to: Conduct confidential conversations without being
overheard.

• Speech privacy operates on a scale of 0% – 100%, where 0% means

perfect privacy (no communication) and 100% means perfect
communication (no privacy). Most offices aim to achieve a speech privacy
level of 5%. At this level, most speech will be unintelligible to an outside
listener.

• It is an inability to understand conversations, although some words may

still be audible. Whenever speech levels exceed ambient noise levels
there will be some degree of communication. Where good communication
is needed, for example in a telephone system or in a lecture hall, the
speech to noise ratio is increased by amplifying the speech and reducing
the background noise.
 ACHIEVING SPEECH PRIVACY

• When the speaker’s voice is louder than the ambient noise in the room, the
speech becomes non-private. When the speaker’s voice is much lower than
the ambient noise, the listener will be unable to understand the speaker.
• When the speaker’s voice and the ambient noise are equal, speech privacy
will be at its most ideal level. In other words privacy of speech is achieved
when the speech level and background levels are equal.
• Communication occurs whenever the speech level exceeds the background
noise level. 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 achieving speech privacy.

• 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,
WHAT SYSTEM IS REQUIRED TO ACHIEVE
SPEECH PRIVACY ?

• 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 to achieve speech privacy.
SPEECH INTELLIGIBILITY
• Speech Intelligibility is directly dependent on the level of
background noise, reverberation time and the shape of the
room. Different methods are used to evaluate speech
intelligibility, the most common method is the speech
transmission index. (STI). It is the percentage of speech units
correctly received out of those transmitted.

• Speech is our primary method of communication. It is therefore

important that uttered speech is received intelligibly. The
intelligibility of speech depends on the acoustical properties of
the enclosure in which the speech is transmitted from speaker
to listener. Another important factor determining the speech
intelligibility is the background noise level.
• Intelligibility of speech is the percentage of speech that a
listener can understand. If you can only understand half of what
is saying then their speech intelligibility rating would be 50%.
SPEECH INTELLIGIBILITY

• Speech intelligibility can be defined as how clearly a person

speaks so that his or her speech is clear to a listener . Reduced
speech intelligibility leads to misunderstanding, frustration, and
loss of interest by communication partners.

• Speech Intelligibility is directly dependent on the level of

background noise, reverberation time and the shape of the room.
Different methods are used to evaluate speech intelligibility, the
most common method is the speech transmission index.

• Speech Intelligibility : under Articulation Definition : percentage of

speech units correctly received out of those transmitted. Also
known as intelligibility●
SOUND AMPLIFICATION SYSTEMS.
• PRODUCT DESCRIPTION
• Filling a large space with sound is challenging and requires an
experienced team for the set-up, whether it is for a high school
musical, orchestra or live music venue. The goal is not merely whether
performers can be heard, but ensuring that what the audience hears is
what the performers intend. An effective sound reinforcement
configuration will allow as many of the audience members to hear the
same sound quality as possible. To achieve this, you need to have a
basic understanding of sound design for large venues.
• The interior components of the auditorium together with its size
decides the equipment required. Upholstered seats absorb acoustical
energy, as do drapes, curtains and other kinds of materials. A highly
absorptive smaller auditorium may require more amplification than a
large reflective one. Some of the surfaces that reflect sound are metal
surfaces, cement and wood.
• CHOOSE AMPLIFICATION AND SPEAKERS APPROPRIATE
TO ROOM SIZE.
• Based on the size of the auditorium, the amplification system is required
to produce several hundred or thousands of watts of power to drive
speakers so that the entire area is filled with sound using equalization
components. While small theaters require smaller integrated speaker
systems that include low, mid and high frequency drivers, very large
auditoriums may require component speakers where the bass (woofers),
midrange and high-end speakers are each in their own enclosures.
• Speaker systems require companion amplifiers that use crossovers to
divide the audio spectrum evenly.
• An equalizer can compensate for the acoustical properties by adding or
diminishing specific frequencies in the audio spectrum. Equalizers can
be used as stand-alone device or can be integrated into the sound
mixing console. These equalizers can also reduce the feedback from
microphones.
• In case of a live performance, the performers need to hear
themselves, the speakers or headphones available on stage
are monitors. Monitors also require their own amplifiers. In
some venues the sound is better when each performer wears
their own headphones as an open speaker could reflect off the
back of the stage towards the audience.
• Providing a quality mix to performers on stage can be the
difference between a memorable performance and a
forgettable one.
• In recent times, Digital mixers have made progress in quality
of the sound and cost when compared to a moderately priced
analog mixer.
• The auditorium sound system can be integrated with high-
performance professional audio, multi-channel audio mixer,
digital stage box and rope microphones on stage which helps
to conduct un-hindered events such as drama or music.