• DEFINIT

ION
– Room acoustics
describes how sound
behaves in an
enclosed space.
– Each room, and all
the objects in it, will
react differently to
different frequencies
of sound.
• CONSID
E R AT I O
NS
– Room Noise
– Room Reverberation

– Talker-Listener
Distance
• CONCER
NS
– Sound Isolation
– Interior Room
Acoustics
– Mechanical Noise
– Musical Acoustics
• SOUND/ • TYPES
BARRIE –
–
A. Transmission
B. Absorption
R –
–
C. Reflection
D. Diffusion
INTERAC
TION
– Room Noise
–
• POOR
SOUND
I S O L AT I O
N
SYMPTOM
S
Sound travels from one room
to another through:
– Closed doors & Windows
– Walls
– Ceiling & Floor
– Cracks & Openings
• REVERB
E R AT I O N
– Repetition of reflected
sound off surfaces
– Cause of prolongation
of sound
– Longer the
reverberation, the
more smear of sounds
• REVERB
E R AT I O
N
– Vowels tend to
smear because:
• More intense
• Higher frequencies
of consonants are
absorbed more
effectively by room
surfaces
Criteria for background noise in rooms
• REVERBE
R AT I O N
TIME
– Ti m e i t t a ke s
f o r t h e s o u n d
t o s t o p
r e fl e c t i n g

– Ti m e i n
s e c o n d s t o
re d u c e 6 0 d B
i n i n t e n s i t y
a ft e r t h e s t o p
o f s o u n d
g e n e r a t i o n .
• REVERB
E R AT I O
N TIME
– Hard room, long
time
– RT of room alters the
effect of the
speaker-listener
distance upon sound
intensity
• NOISE
– Any unwanted sound
– Where noise floor
measures all the
noise sources and
unwanted signals
– Where signal
serves as a
representation of
sound.
– Signal to Noise
Ratio
• SOURCE
S OF
SOUND
– Internal
– External
• ACOUSTI
C
BARRIERS
– Soundwall, sound
barrier, sound berm
– Internal noise
– External noise
– Reverberation
– Speaker-Listener
Distance
– Poor acoustical
treatments
• HOW TO
REDUCE
NOISE
– Sound absorptive
panels
– Acoustic Ceiling
Panels
– Padded carpeting
– Curtains
– Sound tiles
– Caulking
• BENEFIT
S
– Improvement in
ambiance
– Improvement in
speech recognition
– For classrooms,
improvement in
learning and
attending behaviors
– Vocal Fatigue and
Vocal Strain
Reduction
• DESIGN
SOLU TI O
NS
– Adding mass with
materials ¾ mass
plywood to both
sides on poorly
constructed doors.
– Adding a second
pane of laminated
glass on single pane
glasses.
• DESIGN
S OLU T I
ONS
– Adding seals on doors
and windows. Magnetic
seals, neoprene and
making sure the seal is
air tight.
– Adding a second door
on your original door.
• DESIGN
SOLUTION
S
– For walls, close gaps and
openings.
– Adding another wall on
your rooms for thin walls.
– Sealing walls at the
ceiling by the use of
gypsum boards and fiber-
glass stuffings.
– Correcting improper wall
construction
• MECHANIC
AL SOUND
SOLUTION
S
– Vent openings need to be
large with grillwork.
– Relocate the HVAC systems
if it’s too close on the rooms
– Ductwork can be quieted
with sound baffles( sound
attenuators)
– Quieting noisy light
transformers to save
energy.
• AUDITO
RIUM
–  a room built to
enable an audience
to hear and watch
performances at
venues such as
theatres
– Room also intended
for classrooms,
churches, meeting
halls
• TYPES
–  SPEECH
• Conference Hall
• Lecture Theater
• Law Court
– MUSIC
• Concert Hall
• Music Practice
Room
– MULTI-PURPOSE
• School Assembly
Hall
• Town Hall
• ARCHITE
CTURAL
CONSIDE
R AT I O N S
–  Shape
– Dimensions
– Volume
– Seating arrangements
– Layout of boundary
surfaces
– Audience Capacity
• AUDITOR
IUM
CONSIDE
R AT I O N S
–  Reverberation
• Have longer mean
reverberation times
than speech halls
• Large enclosed spaces
are potentially subject
to the problem of
discrete echoes.
• DEFECT
S
–  Echo
– Delayed Reflection
– Sound Shadow
• DEFECT
S
–  Echo
– Delayed Reflection
– Sound Shadow
• AUDITOR
IUM
ACOUSTI
CS
– Sound amplification
system
• Reinforce sound level
• Amplified soundflow for
overflowed audience
• Minimize reverb.
• Provide artificial
reverberation in dead
rooms
• LOUDSPE
AKER
SYSTEM
TYPES
– Centrally located system
• Single clustered loudspeaker
system over a sound source.
– Distributed system
• Usage of overhead speakers
throughout the auditorium
– Stereophonic System
• Two or more cluster of
loudspeakers around the
source.
• LOUDSPE
AKER
SYSTEM
DEFECTS
– A u d i e n c e w i l l
h e a r t w o
s o u n ds
a rr i v i n g a t t w o
t i m e .
– We a k e c h o m a y
c o m e i f
l o u d s p e a ke r i s
p l a c e d h a l fw a y.
• HOW IT
AFFECTS
POWER
– Speaker-listener
relationship
– Audience absorption
of direct sound
– Reflector
reinforcement
– Sound Shadows
– Loudspeaker
Reinforcement
• HOW IT
AFFECTS
POWER
– Speaker-listener
relationship
– Audience absorption
of direct sound
– Reflector
reinforcement
– Sound Shadows
– Loudspeaker
Reinforcement
• HOW IT
AFFECTS
CLARITY
– Delayed Reflections:
Reverb, Echoes, Near
Echoes
– Duplication of sound
source by
loudspeakers
– Ambient Noise
– Intrusive Noise
• VO LU M E
– For unamplified
speech, limit the
overall room
volume.
– Music should be
have a large room
volume.
– Audience area must
be placed as close
to the speaker to
minimize sound
attenuation.
• ROOM
SHAPES
– Room geometry is important
to minimize speaker-
audience distance.
– Rectangular Hall = MUSIC
– Rectangular geometry is
suitable for a relatively
small speech hall.
– For greater seating capacity,
side walls should be splayed
from stage
– Side wall splays may range
from 30 to 60 degrees
– Fan shaped halls are not
used for music performance.
ABSORPTI
ON
• ABSORPTION
– In small speech halls, majority of absorption is provided
by the audience.
• The larger the room the greater need for absorption
– Reflective front stage is beneficial.
• Provides strong early reflections that are integrated with the direct
sound and enhances it.
• On the contrary, reverberations and late reflections, such as from
rear walls, would not be integrated to produce echoes.
– The stage area and front of the hall are made to be
reflective and absorption is placed in the seating area
and rear of the hall.
• CEILINGS
– For large halls,Ceiling
reflectors are used to direct
sound energy from the
stage to the seating area.
– Dimensions of a square
reflecting panel should be at
least five times the
wavelength of the lowest
frequency to be reflected.
– High ceilings require path-
length differences between
direct and reflected sound
should not be too high.
– In some cases, clouds are
absorptive to avoid
reflections.
• AUDITO
RIUM
F LO O R S
– Raked flooring
• Allowing direct angle of
incidence and less
absorption.
• Slope should be less than
8 degrees.
• Staggering seats are also
recommended.
• Lessens visual
obstruction.
• AUDITO
RIUM
WA L L S
– Rear wall is carefully
observed
– Rear wall should be
naturally absorptive.
• Rear wall reflections would
create long path difference
to a listener resulting to
audible echoes.
– Reflective concave rear
walls would also
undesirably focus sound.
ARCHITECTURAL
C O N S I D E R AT I O N
S
• DESIGN
S
– Complexity rests with
the music itself
– Different styles and
culture of music have
different acoustical
requirements.
– BALCONY
• Used to decrease the
distance from the stage to
some seating areas, and
provide good sight lines.
• Overhang depth should be
less than twice the height
of the balcony underside.
• Length should not be more
than the height.
• DESIGNS
– BALCONY CONTINUED…
• Used to decrease the
distance from the stage to
some seating areas, and
provide good sight lines.
• Overhang depth should be
less than twice the height of
the balcony underside.
• Length should not be more
than the height.

• Reflecting surfaces on the

ceiling and side walls, as well
as the underside of the
balcony --- designed to add
as much reflected sound as
possible to the seating areas.
• DESIGNS
– CEILING
• Ceiling height is usually
determined by the overall
room that is required.
• Ceiling height should be
about one-third to two-thirids
of the room width.
• A ceiling that is too high may
result in a room volume that
is too large,
• Avoid ceiling echo, smooth
ceiling should not be parallel
to the floor.
• Ceiling geometry is designed
to direct sound to the rear of
the hall.
• Avoid concave surfaces such
as domes, barelled ceilings.
• DESIGN
S
– WALL
• For rear wall,s, avoid large
unbroken concave
geometry.
• Side walls should avoid
parallelism by splayed wall.
• Angles are advantageously
used to direct reflected
sound to the audience
seating area, providing
diffusion.
• Any surface that
unavoidably introduce
concave geometry or an
undesirable angle should
be covered with absorptive
material.
• DESIG
NS
– FLOORS
• Raked Flooring
• A sloping floor is
desirable in halls
where audience sound
absorption must be
minimized.
つづく