ACOUSTIC IN AN

AUDITORIUM

• SUBMITTED BY:
• SWAPNIL NIMBHORKAR
• FINAL YEAR PART-2
• B-ARCHITECTURE
 INTRODUCTION
• ACOUSTIC IS TECHNICAL SCIENCE WHICH DEALS
WITH THE STUDY OF SOUND .IT PLAYS A VERY
CRUCIAL ROLE IN CONTROLLING AND REDUCING
THE NOISE LEVEL IN A BUILDING. ACOUSTIC
INVOLVES STUDY OF REVERBERATIONS AND
ECHOS WHICH ARE GENERALLY FORMED DUE TO
PROLONGATION OR REFLECTION OF SOUND.
• DIFFERENT KINDS OF BUILDINGS HAVE
DIFFERENT ACOUSTICAL REQUIREMENT.
ACOUSTICAL ANALYSIS AND PLANNING
CRITERIA OF AN AUDITORIUM HAVE BEEN
DISCUSSED IN DETAILS.
 TERMINOLOGY
• THERE ARE CERTAIN TERMS THAT SHOULD BE KEPT IN
MIND WHILE TALKING OF ACOUSTIC. THEY ARE:

• .SOUND RESONANCE.

• .SOUND ABSORPTION.

• .REVERBERATION.

• .SABINE’S FORMULA AND ASSUMPTIONS THEREBY.

 SOUND RESONANCE:
• SOUND WAVES ARE CAPABLE OF SETTING
PHYSICAL VIBRATION IN SURROUNDING
OBJECTS. THE VIBRATING OBJECTS IN TURN
PRODUCES SOUND WAVES. THUS THE ORIGINAL
SOUND LEVEL FROM THE SOUND SOURCE IS
INCREASED BECAUSE OF THE SOUND ADDED BY
THE VIBRATING OBJECTS WHICH INCLUDE
WINDOWPANES, WALLS, ENTRAPPED AIR, ETC.
THIS PHENOMENON IS KNOWN AS RESONANCE IN
WHICH BOTH, THE CAUSE AND THE EFFECT BE
GETTING EACH OTHER, PRODUCE SOUND.
 SOUND ABSORPTION:
• THE FIBROUS AND POROUS NATURE OF MATERIALS
CONTRIBUTES TO THEIR SOUND ABSORBING CAPACITY.
THE SOUND ABSORBING COEFFICIENT OF A MATERIAL IS
THE RATIO OF THE SOUND ENERGY ABSORBED TO THR
TOTAL INCIDENT SOUND ENERGY ON A UNIT AREA OF THE
MATERIAL AND IS DENOTED BY.  A MATERIAL WITH THE
VALUE OF  AS 0.5 INDICATES THAT 50% OF SOUND
ENERGY WILL BE ABSORBED BY IT PER UNIT AREA. SOUND
ABSORPTION COEFFICIENT OF AN OPEN WINDOW IS UNITY.
THE TOTAL ABSORPTION PROVIDED BY THE MATERIAL OF
SURFACE AREA  SQ. METERS AND SOUND ABSORPTION
COEFFICIENT  IS OBTAINED IN SABINS AS:

• S =  . a . SABINS or sq.m.
• IN A HALL THE TOTAL ABSORPTION BY THE DIFFERENT
ACOUSTICAL MATERIALS IS GIVEN BY THE EXPRESSION:
• S = S1 + S2 + S3 + ………
• = 1a1 + 2a2 + 3a3 + ………
• WHERE 1, 2, 3,…..ARE ABSORPTION COEFFICIENTS OF
MATERIALS WITH AREAS a1,a2,a3,…….SQ.M.
• THE VALUES OF a DEPEND UPON THE NATURE OF THE
MATERIAL AS WELL AS THE FREQUENCY OF SOUND. THE
GREATER THE FREQUENCY THE LARGER IS THE VALUE OF
A FOR THE SAME MATERIAL.

• THE ABSORPTION COEFFICIENTS OF SOME INDIGENOUS

ACOUSTICAL MATERIALS DETERMINED AT THE CENTRAL
BUILDING RESEARCH INSTITUTE, ROORKEE, ARE USED
FOR CALCULATING TOTAL ABSORPTION.
 REVERBERATION:
• REVERBERATION:
• SEVERAL REPETATIVE SOUND REFLECTINS FROM
DIFFERENT SURFACES IN A ROOM REDUCE THE SOUND
ENERGY. EVEN WHEN THE SOUND-SOURCE IS STOPPED,
SOME SOUND ENERGY IS RETAINED IN THE ROOM FOR
SOME TIME. THIS PROCESS OF ‘SOUND ENERGY
RETENTION’ IS CALLED “REVERBERATION”.

• REVERBERATION TIME (RT):

• IT IS THE TIME REQUIRED FOR THE SOUND OF 60 db
LEVEL TO BE COME INAUDIBLE i.e. TO COME DOWN TO
ZERO db LEVEL. ACCORDING TO SABINE, IT IS THE TIME
FOR SOUND INTENSITY TO COME DOWN TO 10-6 OF ITS
ORIGINAL INTENSITY.
• FACTORS AFFECTING R.T.:
 LOUDNESS OF ORIGINAL SOUND.
 ABSORPTION BY BOUNDING SURFACES, PEOPLE,
FURNISHING ETC.
 VOLUME OF ROOM.

• ASSUMPTIONS IN R.T. CALCULATION:

 UNIFORM DISTRIBUTION OF SOUND ENERGY IN
THE ROOM.
 DECAY BE SMOOTH, WITHOUT FLUCTUATION.
 THE ABSORPTIVE TREATMENT NOT TO BE
CONCENTRATED AT A FEW PLACES IN THE ROOM
i.e. DIFFUSING AND RANDOM SCATTERING OF
SOUND IN THE ROOM.
 NO DOMES AND CURVED SURFACES.
 TEMPERATURE AND HUMIDITY TO REMAIN CONSTANT.
 WITH PARABOLIC SHAPE OF THE ROOM, R.T. WILL BE
LOW.
  GIVEN, IS USUALLY FOR RANDOM, DIFFUSED
INCIDENCE OF SOUND ON THE ABSORPTIVE MATERIAL OF
ABOUT 6M2 PANEL.
 THE AUDIENCE MEMBER ARE EXPECTED TO BE SEATED,
ONE BEHIND THE OTHER. IN HALF-FILLED ROOM, THIS
CONDITION MAY NOT BE REALIZED.
• PROPER R.T.:
 EVERY MEMBER OF THE AUDIENCE SHOULD
RECEIVE DIRECT SOUND FROM THE SOURCE AND
THAT SHOULD BE IMMEDIATLY FOLLOWED BY
SOUNDS FROM DIFFERENT SPEAKERS.
 SMOOTH PARALLEL WALLS BE AVOIDED TO
AVOID RESONANCE EFFECT.
 SABINE’S
• SABINE’S EQUATION:
• AFTER SEVERAL EXPERIMENTS, SABINE GAVE
• RT = 0.16V/S, HERE RT IN SEC.
• V = VOLUME OF THE ROOM IN CU.M.
AND
• S = TOTAL ABSORPTION IN THE ROOM
IN SQ.M. i.e.
• S = (1S1 + 2S2 + ……)+a1,a2…….WHERE 1=
ABSORPTION COEFFICIENT OF A SURFACE OF AREA S1
ETC. AND a1= ABSORPTION BY THE AUDIENCE, a2=
ABSORPTION BY THE EMPTY CHAIRS ETC.
• SABINE’S ASSUMPTIONS:
 SOUND ENERGY DISTRIBUTION IN THE ROOM BE
UNIFORM. SOUND FREQUENCIES BE NEARLY
SAME AS ARE FOR 1,2…..ETC GIVING TOTAL
ABSORPTION S.
 ABSORPTION IN AIR IS NEGLECTED.
 REVERBERANT CONDITIONS IN ADJOINING
ROOMS DO NOT AFFECT CONDITIONS IN THE
ROOM.
 SOUND-SOURCE BE SUFFICIENTLY POWERFUL
TO GIVE DIRECT SOUND.
 GOOD ACOUSTIC IN AN
AUDITORIUM
• AN AUDITORIUM IS A CENTRE FOR PERFORMING ARTS.
THEY ENCLOSE LARGE AREA IN WHICH ECHOES ARE
PROMINENT. SO, FOR CLEAR HEARING, PROPER SOUND
INSULATION SHOULD BE PROVIDED IN AUDITORIUMS.
• ACOUSTICAL ANALYSIS
• FOR ACOUSTICAL ANALYSIS OF AN AUDITORIUM IT
IS RECOMMENDED THAT IMPORTANCE MUST BE GIVEN
TO THE SIZE OF AUDIENCES AND FURNISHING OF THE
ROOM. SEATS, OCCUPANTS AND FURNISHING ALSO ADD
TO THE ABSORPTION OF THE ROOM AND THUS AFFECT
THE REVERBERATION TIME. THE ABSORPTON BY THE
SEATS IS COMPUTED PER SEAT.THE SAME METHOD IS
USED IN CALCULATING THE ABSORPTION OF THE
AUDIENCE.
• IN DETERMINE THE NUMBER OF SABINS ADDED BY THE
AUDIENCE SO THAT THE ABSORPTION EACH SEAT IS
NO LONGER EFFECTIVE WHEN IT IS ACCUPIED, SO THAT
THE NET ABSORPTION PER PERSON WILL BE 4 SABINS.
• THE STEP IN ANALYSIS ARE AS FOLLOWS:
( 1)DETERMINE THE VOLUME OF THE ROOM.
( 2)DETERMINE THE TOTAL ABSORPTION IN THE
EMPTY ROOM DUE TO ROOM SURFACES, SEATS,
FURNISHINGS, ETC.
( 3)CALCULATE THE REVERBERATION TIME IN THE
EMPTY ROOM FROM THE SABIN FORMULA.
• .
 PLANNING CRITERIA
• FOLLOWING POINTS SHOULD ALSO BE CONSIDERED FOR
GOOD ACOUSTIC IN AN AUDITORIUM:

• SEATING:
• SEATING SHOULD BE ARRANGED IN A MANNER SEEN
THAT THE AUDIENCE IS AS NEAR THE STAGE AS POSSIBLE
FOR THIS DIVERGING SIDEWALLS ARE PREFERRED
MOREOVER THE SEATS SHOULD BE ELEVATED AND
STAGGERED, AS BESIDES GOOD VISIBILITY THEY
PROVIDE DIRECT FLOW OF SOUND FROM THE SOURCE TO
THE AUDIENCE. THE ELEVATED SEATING IS EFFECTIVE IN
ABSORBING SOUND AND REDUCES THE VARIATION IN
REVERBERATION CAUSED BY THE SIZE OF AUDIENCE. THE
ANGLE OF ELEVATION OF INCLINED FLOOR SHOULD NOT
BE LESS THAN 8DEGREE.
• CARPETED AISLES, CARPETED FLOOR AND HEAVY
UPHOLSTERED CHAIRS, HELPS IN PREVENTING
OBJECTONABLE REFLECTION AND SUPPRESSES NOISE
CREATED BY TAPPING OF FEET.

PLAN SHOWING SEATING ARRANGEMENT

LAYOUT OF FLOOR PLAN:
• FLOOR PLANS WITH THE RATIO OF
LENGTH TO WIDTH 2:1 ARE
PREFERRED THAN WITH RATIO OF
1:1 CIRCULAR AND ELLIPTICAL
FLOOR PLANS GIVE RISE TO NON-
UNIFORM DISTRIBUTION OF SOUND
AND ECHOES. THEY HAVE THE
TENDENCY FOR SOUND TO CREEP CIRCULAR FLOOR PLAN
AROUND THE WALLS. WHEN SOUND
ORIGINATES FROM THE SOURCE, IT
GETS DIRECTED TO THE WALLS
AND AFTER REFLECTION FROM THE
CORRILINEAR SURFACE, THESE
SOUND WAVES ARE BROUGHT TO
FOCUS APPROXIMATELY AT A
POINT, WHICH GIVE RISE TO ECHO. ELLIPTICAL FLOOR PLAN
• ACOUSTICAL CONDITIONS IN
THESE PLANS CAN BE IMPROVED
BY THE ADDITION OF CONVEX
DIFFUSING SURFACES, WHICH
GREATLY REDUCE THE
FOCUSING AND CREEPING
EFFECTS. SEATING SHOULD BR
PROVIDED BEST ACOUSTICAL
REGIONS AND AISLES SHOULD BE Circular floor plan modified
by convex surfaces
PROVIDED IN AREAS OF POOR
ACOUSTICAL PROPERTIES.
 CEILINGS:
(A)
• CEILING IN AN AUDITORIUM
SHOULD BE REFLECTIVE, THUS
HIGHLY REFLECTIVE MATERIALS
SHOULD BE USED FOR CEILING
PURPOSES. CEILING WITH
CONCAVE SURFACE SHOULD BE
AVOIDED IF POSSIBLE AND
WHEN REQUIRED THEN THE (B)
RADIUS OF CURVATURE SHOULD
BE LESS THAN HALF OF THE
CEILING HEIGHT. THE CEILING
HEIGHT IN AN AUDITORIUM
SHOULD BE KEPT LOW
OTHERWISE LONG AND (A) & (B) showing patterns of reflections
DELAYED REFLECTIONS FROM in an auditorium
• THE CEILING SURFACE, CAN GIVE RISE TO ECHOES.
• DEPENDING UPON THE FLOOR PLAN RATIO, THE
CEILING HEIGHT PROVIDED SHOULD BE ONE- THIRD TO
TWO-THIRD OF THE WIDTH OF THE ROOM. THE
JUNCTION BETWEEN THE CEILING AND REAR WALL
SHOULD BE AVOIDED, INSTEAD A SPLAY SHOULD BE
MADE IN BETWEEN THE CEILING AND THE WALL
• THEY ARE OF GREAT ADVANTAGE AS THEY
REINFORCE THE SOUND IN THE REAR OF THE ROOM
AND SECONDALY, THEY PREVENT ECHOES FROM THE
REAR WALL.
 WALLS:
• THE TWO SIDE AND REAR WALLS SHOULD BE TREATED
PROPERLY FOR OBTAINING GOOD ACOUSTIC IN AN
AUDITORIUM SIDE WALLS SHOULD DIRECT SOUND TO THE
REAR OF THE AUDITORIUM. CARE SHOULD BE TAKEN
THAT SIDE WALLS SHOULD NOT BE PARALLEL BUT
SHOULD EITHER BE DIVERGING OR SPLAYED, AS THEY
RESULTS IN PROPER DIFFUSION OF SOUND AND ALSO
AVOIDS FLUTTER ECHOES. IN CASE OF CURVED SIDE
SURFACES THE FRONT PORTIONS OF THE SIDE WALLS
ARE TO BE FINISHED WITH HARD MATERIALS, SO THAT,
THE SOUND IS REFLECTED TO THE MIDDLE AND REAR
PART OF THE AUDITORIUM. PROPER REAR WALL DESIGN IS
MUST, AS IT INCRESES THE SOUND LEVEL IN AN
AUDITORIUM. CONCAVE REAR WALLS SHOULD BE
AVOIDED. THEY ARE COMMONLY SEEN IN PRACTICE AS
THEY SUIT THE CURVATURE OF LAST ROWS OF SEATING.
• THIS CONCAVE SUEFACE IS A SOURCE OF ECHOES AND TO
AVOID THEM THIS SURFACE SHOULD BE TREATED WITH
HIGHLY ABSORPTIVE MATERIAL. THE LARGE CONCACE
WALL SURFACE SHOULD BE BROKEN TO DISTRIBUTE THE
SOUND UNIFORMLY.
• BALCONY:
• FOLLOWING POINTS SHOULD BE CONSIDERED WHEN A
BALCONY IS TO BE PROVIDED IN AN AUDITORIUM:
 DEPTH OF BALCONY RECESS SHOULD NOT BE MORE
THAN TWO TIMES THE HEIGHT OF OPENING.
 REVERBERATION TIME OF BALCONY RECESS
SHOULD BE SAME AS THAT OF THE MAIN
AUDITORIUM.
 BALCONY SOFFIT SHOULD BE MADE REFLECTIVE.
  BY TILTING THE CONCAVE SURFACE OF THE
BALCONY FRONT DOWN-WORDS, THE
REFLECTIONS CAN BE UTILIZED TO INCREASE
THE SOUND LEVEL. THUS THE OVERHANG OF THE
BALCONY SHOULD BE KEPT SMALL AND THE
OPENING UNDER THE BALCONY SHOULD BE HIGH,
SO THAT ADEQUATE SOUND REACHES THE REAR
SEATS UNDER THE SOFFIT.
• STAGE:
• IT SHOULD BE KEPT IN MIND THAT THE STAGE SHOULD
HAVE APPROXIMATELY THE SAME REVERBERATION
TIME AS THE AUDITORIUM. MOREOVER THE SLOPE OF
OVER HEAD PROCENIUM SHOULD SPLAY WITH THAT OF
THE CEILING.
• IT SHOULD BE CAREFULLY DETERMINED IN ORDER TO
REINFORCETHE SOUND WHICH IS PROPAGATED TO THE
AUDIENCE. THE STAGE FLOOR SHOULD BE RAISED TO
AN EXTENT, THAT IT PROVIDES GOOD SIGHT LINES
FROM ALL SEATS. THE REAR SIDE OF STAGE AND OVER
HEAD SURFACES SHOULD BE DESIGNED IN SUCH
MANNER, THAT THEY CONFINE THE SOUND TO A
SMALL VOLUME AND REFLECT IT TO THE AUDIENCE.
GENERALLY, ORCHESTRA PITS SHOULD BE AVOIDED
AND IF ESSENTIAL, IT IS ADVISED THAT WHEN THEY
ARE NOT IN USE, THEY SHOULD BE COVERED WITH A
SOUND-REFLECTIVE MATERIAL.
 SOME OTHER POINTS
SHOULD BE KEPT IN MIND
 THE SITE MUST BE IN A LOCALITY WHERE THE NOISE LEVEL IS
NOT MORE THAN ABOUT 40db.
 THE VOLUME PROVIDE IN THE HALLS SHOULD BE AT
FOLLOWING RATES
– .LECTURE HALLS: 3.0 cu.m.TO 4.0 cu.m. PER PERSON.
– .CONCERT HALLS: 4.0 cu.m. TO 5.5 cu.m. PER PERSON.
 THE SOUND LEVEL INSIDE THE HALL MUST BE ABOUT 65dbFOR
EASY AND DISTINCT LISTENING CONDITIONS. THIS CAN BE
ATTAINED WITHOUT AMPLIFYING THE SOUND IF THE VOLUME
OF THE HALL IS NOT MORE THAN 1500 cu.m.
 THE PROVISION OF SOUND ABSORBING MATERIAL MUST
SATISFY THE FORMULA GIVEN BY THE EQUATION FOR THE
OPTIMUM REVERBERATION TIME.
 TAKE CARE OF:
• “DEAD SPOT” WHEN SOUND LEVEL IS LOW.
• “WHISPER” WHEN SOUND SOURCE IS CLOSE TO A LONG
CURVED SURFACE AND SOUND GOES TANGENTIAL ALONG
THE WALL.
• “FLUTTER” WHEN THE SOUND SOURCE AND LISTENERS,
BOTH ARE BETWEEN A PAIR OF HARD SURFACES.
 SOUND OF THE HUMANS AND INSTRUMENTS SHOULD NOT
BE MODIFIED IN THE HALL. FOR THIS THE R.T. BE KEPT 1.5
TO 1.8 BY PROPER ABSORBENT TREATMENT.
 TRAFFIC SIDE BE ISOLATED BY THICK PLANTATION AND
ABSORPTIVE CORRIDORS.
 REHERSAL ROOM AND MECHANICAL EEQUIPMENT ROOMS
SHOULD NOT BE UNDER THE STAGE. OCCUPANCY ABOVE
THE AUDITORIUM SHOULD BE AVOIDED.
 CENTRAL 80% AREA OF THE CEILING BE KEPT REFLECTIVE
 AND REMAINING 20% ALONG THE
PERIMETER BE KEPT ABSORPTIVE.
 SOUND REINFORCING SYSTEM IS
NEEDED WHEN THE NO. OF SEATS
IS MORE THAN 200 IN THAT CASE
A CENTRAL SYSTEM, JUST ABOVE
THE INFRONT OF THE STAGE
OPENING WITH LINE OF SIGHT OF
ALL SEATS IS PREFFERED.
 PROVISION FOR REMOVABLE Hanging reflectors to cover middle
HANGING REFLECTORS AND and rear rows
ABSORBENTS IS NEEDED TO
PROVIDE VARIABLE R.T. FOR
FILMS, DANCES, SPEECHES ETC.
 BASIC ACOUSTIC REQUIREMENTS IN
AUDITORIUM:
 ADEQUATE LOUDNESS PERTICULARY AT REMOTE
SEATS.
 OPTIMUM R.T. THIS DEPEND UPON:
• .VOLUME
• .RATO OF REFLECTED TO DIRECT SOUND REACHING
THE AUDIENCE.
• .GROWTH AND DECAY OF SOUND.
 FREE FROM ACOUSTIC DEFECTS SUCH THAT ECHO,
FLUTTER, SOUND CONCENTRATION, SOUND
SHADOWS, ROOM REASONANCES ETC.
• ADDITIONAL REFLECTORS TO SEND BACK SOUND TO
PERFORMERS
 ACOUSTICAL DEFECTS
AND REMEDIES:
• .RESONANCE:
• IF THE DISTANCE BETWEEN TWO SMOOTH, RIGID,
PARALLEL SURFACES IS EQUAL TO  (OR
MULTIPLE/SUBMULTIPLE OF ) OF THE SOUND,
“STANDING WAVES” ARE FORMED AND FOR CERTAIN
FREQUENCIES “LOUD-SOUND” PRESISTS FOR A LONGER
TIME IN THE ROOM. SUCH UNDESIRABLE RESONANT
FREQUENCIES CAN BE ESTIMETD AS:
• RESONANT FREQUENCY=SOUND VELOCITY/2[{P/L}2 +
{Q/W}2 + {R/H}2],
• WHERE P,Q,R, HAVE DIFFERENT PERMUTATION IS AND
COMBINATIONS OF VALUES 0,1,2,3…..AND L W H STAND
FOR LENGTH, WIDTH, AND HEIGHT OF THE ROOM.
• THE REMEDIES TO AVOID THIS DEFECT IS TO AVOID SMOOTH
PARALLEL WALLS, AND FLAT CEILING OR INTRODUCE
SURFACE IRREGULARITIES.
• .ECHO:
• IF REFLECTED SOUND IS EXCESSIVELY DELAYED (FOR
MORE THAN 70 MILLI SEC) AFTER THE DIRECT SOUND AND IS
LOUD ENOUGH TO BE OBSTRUCTIVE, IT IS CLEARLY HEARD
ABOVE THE GENERAL REVERBERATION AND IS CALLED
“ECHO”. IT CAN ALSO BE HEARD DUE TO SOUND FOCUSED IN
ONE PART OF THE HALL OR HIGH CEILING OR LONG HIGH
CURVED REAR WALL WHOSE FOCUS IS NEAR THE FRONT OF
AUDIENCE IN HALLS OF SHORTER R.T. AN ECHO IS
DISTURBING IF IT IS WITHIN 15db LEVEL OF THE DIRECT
SOUND AND THE TIME DELAY IS ABOUT 100 MILLI SEC.
• POTENTIAL ECHO
PRODUCING SURFACE IS
REAR WALL.

• REMEDY:
 TOO MUCH SOUND
SHOULD NOT BE
DIRECTED TO REAR
WALL DIRECTLY.
 PROVIDING
IRREGULARITIES 1. ECHO
ON WALLS AND 2. LONG DELAYED REFLECTION
CEILING. 3. SOUND SHADOW
4. SOUND CONCENTRATION
5.CORNER ECHO
 • FLUTTER ECHO:
• IF WE STAND IN THE
CENTRE OF TWO PARALLEL (AND
EVEN NON PARALLEL), FINE-
PLASTERED SMOOTH WALLS OF
ABOUT 600 CM WIDE CORRIDOR
AND CLAP OUR HANDS ONCE, WE
WILL HEAR IMMEDIATELY
AFTERWARDS A SUCCESSION OF FLUTTER ECHO
CLAPS IN A VERY RAPID
SEQUENCE, CREATING WHAT IS
CALLED “FLUTTER”. SIMILARLY
THE COURTYARD BETWEEN TWO
PARALLEL BUILDINGS CAN
PRODUCE “FLUTTER ECHO”.
• REMEDY:
 USE DIFFUSIVE, TILTED
SURFACES.
 ANGLED OR STAGGERED
DESIGN.
 SURFACE-BREAKUPS.

• .CORNER ECHO: REFLECTING REAR WALL PRODUCES ECHO

• TWO WALLS AT RIGHT

ANGLES CAN GIVE REFLECTIONS AT
THE CORNER TO GIVE ECHO.
REMEDY IS PATCHES OF
ABSORBENTS.

ABSORPTIVE R.W. ELEMINATES ECHO

 • .SOUND CONCENTRATION (FOCUSING):
• LARGE CONCAVE SURFACE FOCUSES REFLECTED
SOUNDS OF HIGH INTENSITY AT SOME PLACES IN A
HALL.REMEDY IS TO AVOID CURVED SURFACES OR
TREAT THEM WITH PATCHES OF ABSORBENTS TO
PROVIDE DIFFUSION.
• CREEP:
• USELESS SOUND REFLECTIONS ALONG SMOOTH,
CONCAVE SURFACES. REMEDY IS TO USE ABSORBENT
PIECES ALONG THAT SURFACE.
• .NOISE AND VIBRATION CONTROL:
• BOTH INTERNAL AND EXTERNAL REMEDY IS TO PROVIDE
NOISE ISOLATION METHODS. USE OF RESILIENT
MATERIAL.
 CONCLUSION:

• THE ACOUSTIC OF AUDITORIUM WILL AFFECT

EVERY PRODUCTION IN THAT AUDITORIUM.
ACOUSTIC PLAYS AN IMPORTANT ROLE IN AN
AUDITORIUM. BECAUSE OF THE EXTREME
DIFFICULTY OF MAKING ANY NOTICEABLE
CHANGE IN THE ACOUSTIC CONDITIONS BY
ADJUSTMENTS TO THE BUILDING ITSELF, THE
ARCHITECT IN EFFECT DECIDES IT’S ACOUSTIC
CHARACTERISTICS AT THE OUTSET
 BIBLIOGRAPHY:
• ARCHITECTURAL ACOUSTIC & ILLUMINATION.
• DR. R. G. EDKIE.
• NUEFERT’S ARCHITECT DESIGN DATA.
• NUEFERT.
• ACOUSTIC IN BUILDING DESIGN.
• K. A. SIRASKAR.
• AUDITORIUM ACOUSTIC & ARCHITECTURAL
DESIGN.
• BARRON MICHAEL.
S =  . a . SABINS or sq.m.

IN A HALL THE TOTAL

ABSORPTION BY THE DIFFERENT
ACOUSTICAL MATERIALS IS GIVEN
BY THE EXPRESSION:
S = S1 + S2 + S3 + ………

 = 1a1 +
2a2 + 3a3 + ………
WHERE 1, 2, 3,…..ARE
ABSORPTION COEFFICIENTS OF
MATERIALS WITH AREAS a1,a2,a3,
…….SQ.M.
THE VALUES OF a DEPEND UPON
THE NATURE OF THE MATERIAL AS
WELL AS THE FREQUENCY OF