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Room and Auditorium Acoustics
Criteria in Acoustical Design Problems in Acoustical Design Control of Reverberation Time Design of Auditoriums Home Listening Rooms
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Paths of sound in room
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Intensity vs. time for pulse
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Average Intensity vs. Time
for a constant tone
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Ideal Reverberation Times
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Acoustical Characteristics
Liveness Intimacy Fullness Clarity Warmth Brilliance Texture Blend Ensemble
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Liveness Measure of reverberation time Good or bad?
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Intimacy Room said to be “intimate” when the
first reverberation arrives within 20 ms of the direct sound. Good or bad?
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Fullness vs. Clarity Refers to the amount of
reflected sound relative to the amount of direct sound Good or bad?
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increasing TR for low frequencies
Warmth vs. Brilliance Warmth increases with increasing TR for low frequencies
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Texture “Good texture” when at least five reflections arrive within
60ms of direct sound
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Blend and Ensemble Ability to hear the entire performing group
on the stage (ensemble) and in the audience (blend)
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Acoustical Design Problems
Focusing of sound Echoes Shadows Resonances External noise Double-valued TR
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Focusing of Sound Occurs with use of parabolic surfaces
either behind performers or at rear of auditorium
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Echoes Highly reflective flat or parabolic wall shapes
Flutter echos from parallel walls Standing waves between parallel walls
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Resonances Parallel walls Rectangular practice rooms
Singing in the shower
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Practice rooms and concert halls
External noise Box within a box construction Practice rooms and concert halls in adjacent areas
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Double-valued TR Playback room with reverberation
Concert halls with side areas
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Auditorium Design
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General Design Considerations
Visual Ventilation Acoustical a. seating b. stage c. room shape d. room walls
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Control of TR TR = 0.050 V / A Where:
TR = reverberation time in second V = room volume in cubic feet A = total room absorption in sabins
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TR Calculation TR = 0.050 V/A A = a1A1 + a2A2 + a3A3 + a4A4 + …
An is one section of absorbent area an is absorption coefficient TR = V/A
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Some Absorption Coefficients
Frequency (Hz) Material Concrete/brick Glass Plasterboard Plywood Carpet Curtains Acoustical board
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Absorptions (in sabins)
Frequency (Hz) Material Unupholstered seat Upholstered seat Adult person Adult/upholstered seat
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Dekelbaum Concert Hall at the U MD Smith Center
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Dekelbaum Concert Hall (front)
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Dekelbaum Concert Hall (rear)
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Dekelbaum Concert Hall (top)
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U MD Tawes Recital Hall
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Microphone configuration in concert hall
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Loudspeaker configuration in home listening rooms
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The End
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