AND  
THE  SCIENCE  OF  SOUND  
 
 
With  today’s  growing  need  for  space  due  to  the  lack  thereof,  designers,  planners,  and  building  professionals  are  almost  
always  faced  with  the   associated  acoustical  challenges  of  sound  control.     We   at  VARIFOLD  have  made  it  our  mission  to  
offer   products   designed   to   provide   for   this   most   important   factor   when   specifying   operable   and   modular   walls   and  
partitions  as  a  solution  to  the  problem.      At  VARIFOLD,  “sound  control”  is  not  just  a  term  we  carelessly  use  and  promise  
without   knowledge   nor   a   firm   understanding   of   what   it   entails.     With   our   cutting-­‐edge   acoustic   testing   equipment   and  
prediction   tools,   we   are   able   to   estimate   TRANSMISSION   LOSS   (TL)   in   1/3   octave   bands   and   WEIGHTED   SOUND  
REDUCTION  INDEX/SOUND  TRANSMISSION  CLASS    (STC  or  Rw)  for  use  in  sound  transfer  calculations.    Our  clients  are  
assured  of  our  reliable  STC  values  to  within  3dB.    At  VARIFOLD,  we  are  constantly  studying  and  perfecting  the  science  
of  sound  in  order  to  provide  honest  and  reliably  tested  results  in  our  claims  of  sound  control  -­‐-­‐  not  guesswork.    
 
 
ACOUSTICS  101  :  An  Acoustical  Primer  
 
 
What  is  Sound?  
 
Sound  is  an  energy  which  is  generated  by  a  source,  transmitted  through  a  medium,  and  received  by  a  receiver.  
For   example,   a   piano   string   vibrates   when   the   key   is   struck,  generating  sound.   The   vibration   alternately   compresses  
and   expands   the   surrounding   air,   transmitting  the   sound   in   waves   of   pressure   changes.  When   the  waves   reach   your  
ear,  you  receive  the  sound.  If  you  take  away  any  of  the  above  conditions,  there  is  no  sound.  There's  no  sound  in  space,  
for  example,  since  no  medium  exists  to  transmit  sound  waves  (the  explosions  in  space  movies  are  unrealistic).  
 
 

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Sound  has  several  measurable  components:  
 
Frequency  
Amplitude  
Duration  
Let's  look  at  them  in  more  detail.  
 
FREQUENCY  is   the   rate   of   vibration,   determining   how   high   or   low   the   pitch   is.   Frequency   is   measured   in   cycles   per  
second,  or  Hertz  (Hz).  The  wave  length  associated  with  a  given  frequency  is  the  distance  the  sound  travels  in  one  cycle.  
It  is  related  to  the  frequency  like  this:  
 
Wave  Length  =  Speed  of  Sound  /  Frequency  
Healthy   children   can   hear   from   20   to   20,000   Hz,   but   the   human   ear   is   most   sensitive   in   the   range   of   100   to   5000   Hz.   In  
this  range  most  of  our  music,  speech,  and  other  important  sounds  are  found.  
 
AMPLITUDE  is   the   magnitude   of   the   vibration,   which   determines   how   loud   the   sound   is.   In   the   piano   example,   the   size  
of   the   change   in   air   pressure   would   determine   the   amplitude.   Amplitude   (or   loudness)   is   measured   in   decibels   (dB),  
which  can  range  from  the  threshold  of  hearing  at  0  dB  to  the  threshold  of  pain  at  around  140  dB.  
 
DURATION  is   the   time   the   sound   lasts,   measured   in   seconds.   The   duration   may   indicate   how   long   the   source   is  
vibrating  or  how  much  the  sound  is  reverberating,  or  echoing.  Some  sound  levels  will  cause  immediate  damage  to  an  
unprotected  ear.  But  often  damage  will  be  caused  only  if  the  duration  of  the  sound  is  too  long.  
 
 
 
Architectural  Acoustics  and  Sound  Control  
 
At   Varifold,   we   are   greatly   involved   with   architectural   acoustics,   and   concern   ourselves   in   controlling   the   amplitude  
and/or   the   duration   of   sound.   In   our   operable   walls   and   partitions,   this   is   done   by   controlling   sound   transmission  
loss  and  sound  absorption.  
 
 
 

 
 
SOUND  TRANSMISSION  LOSS  (STL)  is  the  effectiveness  of  a  barrier  at  preventing  sound  from  getting  from  one  side  to  
the  other.  It  is  measured  in  decibels  (dB),  the  same  as  amplitude.  To  determine  STL,  one  measures  the  sound  level  on  
the   side   of   the   barrier   closer   to   the   sound   source   (the   source   room),   the   level   on   the   opposite   side   (the   receive   room),  
and  the  reverberation  or  absorption  of  the  receive  room.  The  result  is  given  by:  
 
STL  =  L1-­‐L2  +  10log  (S/A)  where  
L1=  source  room  sound  level  
L2=  receive  room  sound  level  
10  log  (S/A)  =  correction  for  absorption  
 

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SOUND  ABSORPTION  is  the  effectiveness  of  a  surface  or  material  at  preventing  the  reflection  of  sound.  It  does  this  by  
converting  sound  energy  to  heat.  The  more  sound  absorption,  the  less  echoing  will  exist.  The  absorption  of  a  material  is  
measured  in  Sabines  and  is  found  by  the  equation:  
 
A  =  .921  Vd/c  where  
V  =  the  room  volume  
d  =  the  measured  rate  of  decay  in  decibels  per  second  
c  =  the  speed  of  sound  
 
It  is  important  to  note  the  difference  between  a  barrier  and  an  absorber.  Typical  barriers  made  of  hard,  dense  material  
may   actually   increase   the   echoes   in   the   room,   while   absorbent   batts   of   insulation   allow   sound   to   pass   through   as   if  
they  weren't  there.  Generally  speaking,  you  can't  use  a  barrier  to  absorb  sound,  and  you  can't  use  an  absorber  to  block  
sound.  
 
 
What  is  STC?  
 
Currently,   the   most   widely   accepted   standard   for   ranking   the   acoustical   performance   of   accordion   and   operable  
partitions  is  STC  or  Sound  Transmission  Class.     The  fact  that  every  manufacturer  should  conduct  laboratory  tests  but  
do  not,  makes  the  job  of  the  designer,  planner,  or  builder,  more  difficult  when  trying  to  find  reliable  solutions  to  their  
sound  control  problems.    Varifold  considers  acoustics  as  a  science  with  very  minute  tolerances  for  deviation.    
 
FINDING   STC.   Sound   Transmission   Class   is   a   two-­‐digit   number   describing   the   laboratory   performance   of   a   single  
building   element   in   stopping   the   transmission   of   sound   through   it.   It   is   found   from   individual   STL   figures   of   16  
frequencies   between   125   and   4000   Hertz.   The   STLs   are   found   through   the   formula   described   earlier,   completely  
defined  by  ASTM  Standard  E90.  The  procedure  for  finding  the  STC  is  defined  in  ASTM  E413.  Refer  to  the  graph  while  
following  the  steps  below:  
 

 
 
• Plot  the  STLs  on  a  graph.  
 
• Plot  the  standard  STC  curve.  
 
• Move  this  standard  curve  as  high  as  possible  so  that:  
              *No  frequency's  STL  falls  below  the  standard  curve  by  more  than  8  dB.  (Each  dB  below  the  curve  is  called  a  
deficiency.)  
*  Total  deficiencies  do  not  exceed  32.  
 
Locate  the  level  on  the  STANDARD  curve  corresponding  to  the  500  Hz  frequency.  This  is  the  STC.  
 

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HOW  GOOD  IS  AN  STC  RATING?  
 
Use   the   following   chart   to   get   a   rough   idea   what   various   STC   levels   mean   in   terms   of   privacy   afforded.   Note   that   this   is  
only  a  very  rough  guide.  
 
STC   PRIVACY  AFFORDED  
25   Normal  speech  easily  understood  
Normal   speech   audible,   but  
30  
unintelligible  
35   Loud  speech  understood  
40   Loud  speech  audible,  but  unintelligible  
45   Loud  speech  barely  audible  
50   Shouting  barely  audible  
55   Shouting  not  audible  
 
 
STCs  OF  FAMILIAR  CONSTRUCTIONS  
 
Listed   below   are   some   typical   building   items   and   materials,   to   give   you   an   idea   how   the   typical   Varifold   Operable   Wall  
or  Partition  compares.  
 
 
CONSTRUCTION  
STC  
18   Hollow-­‐metal  door  without  seals  
22   Solid  wood  door  without  seals  
26   1/4"  plate  glass  
32   1/2"  plate  glass  
38   1/2"  drywall  on  wood  studs,  both  sides  
41   4"  painted  concrete  block  wall  
42   5/8"  drywall  on  steel  studs,  both  sides  
46   8"  hollow  concrete  block  
48   12"  painted  concrete  block  wall  
Double   5/8"   drywall   on   steel   studs,  
50  
insulated  
53   12"  poured  solid  concrete  wall  
 
 
More  On  Understanding  STC  (Sound  Transmission  Class)  Ratings  
 
Loud   noise   hurts   everyone   and   it’s   especially   bad   for   business.   Continued   exposure   impairs   hearing   and   undermines  
emotional  well-­‐being,  exposing  employers  to  potential  liabilities.  Even  at  relatively  low  levels,  unwanted  noise  can  be  a  
costly  drain  on  employee  morale  and  productivity.  

                                                                                       

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The  solutions  to  the  endless  list  of  noise  problems  and  challenges  fall  into  two  basic  categories.  The  science  of  sound-­‐
acoustics  has  yielded  corresponding  sound  management  techniques.  Their  application  is  determined  by  the  nature  of  
the  particular  noise  problem:  
 
Absorption   is   the   process   of   removing   sound   energy   from   within   a   room.   Typically,   that   is   accomplished   using   soft,  
porous  materials  exposed  to  soak  up  sound.  
 
Transmission  is  the  movement  of  sound  through  a  medium.  Preventing  the  transfer  of  sound  through  door  openings,  
specifically  through  clearances  and  gaps  around  a  door,  requires  specialized  products  and  techniques.  
To  define  your  specific  problem,  you  need  a  basic  understanding  of  how  to  quantify  both  your  unwanted  noise  and  the  
sound  level  that  will  be  acceptable.  The  difference  between  those  two  values  is  the  degree  of  sound  control  you  need  
to  achieve  with  your  door  opening.  
 
Sound   is   vibrations   in   air   moving   in   waves.   The   rate   of   sound   pulsations   measured   in   cycles   per   second   is   called  
frequency  —  also  known  as  hertz  (Hz).  
Sound   pressure   levels   are   measured   in   decibels   or   dB.   The   scale   of   measurement   used   to   simulate   sound   across   the  
audible  frequency  range  is  denoted  as  dB.  The  human  ear  perceives  changes  in  loudness  caused  by  even  small  changes  
in  those  levels.  Each  3dB  increase  doubles  the  sound  reception  and  the  annoyance  or  discomfort  that  goes  with  it.  
 
 

 
 
When  sound  comes  in  contact  with  a  barrier,  such  as  a  door,  some  of  the  energy  from  the  vibrations  transfers  to  the  
door.  The  resulting  vibrations  in  the  door  itself  then  set  the  air  in  motion  on  the  other  side  of  the  door,  creating  more  
sound  vibrations.  
 
The  mass,  damping  and  stiffness  of  the  barrier  determine  its  resistance  to  the  passage  of  sound  waves.  The  greater  the  
mass,   the   less   sound   is   transmitted   through   the   barrier.   Mass   is   especially   important   for   blocking   sound   at   lower  
frequencies.  Varifold  Operable  Walls  and  Partitions,  because  of  their  weight  and  high  density,  provide  superior  sound  
barrier  characteristics.  
 
The  stiffness  of  the  barrier  is  also  a  factor  in  sound  transmission.  Sound  control  doors  are  generally  made  from  very  
dense,  stiff  materials.  These  dense,  stiff  materials  also  work  well  at  reflecting  sound  back  to  its  source.  
 
 
Sound  Reduction  Ratings  
 
Sound  Transmission  Loss  (TL);  
 
A  door’s  ability  to  reduce  noise  is  called  its  sound  transmission  loss  (TL)  effectiveness.  TL  is  a  value  given  in  decibels,  
which   is   determined   by   measuring   sound   pressure   levels   at   a   certain   frequency   in   the   source   and   receiving   rooms.   The  
calculation   also   factors   in   the   area   of   the   partition   shared   by   the   two   rooms,   and   adjusts   for   the   receiving   room’s  
acoustic   “liveness”   (known   as   reverberation   time).   The   adjusted   difference   between   the   two   levels   is   the   TL   of   the  
door.  The  higher  the  TL,  the  better  the  result.  
 
 
 

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Sound  Transmission  Class  (STC):  
 
TL   measurements   for   a   door   are   taken   across   a   range   of   frequencies,   which   makes   it   difficult   to   compare   the  
effectiveness  of  different  doors.  Sound  transmission  class  (STC)  ratings  solve  that  problem  by  giving  a  single  value  to  
acoustical  performance  for  a  door.  STC  is  determined  by  a  weighted  average  of  TL  values  taken  over  16  frequencies,  
which  are  fitted  to  a  curve  in  a  method  defined  by  the  ASTM  E413  Classification  Standard  for  Rating  Sound  Insulation.  
The  higher  the  STC  value,  the  better  the  rating  and  the  better  the  performance  as  shown  in  the  figures  below.  
 
 

 
 
 
 
Varifold  Operable  Walls  and  Partitions  and  Sound  Control  Performance  
  STC   PERFORMANCE   DESCRIPTION  
Variwall®    Soundmaster    1000   50-­‐60        Excellent   Loud  sounds  heard  faintly  or  not  at  all  
Variwall®    Soundmaster    1000      Spacemaster  750   40-­‐50        Very  Good   Loud  speech  heard  faintly  
Variwall®    Spacemaster        750        Screemaster  550   35-­‐40        Good   Loud  speech  heard  but  hardly  intelligible  
Variwall®    Screenmaster      550   30-­‐35        Moderate   Loud  speech  understood  fairly  well  
Variwall®    Screenmaster      550        Shojimaster  350   25-­‐30        Fair   Normal  speech  understood  easily  and  distinctly  
Variwall®    Shojimaster            350   20-­‐25        Acceptable   Low  speech  audible  
 
 
Considering  Flanking  Paths  
 
Sound,   like   water,   follows   the   path   of   least   resistance.   If   there   are   leaks   in   the   surrounding   construction,   even   the   best  
movable   partition   will   not   provide   a   good   sound   barrier.   Shoddy   construction,   customary   construction   practices,   or  
poor  installation  of  the  partition  can  all  contribute  to  the  leaks,  known  as  'flanking  paths.'  
 

 
 

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The  chart  here  shows  how  flanking  paths  limit  even  a  55  STC  partition  to  a  30  STC  performance  when  a  path  one  tenth  
of  one  percent  of  the  total  area  exists.  
 
KEEPING  AN  EYE  ON  DETAILS  
 
Flanking  paths  can  be  present  even  when  the  surrounding  construction  is  of  good  quality.  Direct  HVAC  ductwork  
between  rooms,  common  lobbies  and  corridors,  and  open  plenums  above  suspended  ceilings  are  all  perfect  escape  
routes  for  sound.  The  ceiling  tiles  themselves,  whose  porous  properties  help  prevent  reverberation,  allow  sound  to  
pass  through  easily.  Uneven  floors  and  out-­‐of-­‐plumb  walls  also  contribute  to  leaks  as  do  recessed  lighting,  access  
panels,  projection  and  lighting  booths,  and  other  design  details.  
 
BEATING  FLANKING  PATHS  
 
In  dealing  with  sound  transmission,  there's  no  substitute  for  quality  construction  materials:  simple  mass  is  what  stops  
sound  waves.  Naturally  stud-­‐and-­‐drywall  construction  is  going  to  have  a  higher  STC  than  1/4"  hardboard  paneling.  
Extra  attention  to  quality  techniques  will  pay  off  in  sound  control  and  ensure  a  good  fit  for  the  partitions.  
Above   all,   the   best   defense   against   flanking   paths   is   careful   planning   in   the   early   stages   of   the   project.   ASTM  
Recommended  Practice  E557  is  an  excellent  guide  to  installation  conditions.  It  includes  such  issues  as:  
• flat,  level  floors  
• level  track  suspended  from  a  non-­‐sagging  structure  
• sealed,  insulated  plenum  (ceiling  void)  barrier  
• plumb  end  walls  or  adjustable  jamb  
• indirect  HVAC  ducts.  
 
Hint:     Using   a   screed   directly   under   the   track   line   when   pouring   a   ballroom   floor   keeps   the   floor   even   and   level   for   the  
seals.  
 
Building  a  barrier  in  the  plenum  above  the  partition  track  with  a  construction  as  good  as  the  partition  itself,  will  prevent  
sound  from  leaking  over  the  top.  
 
The  permanent  walls  with  which  the  movable  partitions  intersect  must  be  vertical  and  braced  so  that  the  horizontal  
pressure  does  not  force  the  partition  to  become  uneven.  (ASTM  Recommended    
Practice  E497  is  helpful  for  designing  and  building  stud-­‐and-­‐drywall  walls  for  acoustical  performance.)  
 
Although   wall   insulation   (glass   or   mineral   wool)   is   not   an   effective   barrier,   adding   it   in   the   cavity   of   a   wall   greatly  
improves  its  performance.  It  is  also  useful  above  the  suspended  ceiling  to  reduce  reverberation.  
 
Both  the  supply  and  return  air  ducts  should  branch  from  main  lines  outside  the  rooms  containing  movable  partitions,  
rather  than  running  directly  from  one  side  to  the  other.  If  this  is  impossible,  at  least  using  lined  ducts  with  several  zig-­‐
zags  will  help  some.  
 
 
For   over   40   years,   Varifold   Operable   Walls   and   Partitions   have   been   painstakingly   researched   and   engineered   to  
provide  superior  sound  control.    Our  high-­‐grade  materials  and  precise,  accurate  process  ensure  that  we  maintain  our  
lead   as   a   local   manufacturer   that   adheres   to   strict   international   standards   for   such   products,   thereby   providing   our  
clients  with  an  affordable  alternative  to  costly  imported  solutions.    
 
 
Changes  in  Sound  Levels  to  the  Human  Ear  
 
The  table  below  is  an  approximation  of  human  sensitivity  to  changes  in  sound  levels.  Sound  intensity  is  not  perceived  
directly   at   the   ear:   rather   a   complex   hearing   mechanism   to   the   brain   where   acoustical   sensations   are   interpreted   as  
loudness  transfers  it.  This  makes  hearing  perception  highly  individualized.  
 

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Sensitivity   to   noise   also   depends   on   frequency   content,   time   of   occurrence,   duration   of   sound,   and   psychological  
factors   such   as   emotion   and   expectations.   Nevertheless,   the   table   is   a   reasonable   guide   to   help   explain   increases   or  
decreases  in  sound  levels  for  many  architectural  acoustics  situations.  
 
Changes  in  Sound  Levels  (dB)   Changes  in  apparent  loudness  to  the  human  ear  

20  dB   1/4  as  loud  

1  dB   Imperceptible  (except  for  tones)  

3  dB   Just  barely  perceptible  

6  dB   Clearly  noticeable  

10  dB   Half  as  loud  

 
This   is   important   to   note   when   selecting   suitable   STC   Ratings   for   a   project   vis-­‐à-­‐vis   project   cost.     If   desired,   your  
Varifold  customer  representative  can  make  the  necessary  recommendations  based  on  your  sound  control  parameters  
and  budget.      
 
 
The  Three-­‐Panel  Partition  
 
How   many   times   have   you   seen   magazine   articles   on   studio   design   in   which   "high   performance"   partitions   are  
detailed?   Often   these   are   touted   as   "triple   walls"   or   described   as   a   seemingly   endless   stack   of   different   sheet   goods  
with  air  spaces  interspersed  among  them.  ("We  used  wallboard  plus  fiberboard  plus  wallboard  then  a  1-­‐inch  gap  plus  
wallboard   plus   rubber   plus   plywood   then   a   2-­‐inch   gap   plus...").   By   serendipity   these   walls   may   be   sufficient   for   the  
needs  of  an  individual  studio,  but  they're  not  always  a  cost-­‐effective  use  of  materials  or  available  space.  
 
Take  the  example  of  a  simple  double  stud  partition.  Starting  with  a  single  layer  of  gypsum  board  on  the  outside  faces  
and   cavity   insulation   (Figure   1a),   this   wall   has   a   Sound   Transmission   Class   (STC)   rating   of   STC-­‐56.   If   we   attempt   to  
"improve"   the   wall   by   putting   two   additional   layers   of   gypsum   board   on   the   inner   face   of   one   stud   (Figure   1b),   the   STC  
rating  actually  decreases,  to  STC-­‐53.    
 
Following  this  "more  is  better"  mindset,  if  we  add  two  more  layers  of  gypsum  board  to  the  inner  face  of  the  other  stud  
(Figure  1c),  the  STC  rating  is  still  lower,  at  STC-­‐48.  (Never  mind  the  difficulty  in  actually  building  this  version.)  
 

 
 

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Figure   1.   Plan   view   of   a   simple   double   stud   partition   (a).   Adding   drywall   will   actually   lower   the   sound   isolation   if   it  
creates  a  triple  (b)  or  quadruple  (c)  wall.  A  mass-­‐airspace-­‐mass  arrangement  offers  the  best  use  of  materials  and  space.  
Additional  drywall  at  the  outer  faces  (d)  increases  attenuation  dramatically.  
 
So  what  went  wrong  here?  In  a  cavity  wall,  the  transmission  loss  depends  on  the  mass  (and  stiffness)  of  the  surfaces  
and  the  thickness  (and  absorption)  of  the  airspace  between  them.  In  this  example,  putting  gypsum  board  on  the  inner  
faces  of  the  studs  -­‐-­‐  creating  a  three-­‐panel  or  four-­‐panel  wall  -­‐-­‐  divides  the  airspace  into  smaller  segments,  and  the  low-­‐
frequency  sound  transmission  loss  (which  in  this  case  dominates  the  STC  rating)  is  reduced.  
 
If   we   merely   add   one   layer   of   gypsum   board   to   each   outer   face   of   the   original   wall   (Figure   1d),   an   STC   rating   of   STC-­‐63  
is  achieved.  This  uses  less  material  and  less  space  than  the  four-­‐panel  wall,  but  gives  significantly  better  performance.  
To  optimize  acoustical  performance,  how  the  materials  are  put  together  is  often  more  important  than  what  materials  
are  selected.  
 
 
The  Field-­‐Fabricated  Door  
 
Doors  are  almost  always  the  weak  link  in  the  sound  isolation  of  an  acoustically  critical  room.  Anything  that's  operable  
cannot  be  built  as  solid  and  airtight  as  a  fixed  component,  and  real-­‐life  products  don't  seal  completely  or  stay  in  perfect  
alignment.  
 
To  make  matters  worse,  some  manufacturers  promote  "acoustical  doors"  with  ratings  based  on  tests  in  which  a  non-­‐
operable  door  panel  is  fixed  into  an  opening.  Seeing  this,  many  people  (including  some  studio  designers)  have  made  
valiant  but  futile  attempts  to  improve  a  door's  sound  isolation  performance  by  making  the  door  panel  better.  Years  ago  
it  was  not  uncommon  to  see  two  solid  core  wood  doors  bolted  together  with  a  layer  of  "machine  rubber"  sandwiched  
between.  (It  may  not  work,  but  it  sure  is  bulky  and  unattractive.)  
 
What   is   usually   overlooked,   however,   is   that   the   door   itself   is   rarely   the   limiting   factor.   The  acoustical   leaks   are   almost  
always  worst  at  the  seals  around  the  perimeter  of  the  door.  Even  the  best  field-­‐applied  door  seals  can  quickly  go  out  of  
adjustment,  and  won't  consistently  maintain  optimum  contact  and  closure  between  the  door  and  its  frame.  
 
Figure  1  shows  the  effect  of  such  leaks  on  sound  transmission  loss.  If  we  consider  a  3'-­‐0"  x  7'-­‐0"  door  with  a  gap  around  
its   perimeter   of   only   1/64",   the   gap   represents   only   0.1%   of   the   total   area.   This   is   enough,   however,   to   effectively  
reduce  an  STC-­‐36  door  to  an  STC29  rating.  More  importantly,  if  the  door  is  beefed  up  to  stop  an  additional  10  dB  of  
sound,  the  composite  transmission  loss  increases  only  1  dB.  In  other  words,  improving  the  door  panel  barely  affects  the  
overall  performance,  since  the  perimeter  seals  can't  keep  up.  
 
Sound-­‐rated  doors  -­‐-­‐  in  which  the  door,  frame,  and  seals  are  manufactured  as  an  integral  unit  -­‐-­‐  are  the  only  reliable  
means   of   getting   acoustical   performance   which   is   significantly   better   than   a   relatively   simple   door   panel   and   field-­‐
applied   seals.   Alternatively,   using   multiple   doors   in   a   vestibule   arrangement   or   keeping   the   door   opening   separated  
from  the  noise  sources  will  help  obtain  appropriate  sound  isolation.  
 
 
“Mostly”  Right  is  NOT  Good  Enough  
 
Failures   in   construction   happen   more   frequently   from   lack   of   attention   to   detail   than   from   an   error   in   the   overall  
design.  One  typical  example  is  in  building  a  drywall  partition:  It's  carefully  erected  with  isolated  stud  framing,  filled  with  
acoustical  insulation,  and  finished  with  multiple  layers  of  drywall  carried  from  the  floor  slab  all  the  way  up  to  the  metal  
deck  above.  
 
Later  the  electrician  uses  his  claw  hammer  to  run  some  conduit  through  the  wall,  and  the  plumber  puts  in  a  sprinkler  
pipe  or  two.  You  note  that  there  are  some  gaps  around  these  penetrations,  and  that  the  drywall  doesn't  fit  into  the  
corrugations   at   the   deck,   so   you   issue   instructions   that   all   gaps   are   to   be   stuffed   with   insulation.   It   seems   like   that  
would  be  harmless  enough,  but  you've  probably  just  wasted  half  of  the  effort  and  materials  that  went  into  the  wall.  

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The   insulation   provides   sound   absorption,   but   it   isn't   a   barrier   to   sound   transmission   through   and   around   the   wall.  
Even  though  a  3/4"  gap  along  the  top  of  a  15-­‐foot  length  of  wall  represents  only  one  square  foot  of  opening,  stuffing  it  
with  insulation  instead  of  sealing  the  gap  can  limit  the  wall's  overall  performance  by  more  than  10  dB.  Figure  1  shows  
two  field  tests  of  a  drywall  partition.  The  only  difference  between  them  is  the  manner  in  which  the  head  of  the  wall  
was   sealed   to   the   deck   above   -­‐-­‐   initially   the   gap   had   been   stuffed   with   insulation,   but   later   a   barrier   designed   to  
conform  to  the  gap  was  installed  and  sealed  airtight  into  place.  This  single  modification  improved  the  sound  isolation  
from  STC-­‐31  to  STC-­‐44.  
 
What's  important  in  facility  design  and  construction  is  balance.    
There's   no   point   in   putting   a   great   door   in   an   inferior   wall,   or   vice   versa.   And   the   best,   most   expensive   partition   is   only  
as  good  as  its  leakiest  electrical  box.  As  the  sound  isolation  requirements  of  a  room  increase,  the  effect  of  an  acoustical  
weak  link  becomes  more  and  more  devastating.  Each  of  the  components  must  meet  the  required  performance,  or  they  
will  fail  collectively.  
 
At  Varifold,  we  know  the  importance  of  accuracy  in  sound  control.    Upon  request,  we  can  conduct  a  survey  and  test  
the  area  for  the  operable  wall  or  partition  and  determine  the  suitable  STC  rating  for  the  client’s  particular  requirement.    
We  always  put  our  best  effort  in  our  products’  performance  in  order  to  supply  our  clients  with  the  optimal  solution  that  
they  demand.    Varifold  Partitions  will  never  be  the  acoustical  weak  link  in  any  sound  control  project.  
 
 
Applying  the  Science  of  Acoustics  to  Planning  For  Varifold  Partitions  
 
The  theories  and  terminology  of  acoustics  come  into  practical  application  when  you  begin  to  plan  the  division  of  space  
with  Varifold  movable  walls.  What  and  how  you  specify  relies  on  how  you  answer  some  very  critical  questions:  
 
WHAT  WILL  THE  ROOMS  BE  USED  FOR?  
The  intended  use  of  the  building  or  room  versus  the  use  of  the  surrounding  areas  will,  in  part,  determine  the  amount  of  
sound  control  you  need.  For  example,  a  folding  wall  dividing  a  high  school  science  classroom  from  a  student  lab  doesn't  
need  to  have  as  good  a  barrier  as  an  operable  partition  between  meeting  rooms  in  a  hotel.  New  offices  near  a  heavily  
traveled  corridor  will  need  nearly  as  much  sound  control  as  a  children's  day  care  center  adjacent  to  the  worship  area  of  
a  church.  
 
WHAT  WILL  THE  LEVEL  OF  AMBIENT  NOISE  BE?  
It's  important  to  realize  that  there  is  no  such  thing  as  'sound  proof'.  There  will  always  be  some  sort  of  ambient  or  
background  noise  in  a  room.  However,  we  can  use  that  fact  to  our  advantage.  Let's  take  the  case  of  the  offices  on  the  
noisy  corridor.  The  constant  hum  of  a  computer,  or  the  woosh  of  the  HVAC  system  can  actually  make  the  offices  seem  
quieter,  since  these  everyday  sounds  will  partially  mask  the  outside  noise.  
 
WHAT  TYPES  OF  MATERIALS  WILL  BE  USED  IN  THE  ROOM?  
The  materials  used  in  building  and  furnishing  the  room  can  either  absorb  or  reflect  the  sound.  Ideally  there  will  be  
some  of  both.  The  walls,  floors,  ceiling  decks,  and  doors  should  be  able  to  block  the  sound  from  passing  through.  Soft  
surface  treatments  like  carpet,  drapes,  wall  hangings,  etc.,  will  reduce  unwanted  reverberation.  In  rooms  where  it  is  
difficult  to  include  adequate  soft  decor,  such  as  a  gym  or  hospital  room,  a  better  barrier  may  be  needed  to  offset  the  
extra  loudness  due  to  echoes.  
 
 
Getting  the  Sound  Control  You  Need  –  Checklist  
 
Now   that   you've   been   exposed   to   the   basics   of   sound   control   and   testing,   it   should   be   apparent   that   acoustics   is   a  
science.   It's   not   guesswork.   The   same   applies   to   selecting   acoustical   movable   partitions.   Here's   a   basic   checklist   that  
should  help  you  get  an  installation  suitable  to  the  occupants  and  building  management.  
 
• Determine  the  use  of  the  surrounding  areas  and  the  ambient  noise  of  each.  

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 • Hire  an  independent  acoustician  when  sound  control  is  critical  or  the  existing  construction  is  in  question.  
• Take  the  necessary  steps  in  design  and  construction  to  avoid  flanking  paths.  
• If   flanking   paths   are   unavoidable,   specify   a   realistic   STC   for   the   partitions,   keeping   it   in   balance   with   the  
surrounding  construction.  
• Specify  the  STC  needed,  realizing  that  the  actual  installed  NIC  will  be  5  to  10  dB  lower.  
• Select   the   appropriate   type   of   partition,   keeping   in   mind   the   application,   construction   quality,   ease   of  
operation,  seals,  and  guarantee.    Varifold  products  will  always  comply  with  such  requirements.  
• Ask  for  references  and  published  tests  to  ensure  that  the  partition  supplier  has  achieved  the  needed  level  of  
sound  control  in  past  installations.      The  Varifold  list  of  satisfied  clients  is  testimony  to  its  superior  products.            
• Make   sure   the   partitions   are   installed   by   qualified,   professional   installers.     Varifold   installers   are   trained   to  
finish  every  project  with  the  same  meticulous  regard  for  quality  control  down  to  the  last  screw  and  nail.      
• Have  operating  personnel  fully  trained  to  move,  store  and  adjust  partitions  properly.  
• Utilize  top  and  bottom  mechanical  seals  to  ensure  ease  of  partition  movement  and  a  positive  acoustical  seal.  
 
In   achieving   the   project’s   maximum   sound   control   requirement,   teamwork   among   the   acoustical   consultant,   the  
architect,   the   general   contractor,   the   Varifold   and   all   other   trades   are   equally   important.   When   approached   as   a   team  
effort,  the  results  can  be  spectacular.  
 
 
Glossary  of  Acoustical  Terms  
 
 
ABSORPTION  -­‐  The  reduction  of  reverberating  sound  by  the  use  of  porous,  non-­‐dense  materials.  
AMBIENT  NOISE  -­‐  The  ongoing  regular  noise  of  a  given  environment.  Also  known  as  background  noise.  
ASTM  (Formerly  American  Society  for  Testing  and  Materials)  –  Organization  which  establishes  standards  for  testing  and  
application  in  many  areas  including  acoustics.  
DECIBEL  (dB)  -­‐  Common  unit  of  loudness,  actually  a  logarithmic  ratio  of  sound  pressure  level  to  a  reference  level.  
FLANKING   PATH  -­‐   Leaks   in   the   surrounding   construction   of   a   movable   partition   in   which   sound   can   travel.   Shoddy  
construction,  customary  construction  practices,  or  poor  installation  of  the  partition  can  all  contribute  to  the  leaks.  
FREQUENCY  -­‐   The   rate   of   vibration,   determining   how   high   or   low   the   pitch   is.   Frequency   is   measured   in   cycles   per  
second,  or  Hertz  (Hz).  
HERTZ  -­‐  Unit  of  frequency.  One  Hertz  equals  one  cycle  per  second.  Abbreviated  Hz.  
NIC   (Noise   Isolation   Class)  -­‐   This   is   a   number   describing   the   performance   of   ALL   building   elements   in   isolating   one  
room  from  another.  Perhaps  the  most  practical  way  to  state  the  acoustical  performance  of  movable  partitions  already  
installed.  
NR  (Noise  Reduction)  –  The  difference  between  the  sound  levels  in  the  source  and  receive  rooms.  
NRC   (Noise   Reduction   Coefficient)  –   The   average   of   absorption   coefficients   at   four   key   frequencies.   Rating   of   the  
absorptive  characteristic  of  a  surface.  
PINK   NOISE  -­‐   Broadband   noise   with   equal   power   at   each   constant-­‐percentage   bandwidth,   often   used   for   acoustic  
testing.  
RECEIVING  ROOM  -­‐  Room  opposite  the  room  with  the  sound  source,  in  acoustic  measurement.  
REVERBERATION  -­‐  The  reflection  of  sound  from  hard  surfaces.  Contributes  to  loudness.  
SOURCE  ROOM  -­‐  In  architectural  acoustic  measurements,  the  room  that  contains  the  sound  source.  
STC   (Sound   Transmission   Class)  -­‐   The   most   widely   accepted   standard   for   ranking   the   acoustical   performance   of  
accordion  and  operable  partitions.  
STL  (Sound  Transmission  Loss)  -­‐  The  effectiveness  of  a  barrier  at  preventing  sound  from  getting  from  one  side  to  the  
other.  It  is  measured  in  decibels  (dB),  the  same  as  amplitude.  
SOUND   CONTROL   BATTS-­‐   Lightweight,   sound-­‐absorbent   insulations   made   of   long,   resilient   glass   fibers   bonded   with   an  
acrylic  thermosetting  binder.  
SOUND  DAMPING  -­‐  The  use  of  fibrous  sound-­‐absorbing  material  in  a  partition  to  reduce  sound  transmission.    
Damping  in  floor/ceiling  construction  has  a  wider  application  for  impact  sound  than  for  airborne  sound.  
 
 
 

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ASTM  STANDARDS  
 
E90  -­‐  Standard  Method  for  Laboratory  Measurement  of  Airborne  Sound  Transmission  Loss  of  Building  Partitions  
E336  -­‐  Standard  Test  Method  for  Measurement  of  Airborne  Sound  Insulation  in  Buildings  
E413  -­‐  Standard  Classification  for  Determination  of  Sound  Transmission  Class  
E497  -­‐  Standard  Practice  for  Installing  Sound-­‐Isolating  Gypsum  Board  Partitions  
E557  -­‐  Standard  Practice  for  Architectural  Application  and  Installation  of  Operable  Partitions  
 
Our  Acoustically  Rated  Product  Lines  
 
Variwall®    Soundmaster   1000     Variwall®    Screenmaster      550  
Variwall®    Spacemaster                750       Variwall®    Shojimaster      350  
 
FOR  MORE  INFORMATION,  PLEASE  CONTACT  US  AT:  
 

 
Company:   Varifold  Architectural  Products,  Inc.  
Makati  Ofc.  Address:   3187  Kalayaan  Ave.,  Makati  City,  Metro  Manila,  PH  
Makati  Ofc.  Phone  Nos.:   +63  2  882  0271  to  73;  +63  2  729  2667  
Makati  Ofc.  Fax  No.:   +63  2  882  0269  
Mobile  (SUN):   +63  932  843  3157;  +63  922  812  7135  
Mobile  (GLOBE):   +63  917  667  6791  
Plant  Address:   Sitio  Payong,  Bgy.  Dalig,  Antipolo  City,  PH  
Plant  Telephone  Nos.:   +63  2  393  9870;  +63  2  494  8098  
E-­‐mail:   info@varifold.com  

 
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