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Using ISO 3382 measures, and their

extensions, to evaluate acoustical
conditions in concert halls

NRCC-46097

Bradley, J.S.

A version of this document is published in / Une version de ce

document se trouve dans: Acoustical Science and Technology, v.
26, no. 2, 2005, pp. 170-178. doi:10.1250/ast.26.170
Using ISO3382 measures, and their extensions, to evaluate acoustical
conditions in concert halls

Author: John S. Bradley

Affiliation:
Institute for Research in Construction, National Research Council
1200 Montreal Rd., Ottawa, Canada, K1A 0R6
Email address: john.bradley@nrc-cnrc.gc.ca

Keywords: concert halls, ISO3382, measurements, acoustical evaluation

PACS: 43.55.Gx

Short running title: Using ISO3382 measures

Submitted as: Paper

Address:
Building M27,
Institute for Research in Construction,
National Research Council
1200 Montreal Rd.,
Ottawa,
Canada,
K1A 0R6

Pages of text:
Pages of tables:
Pages of figures:
Classification: Architectural acoustics

Bradley, Using ISO3382 measures - 1

 ABSTRACT
Application of the ISO3382 standard can lead to the acquisition of large amounts of data
describing conditions in a hall. The data could include the values of a number of measures at 6
or more octave band frequencies and for many combinations of source and receiver location.
This paper discusses and gives examples of using this data to find important acoustical features.
The amount of data can be reduced by calculating average values over the entire data set or for
each sub-area of the hall. Various important spatial variations can often be better understood
from plots of values versus source-receiver distance. The analysis approach will depend on the
purpose of the study, which could be for comparisons with various criteria, for investigations of
problems, or to better understand the acoustical properties of the hall. The significance of new
measurements can be determined by comparing values: with proposed ideal criteria, with
values in well-known halls, or with theoretical predictions. The importance of differences
between two values should be considered in terms of published just noticeable differences for
particular measures. Separately examining early- and late-arriving sound levels can be a useful
diagnostic tool for better understanding the acoustical properties of halls.

Bradley, Using ISO3382 measures - 2

 INTRODUCTION

The ISO3382 standard [1] specifies how to measure a number of well-accepted room
acoustics parameters and includes guidance concerning, the numbers of source and receiver
positions to be used and the calculation details for each parameter. The combination of many
different acoustical measures, at many frequencies, and from many positions in a hall, can
result in a large amount of data that may at first hide interesting acoustical features. This paper
discusses and gives examples of how to focus on these more interesting, and often more
important features. It also introduces early- and late-arriving relative sound levels, as useful
extensions to the basic measures in ISO3382. These can help us to better understand acoustical
conditions in halls.

Many Measures: ISO3382 includes a number of well-accepted room acoustics

measures in the main body of the standard and in appendices. As newer measures become
accepted, these too may be added in future revisions of the standard. However, it is advisable to
first focus on the more basic and more generally important parameters. Table 1 lists some
acoustical measures under 4 headings. The basic measures of level (G, Strength or relative
level) and reverberance (EDT, early decay time and T30, reverberation time) along with the
balance between clarity and reverberance (C80, early-to-late arriving sound ratio) are usually
most important. The lateral energy fraction, LF, (of the early-arriving sound), and the
inter-aural cross correlation measures of the early and late-arriving sound (IACCe and IACCl)
are measures of spatial effects.

This paper introduces the early-arriving relative sound level G80 and the late-arriving
relative sound level GL as useful diagnostic measures that can be derived from values of G and
C80 (see Appendix for definitions). By describing early- and late-arriving sound levels
separately, they give a more detailed look at components of sound fields that will relate to
expected subjective impressions, but without providing too much less-significant detail.
Although C80 values indicate how the ratio of early-to-late arriving sound levels vary, G80 and
GL values make these variations more understandable by assessing each component separately.
The early- and late-arriving lateral sound levels (GEL and GLL) are also useful indicators of
spatial effects that are not currently included in ISO3382. They conveniently combine the
level and lateral-direction-of-arrival information into simple single measures of each aspect of
spatial impression (i.e. apparent source width and listener envelopment [2]).

Many Frequencies: Measurements are usually made in the octave bands from 125 to

Bradley, Using ISO3382 measures - 3

4k Hz. There are good reasons to extend this range to include the octave bands from 63 Hz to
8k Hz because these frequencies certainly influence perceptions of concert hall sounds. We
don’t yet have much knowledge concerning the preferred variation with frequency of the
various acoustical measures, but we do know that strong low frequency levels, rather than long
low-frequency T30 values, influence the perceived strength of bass sounds in halls [3,4]. A full
audio bandwidth is necessary for impulse response measurements if it is intended to listen to
convolutions of speech and music with these impulse responses. Including the 63 Hz and 8k Hz
octaves adds significantly to the requirements of the measurement system. It is particularly
difficult to produce an omni-directional sound source that can produce sufficient sound levels
over this entire frequency range. It also suggests that testing laboratories should consider
measuring the acoustical properties of materials over this broader frequency range. However,
this too presents some considerable technical problems.

Many positions: In a large hall one might typically measure at the 36 combinations of
3 source positions and 12 receiver positions. This usually gives enough information for an
understanding of spatial variations in a large hall. In a hall with more complex geometry, more
positions would be preferred. Movements of the source or receiver position by as little as 10 or
30 cm can lead to measurable differences as shown in Table 2 [5]. The differences over 30 cm
are similar to the just noticeable difference (JND) values for these quantities [6,7]. However,
JND values are derived from careful comparisons of nearly equal conditions in laboratory
experiments in which only one aspect of the sound field is changed. Differences that can be
detected by listeners in actual halls are probably much larger. This is partly because more than
one aspect of the sound field will change when the listener moves in a concert hall, making it
more difficult to identify the individual effects of each changing parameter. No laboratory
experiments have considered subjectively detectable changes when more than one aspect of the
sound field is changed. The variations over 30 cm in Table 2 probably represent, in practical
terms, the accuracy with which conditions at a particular seat can be characterized.

Purpose of Measurements and Data Reduction Techniques: The purpose of room

acoustics measurements might be: a) to compare with design criteria, b) to better understand
acoustical phenomena, or c) to diagnose the cause of acoustical problems. The approach to the
data reduction will depend on the purpose of the measurements. While hall-average values of
acoustical measures may allow comparisons with design criteria, they may not reveal
important variations within a hall. Plotting values versus source-receiver distance, or
examining averages over small sub-areas of audience seating, may better describe within-hall

Bradley, Using ISO3382 measures - 4

variations of acoustical characteristics. The following examples illustrate various possible
approaches.

EXAMPLE 1, SOUND LEVEL DETAILS IN A MULTI-PURPOSE HALL

Measurements of sound levels in Southam Hall of the National Arts Centre, Ottawa are
used to examine the questions of how many measurement positions are required and to
examine the details of level variations in this hall. Figure 1 illustrates 1 kHz G value contours
from measurements at 145 positions on one side the main floor of this hall, plus duplicate
values reflected about the centre line to represent the other half of the main floor seating. While
there are strong variations of these sound levels from front to rear of this hall, the pattern of
variations is not that complex and there is little justification to make such detailed
measurements.

While Figure 1 gives a more global view of the characteristics, Figure 2 illustrates the
details that can be found at an individual location. For seat O2 near the centre of the main floor
seating, Figure 2 plots G values and their components versus frequency. While total G values
do not vary greatly with frequency at this location, the dominant component does. At lower
frequencies the late-arriving sound (GL) is dominant and the seat dip attenuation [8] has greatly
reduced the low frequencies of the early-arriving sound (G80). At higher frequencies G80 values
are the dominant component. If one goes into more detail and examines the lateral component
of the early- and late-arriving sound (GEL and GLL respectively), we see that the lateral-arriving
energies are relatively small parts of the total early and late energy values. One would therefore
expect a very low sense of spatial impression at this location.

Examining how the variations of sound levels with frequency change throughout the
hall can give a more complete understanding of the acoustical characteristics. Figure 3 shows
measured G values with early and late components at 3 other locations in the same hall. Figure
3(a) shows values at a seat very close to the stage where the combined direct plus early
reflection energy (G80) is dominant at almost all frequencies. The results in Figure 2 showed,
that near the centre of the main floor seating, the balance of early- and late-arriving sound had
changed considerably from the results in Figure 3(a). In the centre of the second balcony
(Figure 3(b)), early-arriving sound (G80) dominates at mid- and high-frequencies and the seat
dip attenuation seems now to be greatest at 250 Hz. However, in the third balcony, the Figure
3(c) results show more similar early and late sound levels with strong late-arriving sound (GL)
at low frequencies.

Bradley, Using ISO3382 measures - 5

 Clearly, the character of the sound must vary considerably from area to area in this hall.
At most locations, and especially at mid-to-high frequencies, early arriving sound energy
dominates, creating a dry sound. The exception is in the third balcony (Figure 3(c)) where the
late-arriving sound is relatively stronger. At lower frequencies the seat dip attenuation reduces
the level of the early-arriving sound at the measured seats. However, increasing low frequency
sound levels by reducing the amount of low frequency sound absorbing material in the hall is
not likely to compensate for the large reductions in low frequency early-arriving sound.

EXAMPLE 2, HALL AVERAGES AND WITHIN HALL VARIATIONS

Figure 4(a) plots hall average EDT and T30 values from the Northern Alberta Jubilee
Auditorium (NAJA) with the range of EDT values obtained from measurements in 31 large
halls [4] as well as a possible design goal for concert hall EDT values. Average EDT values are
smaller than T30 values as is commonly found, and the measured averages are less than the
proposed design criterion values. However, this is very much a multi-purpose hall and it is
easily argued that somewhat shorter decay times than the ‘ideal’ would be appropriate. The
large range of EDT values from the 31 halls shows that there are many halls with much larger
or smaller values.

These results give no indication of the unusual characteristics of this hall that are seen
when decay time values are plotted versus source-receiver distance as shown in Figure 4(b).
While the 1 kHz T30 values are quite constant throughout the hall (as is almost always the case),
EDT values vary quite dramatically with distance. Presumably, the sense of reverberance
would be very different at the rear of the hall compared with at seats near the stage. These
results, as well as those for early sound levels, can be explained as due to the shape of the
ceiling sending all reflections to the rear of the hall as illustrated in Figure 5.

In order to appreciate the significance of these within-hall variations, we can compare

the results in Figure 4(b) with those from other halls. These comparisons in Figure 6 show
that variations of EDT in this hall (NAJA) are greater than in the other halls shown. In some
halls there is very little variation of EDT values. Sometimes this occurs because the hall is quite
reverberant and diffuse such as in Boston Symphony Hall (BOS) [9]. In other halls the reduced
variation of EDT with distance is because the shape of the hall concentrates reflected energy
near the stage (SWP) as illustrated in Figure 7(b). The results for the Neuesfestspielhaus in
Salzburg (SLZ) shown Figure 6 are an example of a hall that tends to direct early-arriving

Bradley, Using ISO3382 measures - 6

reflections to the rear of the hall. This creates a situation where EDT values reduce with
increasing distance from the source but less dramatically than found in NAJA. The variation
with distance of G values is often inversely related to the variation of EDT values with distance.
This is especially true in directed sound halls that are shaped to direct strong early reflections to
particular audience areas [10]. By plotting EDT and G values as a function of source-receiver
distance, we can therefore better understand the effects of the shape of a hall on early-arriving
reflections.

EXAMPLE 3, COMPARISON WITH THEORETICAL PREDICTIONS

It is often useful to compare measurements with theoretical predictions to determine if

there are unusual features. Barron’s procedure [11] for predicting relative sound levels of the
early, late, and total sound components is particularly valuable because sound levels are so
critical to subjective impressions of halls. In well-accepted halls, measured levels tend to agree
well with the predictions of Barron’s theory.

For example, the variation of 1 kHz G values with distance in Boston Symphony Hall
(BOS) in Figure 7(a), agree well with predictions. At seats close to the stage, measured levels
are a little higher than predicted, probably due to strong reflections from the stage enclosure. At
seats under the balcony (solid symbols) levels are a little lower than predicted. Figure 7(b)
gives an example where measured levels closer to the stage are much above predictions,
probably due to the shape of the orchestra shell and to sound energy scattered back towards the
stage from the ceiling in this hall. This results in large variations of levels from the front to the
rear of this hall. Figure 7(c) shows a hall where measured values tend to fall systematically
below predictions at most seats. This is again due to the ceiling shape of the NAJA hall tending
to send early reflections to the rear of the hall (see Figure 5). In support of this explanation
Figure 7(d) shows that early-arriving sound levels (G80) are indeed higher than predicted at
locations at the rear of this hall (far right-hand side of graph).

As in the previous section, plotting values versus source-receiver distance is seen to be

useful for understanding the acoustical characteristics of halls. When these results are also
compared with the predicted levels from Barron’s procedure, we get an indication of where
conditions are atypical.

Bradley, Using ISO3382 measures - 7

EXAMPLE 4, DIAGNOSING ACOUSTICAL PROBLEMS

The Orpheum Theatre in Vancouver was originally built as a theatre and later converted
to a dedicated concert hall. Acoustical measurements identified several significant acoustical
problems [12]. Again, hall-average values do not reveal the problems, and a simple plot of
levels versus source-receiver distance (Figure 8(a)) only shows a large amount of scatter. The
causes of this scatter can be identified by separating the data into those obtained from positions
at balcony seats and those from seats on the main floor of the hall including seats under the
balcony. Figure 8(b) indicates that there are 2 separate trends for the two different groups of
measurements. Sound levels tend to be lower at seats under the balcony, and values measured
at seats in the balcony tend to agree reasonably well with predictions using Barron’s theory.

The situation can be more completely understood by examining how early and late
sound levels each vary with distance. Figure 9(a) shows that most, but not all G80 values, agree
quite well with the predictions of Barron’s theory. There are 5 positions in the balcony where
early sound levels significantly exceed these predictions (i.e. by more than 1 dB). However,
there is no systematic difference in early levels depending on whether they are measured at
seats in the balcony or under the balcony. On the other hand, Figure 9(b) shows that
late-arriving levels are systematically different depending on whether measurements are made
at locations in or under the balcony. Measured values at locations under the balcony do not
agree well with predictions using Barron’s theory but at other locations there is quite good
agreement.

There are two different acoustical problems illustrated in these results. First, the very
large balcony overhang produces very obvious reductions in the late-arriving sound at
locations under the balcony. This is seen, to a much lesser degree, in Figure 7(a) for BOS.
However, there is no systematic reduction of early-arriving sound levels at seats under
balconies. The other problem evident in these results, leads to increased early sound levels at
particular locations in the balcony. These are due to various concave surfaces (mostly in the
ceiling) that focus sound to specific locations in this hall and cause significant variations in
early levels. Figure 10(a) shows the initial part of the impulse response at the location with the
most extreme focussing effect and another (Figure 10(b)) with no obvious focussing effect. The
two strong reflections in Figure 10(a) are stronger than the direct sound and are perceived as a
localization of the source in the ceiling.

Bradley, Using ISO3382 measures - 8

 Plotting results versus source-receiver distance was again helpful in understanding the
acoustical problems in this hall. However, it was most helpful when the values of the
diagnostic parameters G80 and GL were examined. While the focussing problems were isolated
in the early-arriving sound, the weak levels at seats under the balcony were shown to be due to
a lack of late-arriving sound.

CONCLUSIONS

The level of detail required in measurements of concert halls depends on the purpose of
the measurements. A typical set of measurements at the combinations of 3 on-stage source
positions and 10 to 12 receiver positions in the audience area will usually be adequate to
characterize acoustical conditions in a large hall. Measurements at a large number of positions
usually indicate systematic gradual changes in values. Seat-to-seat variations in measured
values tend to be no more than one just-noticeable-difference (JND). A laboratory obtained
JND from tests where only one aspect of the sound field is varied, may not be indicative of
detectable changes in a hall where several different characteristics of the hall may vary in
different ways from one seat to the next.

The analysis approach will depend on the purpose of the study, which could be for
comparisons with various criteria, for investigations of problems, or to better understand the
acoustical properties of the hall. The significance of new measurements can be determined by
comparing values: with proposed ideal criteria, with values in well-known halls, or with
theoretical predictions. Because ideal values of the various parameters defined in ISO3382 are
not well established, it is often useful to compare measurements with values from
well-regarded halls. Of course, just because a hall is well liked, does not ensure that measured
values of all parameters are near to ideal values.

Although hall-average values give a general overall picture of a concert hall, we can
much better understand the unique acoustical characteristics of a hall by examining within hall
variations of each important parameter. This can be done by plotting values versus
source-receiver distance or by averaging over sub-areas of the audience seating. The shape of a
hall may have the effect of directing more of the early-arriving energy to one particular area of
the hall. Such effects can be more easily understood by separately considering early- and
late-arriving sound levels (G80 and GL values). For example, a hall may direct more early
energy to a particular area, or a large balcony overhang may reduce late-arriving sound at seats
under the balcony. Comparisons of measured early- and late-arriving levels with predictions

Bradley, Using ISO3382 measures - 9

based on Barron’s theory can further aid the understanding of acoustical conditions in a concert
hall.

There is an obvious need for new research to develop a better understanding of the
subjective importance of variations with frequency of the various room acoustics parameters
and also to try to determine preferred spectral characteristics for each of them.

Bradley, Using ISO3382 measures - 10

Acknowledgments
The author would like to thank the management and staff of the halls that have cooperated in
the various measurement studies. It is also important to point out that these results were
obtained before renovations were made to the Orpheum Theatre and before the planned
renovation to the Alberta Jubilee Auditoria.

REFERENCES

[1] ISO3382, Acoustics — Measurement of the reverberation time of rooms with reference to other
acoustical parameters, International Organisation for Standardisation, Geneva, Switzerland.
[2] Bradley, J.S. and Soulodre, G.A., Objective measures of listener envelopment, J. Acoust. Soc. Am.,
Vol. 98, No. 5, pp. 2590-2597, (1995).
[3] Bradley, J.S., Soulodre, G.A., and Norcross, S., Factors influencing the perception of bass, J. Acoust.
Soc. Am., 101 (5) Pt. 2, p.3135, (1997).
[4] Bradley, J.S. The sound field for listeners in concert halls and auditoria, Computational
Architectural Acoustics, Editor J.J. Sendra WIT, Press, UK. (1999).
[5] Bradley J.S., Halliwell R.E., Accuracy and reproducibility of auditorium acoustics measures,
Proceedings of British Institute of Acoustics, Spring '88 Meeting, Cambridge, U.K., 10, Part 1,
339-406, (1988).
[6] Cox, T.J., Davies, W.J., and Lam, Y.W., The sensitivity of listeners to early sound field changes in
auditoria, Acustica, 79, pp. 27-41 (1993).
[7] Bradley, J.S., Reich, R., and Norcross, S.G., A just noticeable difference in C50 for speech, Applied
Acoustics, 58 (2) 99-108, (1999).
[8] Bradley J.S., Some further investigations of the seat dip effect, J. Acoust. Soc. Am., 90 (1) 324-333,
(1991).
[9] Bradley J.S., A Comparison of three classical concert halls, J. Acoust. Soc. Am., 89, 1176-1192,
(1991).
[10] Bradley, J.S., Hall average characteristics of 10 halls, Proceedings of the 13th International
Congress on Acoustics, Belgrade, 1989.
[11] Barron, M., and Lee, L.-J., Energy relations in concert auditoria, I, J. Acoust. Soc. Am. 84,
618-628, (1988).
[12] O’Keefe, J. and Bradley, J.S., Acoustical renovations to the Orpheum, Vancouver: I. Measurements
prior to renovations, Canadian Acoustics, 28 (1) 21-33, (2000).

Bradley, Using ISO3382 measures - 11

APPENDIX. DEFINITIONS OF SOME ROOM ACOUSTICS MEASURES

This appendix defines the principal room acoustics measures discussed in the results of
this paper, including some quantities not included in the ISO3382 standard.
The sound strength (or relative sound level) G is measured using a calibrated
omni-directional sound source, and is calculated as follows,
⎧∞ 2 ⎫
⎪ ∫ p ( t ) dt ⎪
⎪ ⎪
G = 10 log 10 ⎨ ∞0 ⎬, dB (A1)
⎪ p 2 ( t ) dt ⎪
⎪⎩ ∫0 10 ⎪⎭

where p(t) is the instantaneous pressure in the measured impulse response and p10(t) is the
response to the same source at a distance of 10 m in a free field.
The strength of the direct and early-arriving sound over the first 80 ms, G80, can be
defined with an equation similar to equation A1, but with the upper integration limit of the
upper integral set to 0.08 s. The sound strength of the late-arriving sound, GL, consisting of
sound energy arriving at the receiver more than 80 ms after the direct sound can again be
defined with an equation similar to A1, but with the lower integration limit of the upper integral
set to 0.08 s.
The relative level or strength of the early-arriving lateral sound, GEL, and the late-
arriving lateral sound, GLL, can be calculated similar to G80 and GL respectively but using the
impulse response obtained from a figure-of-eight pattern microphone in the upper integral of
an equation similar to A1. For example, the late arriving lateral sound level GLL, which is
related to listener envelopment, is calculated as follows,
⎧∞ ⎫
⎪ ∫ p L2 ( t ) dt ⎪
⎪ 0.08 ⎪
G LL = 10 log 10 ⎨ ∞ ⎬, dB , dB (A2)
⎪ p 2 ( t ) dt ⎪
⎪ ∫0 10 ⎪
⎩ ⎭
where pL(t) is the instantaneous pressure in the measured impulse response using a
figure-of-eight pattern microphone with the null pointing toward the sound source and p10(t) is
the response to the same source at a distance of 10 m in a free field with an omni-directional
measurement microphone.
The balance between early and late-arriving sound energy can be measured using C80
(and several other related measures found in the ISO3382 standard). C80 is defined as follows,

Bradley, Using ISO3382 measures - 12

 ⎛ 0.08 ∞
⎞
C80 = 10 log ⎜⎜ ∫ p2 (t ) dt ∫ p2 (t ) dt ⎟⎟, dB (A3)
⎝ 0 0.08 ⎠

also C80 = G80 – GL, dB (A4)

The lateral energy fraction is defined as follows,

0.080 0.080

∫ / ∫
2
LF = p ( t ) dt
L p 2 ( t ) dt (A5)
0.005 0

The early and late relative sound levels G80 and GL can be calculated from measured G
and C80 values as follows,
⎧⎡ 10 C80 / 10 ⎤ ⎫
G80 = 10 log ⎨⎢ C80 / 10 ⎥ ∗10 G / 10 ⎬, dB (A6)
⎩⎣10 + 1⎦ ⎭

⎧⎡ 1 ⎤ ⎫
GL = 10 log ⎨⎢ C80 / 10 ⎥ ∗10 G / 10 ⎬, dB (A7)
⎩⎣10 + 1⎦ ⎭

Similarly, the relative level or strength of the early-arriving lateral sound, GEL, can
calculated from LF, C80 and G values as follows,

⎧ ⎡ 10 C80 / 10 ⎤ ⎫
GEL = 10 log ⎨ LF * ⎢ C80 / 10 ⎥ ∗10 G / 10 ⎬, dB (A8)
⎩ ⎣10 + 1⎦ ⎭

Bradley, Using ISO3382 measures - 13

Table Titles
Table1. Room acoustics measures discussed in this text. (See Appendix and the ISO3382
standard [1] for definitions)

Table 2. Average variations of measured values for small movements of the source or receiver
[5].

Figure Titles

Figure 1. Contour fit to measured 1 kHz G values.

Figure 2. Measured relative levels (G) and early (G80) and late (GL) components at a centre
main floor seat. GEL is the early lateral relative level and GLL is late lateral relative level.

Figure 3. Measured relative levels (G) and early (G80) and late components (GL), (a) seat B2
close to the stage, (b) seat D2 in the second balcony, and (c) seat D2 in the third balcony.

Figure 4. Measured values from NAJA, (a) hall average T30 and EDT values, and the range of
EDT values from 31 halls, (b) variation of 1 kHz EDT and T30 with source-receiver
distance.

Figure 5. Longitudinal section showing ceiling reflections in NAJA.

Figure 6. Straight line fits to measured 1 kHz EDT values in 4 halls: BOS Boston Symphony
Hall, SWP Salle Wilfrid Pelletier (Montreal), SLZ Neuesfestspielhaus (Salzburg), and
NAJA, Northern Alberta Jubilee Auditorium (Edmonton).

Figure 7. Comparison of measured 1 kHz values and predictions using Barron’s theory [9], (a)
G values in BOS, (b) G values in SWP, (c) G values in NAJA, and (d) G80 values in
NAJA.

Figure 8. Measured 1 kHz G values versus source-receiver distance in the Orpheum Theatre (a),
and (b) same data separated by measurement location (Balcony seats, and main floor
seats in front of, or under the balcony) compared with predicted levels using Barron’s
theory (solid line).

Figure. 9. Measured values of (a) early levels (G80), and (b) late sound levels (GL) versus
source- receiver distance in the Orpheum Theatre. Solid lines are predictions using
Barron’s theory [9]. Different symbols identify measurement locations in balcony seats
or main floor seats in front of or under the balcony. Data corresponding to the impulse
responses in Figures 10(a) and 10(b) are also identified in panel (a).

Bradley, Using ISO3382 measures - 14

Figure 10. Impulse responses from balcony seats in the Orpheum Theatre, (a) with strong
focusing, and (b) without obvious focussing.

Bradley, Using ISO3382 measures - 15

Tables

Level Reverberance/ Diagnostic Spatial

Clarity Effects
G T30 G80 LF
EDT GL IACCe
C80 IACCl
C50 GEL
TS GLL

Table1. Room acoustics measures discussed in this text. (See Appendix and the ISO3382 standard [1]
for definitions)

Bradley, Using ISO3382 measures - 16

 Measure ±10 cm ±30 cm
G 0.4 dB 0.8 dB
C80 0.6 dB 0.9 dB
T30 0.04 s 0.06 s
EDT 0.07 s 0.15 s
LF 0.05 0.06

Table 2. Average variations of measured values for small movements of the source or receiver [5].

Bradley, Using ISO3382 measures - 17

 FIGURES

25

G(1k), dB

20
-1.0
0
1.0
Width, m

2.0
15
3.0
4.0
5.0
10 6.0
7.0

B D F H K M O Q S U W Y

Length, (1 m/row)

Figure 1. Contour fit to measured 1 kHz G values.

Print as: full page width figure

Author: John S. Bradley
Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

Bradley, Using ISO3382 measures - 18

 5

-5
Relative level, dB

-10

-15 G
G80
GL
-20 GEL
GLL
-25
125 250 500 1000 2000 4000
Frequency, Hz

Figure 2. Measured relative levels (G) and early (G80) and late (GL) components at a centre
main floor seat. GEL is the early lateral relative level and GLL is late lateral relative level.

Print as: half page width figure

Author: John S. Bradley
Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

Bradley, Using ISO3382 measures - 19

 10

5
Relative level, dB

-5
G
G80
GL
(a) (b) (c)
-10
125 250 500 1000 2000 4000 125 250 500 1000 2000 4000 125 250 500 1000 2000 4000
Frequency, Hz Frequency, Hz Frequency, Hz

Figure 3. Measured relative levels (G) and early (G80) and late components (GL), (a) seat
B2 close to the stage, (b) seat D2 in the second balcony, and (c) seat D2 in the third balcony.

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Author: John S. Bradley
Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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 4 2.5

Ideal
T30
2.0
EDT
3
Decay time, s

1.5

1.0

1
0.5
T30

(a) EDT (b)

0 0.0
125 250 500 1000 2000 4000 10 15 20 25 30 35 40 45 50
Frequency, Hz Distance, m

Figure 4. Measured values from NAJA, (a) hall average T30 and EDT values, and the range of
EDT values from 31 halls, (b) variation of 1 kHz EDT and T30 with source-receiver distance.

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

Bradley, Using ISO3382 measures - 21

 Figure 5. Longitudinal section showing ceiling reflections in NAJA.

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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 3.0

2.5 BOS

2.0 SWP
EDT, s

SLZ
1.5

1.0
NAJA

0.5

0.0
0 5 10 15 20 25 30 35 40 45
Distance, m

Figure 6. Straight line fits to measured 1 kHz EDT values in 4 halls: BOS Boston Symphony
Hall, SWP Salle Wilfrid Pelletier (Montreal), SLZ Neuesfestspielhaus (Salzburg), and NAJA,
Northern Alberta Jubilee Auditorium (Edmonton).

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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 12 12

(a) (b)
8 8

G, dB
G, dB

4 4

0 0

12 8

(c) (d)
8 4

G80, dB
G, dB

4 0

0 -4

-4 -8
5 10 15 20 25 30 35 40 45
5 10 15 20 25 30 35 40 45
DIstance, m DIstance, m

Figure 7. Comparison of measured 1 kHz values and predictions using Barron’s theory [9], (a)
G values in BOS, (b) G values in SWP, (C) G values in NAJA, and (d) G80 values in NAJA.

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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 7

6 In balcony
Barron
Under balcony
5
In front of balcony

4
G(1k), dB

0
(a) (b)
-1
5 10 15 20 25 30 35 40 10 15 20 25 30 35 40
Distance, m Distance, m

Figure 8. Measured 1 kHz G values versus source-receiver distance in the Orpheum Theatre (a),
and (b) same data separated by measurement location (Balcony seats and main floor seats in
front of, or under the balcony) with predicted levels using Barron’s theory (solid line).

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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 6 2

Fig. 10(a)

4 0

2 -2

GL(1k), dB
G80(1k), dB

0 -4

-2 Main floor -6
Balcony
Fig. 10(b) Barron
(a) (b)
-4 -8
5 10 15 20 25 30 35 40 10 15 20 25 30 35 40

Distance, m Distance, m

Figure. 9. Measured values of (a) early levels (G80), and (b) late sound levels (GL) versus
source- receiver distance in the Orpheum Theatre. Solid lines are predictions using Barron’s
theory [9]. Different symbols identify measurement locations in balcony seats or main floor
seats in front of under the balcony. Data corresponding to the impulse responses in Figures
10(a) and 10(b) are also identified in panel (a).

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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 6000

4000

2000
Relative pressure

-2000

-4000
(a) (b)
-6000
0.0 0.1 0.2 0.3 0.0 0.1 0.2 0.3
TIme, s Time, s

Figure 10 Impulse responses from balcony seats in the Orpheum Theatre, (a) with strong
focusing, and (b) without obvious focussing.

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Title: Using ISO3382 measures to evaluate acoustical conditions in concert halls.

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