UNIT-3

SOUND
TRANSMISSION,
ABSORPTION,
INSULATION.
RESONANCE

A driving force in tune with the natural frequency (sometimes known as the resonant frequency)
of an oscillator can buildup larger amplitudes than the oscillator could alone. This buildup is
known as resonance or sympathetic vibration.

Eg) put two tuning forks of equal frequencies side by side, but not touching. Strike one tuning
fork so that you can hear its tone, and then suddenly silence it. You can still hear a faint tone.
This is because the second tuning fork has started vibrating sympathetically.

REVERBERATION

It is the persistence of sound in a

particular space after the original sound
is removed. A reverberation, or reverb,
is created when a sound is produced in
an enclosed space causing a large
number of echoes to build up and then
slowly decay as the sound is absorbed by
the walls and air.

This is most noticeable when the sound

source stops but the reflections continue,
decreasing in amplitude, until they can
no longer be heard.

ECHO

In audio signal processing and acoustics, an echo (plural echoes) is a reflection of sound,
arriving at the listener some time after the direct sound.

Typical examples are the echo produced by the bottom of a well, by a building, or by the walls
of an enclosed room. A true echo is a single reflection of the sound source. The time delay is the
extra distance divided by the speed of sound.

REVERBERATION TIME

Standard reverberation time has been defined as the time for the sound to die away to a level 60
decibels below its original level. The reverberation time can be modeled to permit an
approximate calculation.
The reverberant sound in an auditorium dies away with time as the sound energy is absorbed by
multiple interactions with the surfaces of the room. In a more reflective room, it will take longer
for the sound to die away and the room is said to be 'live'.

In a very absorbent room, the sound will die away quickly and the room will be described as
acoustically 'dead'. But the time for reverberation to completely die away will depend upon how
loud the sound was to begin with, and will also depend upon the acuity of the hearing of the
observer.

SABINE

In the late 19th century, Wallace Clement Sabine started

experiments at Harvard University to investigate the
impact of absorption on the reverberation time. Wallace
Clement Sabine was a pioneer in architectural acoustics.

A century ago he started experiments in the Fogg lecture

room at Harvard, to investigate the impact of absorption
on the reverberation time.

It was on the 29th of October 1898 that he discovered the

type of relation between these quantities using a portable
wind chest and organ pipes as a sound source, a stopwatch
and his ears, he measured the time from interruption of
the source to inaudibility (roughly 60 dB).

 He found that the reverberation time is

proportional to the dimensions of room and inversely proportional to the amount of
absorption present.
 The optimum reverberation time for a space in which music is played depends on the
type of music that is to be played in the space
 Rooms used for speech typically need a shorter reverberation time so that speech can
be understood more clearly. If the reflected sound from one syllable is still heard
when the next syllable is spoken, it may be difficult to understand what was said.
"Cat", "Cab", and "Cap" may all sound very similar. If on the other hand the
reverberation time is too short, tonal balance and loudness may suffer. Reverberation
effects are often used in studios to add depth to sounds. Reverberation changes the
perceived harmonic structure of a note, but does not alter the pitch.
 Basic factors that affect a room's reverberation time include the size and shape of the
enclosure as well as the materials used in the construction of the room. Every object
placed within the enclosure can also affect this reverberation time, including people
and their belongings.
SABINE’S FORMULA

Sabine derived an expression for the duration T of the residual sound to decay below the audible
intensity, starting from a 1,000,000 times higher initial intensity:

T = 0.161 V/A

Where V is the room volume in cubic meters,

And A is the total absorption in square meters.

Sabine's reverberation formula has been applied successfully for many years to determine
material absorption coefficients by means of reverberation rooms. Keeping in mind some
conditions with regard to the sound field diffusion and the value of A, Sabine's formula is still
widely accepted as a very useful estimation method for the reverberation time in rooms.

SABINAS UNIT OF ABSORPTION

The unit of sound absorption is square meter, referring to the area of open window. This unit
stems from the fact that sound energy travelling toward an open window in a room will not be
reflected at all, but completely disappears in the open air outside. The effect would be the same if
the open window would be replaced with 100 % absorbing material of the same dimensions.

Therefore, 1 square meter of 100 % absorbing material has absorption of 1 square meter of open
window. In honor of W.C. Sabine, the unit of absorption is also named sabin or metric sabin.
However, these units are used not very often. One sabin is the absorption of one square foot of
open window, and one metric sabin is the absorption of one square meter of open window

ABSORPTION

All building materials have some acoustical properties in

that they will all absorb, reflect or transmit sound striking
them. Conventionally speaking, acoustical materials are
those materials designed and used for the purpose of
absorbing sound that might otherwise be reflected.

Sound absorption is defined, as the incident sound that

strikes a material that is not reflected back. An open
window is an excellent absorber since the sounds passing
through the open window are not reflected back but
makes a poor sound barrier. Painted concrete block is a
good sound barrier but will reflect about 97% if the
incident sound striking it.
When a sound wave strikes an acoustical material the sound wave causes the fibers or particle
makeup of the absorbing material to vibrate. This vibration causes tiny amounts of heat due to
the friction and thus sound absorption is accomplished by way of energy to heat conversion.

The more fibrous a material is the better the absorption; conversely denser materials are less
absorptive

 The sound absorbing characteristics of acoustical materials vary significantly with

frequency.
 In general low frequency sounds are very difficult to absorb because of their long
wavelength.
 On the other hand, we are less susceptible to low frequency sounds, which can be to our
benefit in many cases.
 The material thickness has the greatest impact on the material's sound absorbing qualities.
 While the inherent composition of the acoustical material determines the material's
acoustical performance, other factors can be brought to bear to improve or influence the
acoustical performance.
 Incorporating an air space behind an acoustical ceiling or wall panel often serves to
improve low frequency performance.

ABSORPTION COEFFICIENT

The absorption coefficient of a material is ideally the fraction of the randomly incident sound
power which is absorbed, or otherwise not reflected. It can be determined in two main ways, and
there are often variations in the results depending upon the method of measurement chosen. It is
standard practice to measure the coefficient at the preferred octave frequencies over the range of
at least 125Hz - 4 kHz.

For the purposes of architectural design, the Sabine coefficient is preferred. Interestingly some
absorbent materials are found to have a Sabine coefficient in excess of unity at higher f The
absorption coefficient of a material is a number between 0 and 1 which indicates the proportion
of sound which is absorbed by the surface compared to the proportion which is reflected back
into the room.

A large, fully open window would offer no reflection as any sound reaching it would pass
straight out and no sound would be reflected. This would have an absorption coefficient of 1.

Conversely, a thick, smooth painted concrete ceiling would be the acoustic equivalent of a
mirror, and would have an absorption coefficient very close to 0 frequencies. This is due to edge
effects and when this occurs the value can be taken as 1.0
MEASUREMENT OF REVERBERATION TIME

Historically reverberation time could only be measured using a level recorder (a plotting device
which graphs the noise level against time on a ribbon of moving paper).

A loud noise is produced, and as the sound dies away the trace on the level recorder will show a
distinct slope.

Analysis of this slope reveals the measured reverberation time. Some modern digital sound level
meters can carry out this analysis automatically.

Currently several methods exist for measuring reverb time. An impulse can be measured by
creating a sufficiently loud noise (which must have a defined cut off point). Impulse noise
sources such as a blank pistol shot or balloon burst may be used to measure the impulse response
of a room.

Alternatively, a random noise signal such as pink noise or white noise may be generated through
a loudspeaker, and then turned off. This is known as the interrupted method, and the measured
result is known as the interrupted response.

A two port measurement system can also be used to measure noise introduced into a space and
compare it to what is subsequently measured in the space. Consider sound reproduced by a
loudspeaker into a room.

A recording of the sound in the room can be made and compared to what was sent to the
loudspeaker. The two signals can be compared mathematically. This two port measurement
system utilizes a Fourier transform to mathematically derive the impulse response of the room.

From the impulse response, the reverberation time can be calculated. Using a two port system,
allows reverberation time to be measured with signals other than loud impulses. Music or
recordings of other sound can be used. This allows measurements to be taken in a room after the
audience is present.

Reverberation time is usually stated as a decay time and is measured in seconds. There may or
may not be any statement of the frequency band used in the measurement.

Decay time is the time it takes the signal to diminish 60 dB below the original sound

SOUND INSULATION

Sound insulation is the process of soundproofing an enclosed space, such as a room. This type of
insulating activity is usually employed when there is a need to keep sound from filtering into or
out of the space.
One example of how sound insulation is used is found in a recording studio. In order to prevent
background noise from interfering with the recording process, singers and musicians create their
vocal and instrumental tracks in a soundproof recording booth. Because the booth prohibits the
introduction of sounds from outside the space, there is nothing present to distort or interfere with
the quality of the recording. The audio tracks containing vocal performances and the various
music tracks are captured exactly as the performers hear them.

DIFFERENCE BETWEEN SOUND INSULATION AND ABSORPTION

Sound insulation is required in order to eliminate the sound path from a source to a receiver such
as between apartments in a building, or to reduce unwanted external noise inside a concert hall.

Heavy materials like concrete tend to be the best materials for sound insulation -doubling the
mass per unit area of a wall will improve its insulation by about 6dB.

It is possible to achieve good insulation with much less mass by instead using a double leaf
partition (two separated independent walls).

Sound absorption occurs when some or all of the incident sound energy is either converted into
heat or passes through the absorber.

For this reason good sound absorbers do not of themselves make good sound
insulators. Although insulation and absorption are different concepts, there are many instances
where the use of sound absorbers will improve insulation. However absorption should not be the
primary means of achieving good sound insulation.

SOUND ABSORBING MATERIALS/SOUND REINFORCEMT USED FOR

DIFFERENT KIND OF BUILDINGS

Acoustic material types:

Soft materials: Hair felt, asbestos, rock wool, glass silk

 sufficient porosity
 good sound absorbing

Semi Hard materials: Cane fiber, mineral wool boards, Acoustic plaster

They are stiff enough to stand rough handling and serve as both absorbing material and building
panels.

Hard materials: Porous tiles of masonry, perforated panels- Metal+Non Metal

They are generally mounted in front of various absorbing materials to serve as protective
surfaces .They have been made porous during manufacturing process.
PANEL ABSORBERS

Panel absorber is created when you place a sheet of plywood or fibreboard, with insulation glued
to the back of it, over an air cavity. The panel will have a resonate frequency of its own, tap it
and you will hear it. When it is placed over a sealed cavity, and insulation is attached to the
back, every time it hears its own note it resonates and the air in the cavity resonates and the
insulation absorbs the resonance, hence absorbing the frequency. It is important to note that here
we have an absorber that reflects the high frequencies and attenuates the low. With the hangers
all that exposed insulation absorbs the high frequencies as well so the panel absorber has a place
in the studio. The two factors determining the frequency of absorption are:

 The mass or density of the panel.

 The depth of the air cavity, i.e. depth of the sealed timber frame.

A panel absorber is made like this:

You can apply different shaped front panels

The other great advantage of panel absorbers is that they can have angled or curved fronts so
when mounted on a wall or the ceiling they stop parallel wall interference and prevent standing
waves creating diffusion.

We can even tune this absorber by placing a contact microphone on the plywood panel which is
plugged into a real-time analyzer and blasting the panel with white noise or a swept tone with a
speaker. When the frequency = the panel's resonate frequency the panel will vibrate and the
frequency will show up on the real-time analyzer. The thicker the plywood the lower the
frequency and the greater the depth (depth of the timber box) from the wall the lower the
frequency. Using fibreboard as an alternative tends to create a low-mid absorber.

We can create a broadband low frequency absorption wall by building a series of sealed boxes
with different depths with each box being only 1m x 1m (3' x 3'). With a variety of different
thickness of plywood you can cover the whole low frequency range. . You can also alternate the
fronts between panels and slats.

PERFORATED BOARDS

These panels are usually made of asbestos, hard board or metal sheets and form the facing
surface which protects the absorbent at the back they withstand damage and abuse to which the
surfaces might be subjected.

Secondly the panels assist in controlling the brilliance at high frequencies. This is because, with
the optimum open area, such panels are practically ineffective at the lower band of frequencies
but impede the transmission of higher frequencies, thus helping to counteract the excessive
absorption by glass silk, etc. at high frequencies. Also, the surface could be painted and repainted
any number of times, whenever the surface gets soiled, without affecting the sound transmission
properties. The panels arc particularly adaptable where non-symmetrical treatment of the
absorbent in different sizes and patterns is required. These panels could be utilized to cover
whole of the area for securing a continuous I5nished surface. in addition, the panels are durable
and being available in large sizes afford economical application and striking decorative schemes
either with or without bevelled edges. Square edge panels are useful where joints arc requited to
be either minimized oi eliminated Again, the panels as well as the absorbents, generally used
with them, are non-combustible and contribute to the desirable safety factor. Some of these
products are known as Perforated Transite Boards, Perforated Asbestos Board etc. with the
following physical properties:

Transite Board: This is a smooth and hard surface material in. thick with perforations in. in
diameter and spaced ½ in. (about 600 holes per sq.ft.). The material is non-combustible and is
available in the following sizes:

Bevelled edges :24 in. x 24 in. and 24 in. x 48 in.

7 7
Square edges, : 23 /8 in. x 23 /8 in. and
7 3
Butt joint :23 /8 in x 47 /4 in.

Perforated Asbestos Board: This is a fire proof material made with asbestos and has a smooth
finished hard surface and is light grey in colour It is available with square cut or bevelled edges.
It has 576 holes per sq.ft in. dia. and in. on centres.

Perforated Panel Board: This is a hard board made of wood fibre and has a smooth natural
brown finish. It is in. in thickness and is made with bevelled edges. This also has 576 holes per
sq.ft.3/16 in dia. and 1/2 in. on centres.

VOLUME ABSORBERS OR RESONATORS

In acoustics, a device used to increase resonance (like echo effects) of a sound and usually
apparent. Eg) higher noise of a train in a tunnel. A cavity resonator, usually used in reference to
electromagnetic resonators, is one in which waves exist in a hollow space inside the device.
Acoustic cavity resonators, in which sound is produced by air vibrating in a cavity with one
opening, are known as Helmholtz resonators.

Cavity resonators

A cavity resonator is a hollow conductor blocked at both ends and along which an
electromagnetic wave can be supported. It can be viewed as a waveguide short-circuited at both
ends. The cavity has interior surfaces which reflect a wave of a specific frequency. When a wave
that is resonant with the cavity enters, it bounces back and forth within the cavity, with low loss
(see standing wave). As more wave energy enters the cavity, it combines with and reinforces the
standing wave, increasing its intensity.

Helmholtz Resonator

Helmholtz resonances are the phenomenon of air resonance in a cavity, such as when one blows
across the top of an empty bottle. The name comes from a device created in the 1850s by
Hermann von Helmholtz, the "Helmholtz resonator", which he, the author of the classic study of
acoustic science, used to identify the various frequencies or musical pitches present in music and
other complex sounds.Provide Selective Absorption at any point of a audio Frequency System

 Single
 Coupled
 Slit
Coupled resonators are formed when perforated plates or boards are employed to enclose air
space between it and a solid surface.

Such a unit forms a series of single resonators with a common air space and can provide large
absorption in high frequency band

CEILING MATERIALS

1. Acoustic Foam wedge Absorber

2. Cloudsorption panels
3. Synthetic acoustic Plaster
4. Acoustic cones
5. Acoustic Cubes

Acoustic Foam Wedge Absorber

Sound Insulation with acoustic foam offer the perfect blend of

technical specifications and eye-pleasing aesthetics. Acoustic
Foam Wedge Absorber is used extensively for superior sound
absorption and insulation. The increased NRC ratings across
the board will meet even the strictest audiophile's needs. It is
helpful for a professional musician creating a sound studio, or
simply trying to help control some sonic anomalies in your
hall, gym, Industries. Acoustic Foam Wedge Absorber is best
applied to your walls/ceilings and surfaces with a heavy staple
gun or our adhesive spray.

Acoustic Foam is also known as Acoustic Foams, Acoustic

Foam Wedges, Wedge Absorber, Anechoic Wedge,
Soundproof Foam Insulation, Acoustic Insulation Foam,
Noise Control Foam, Foam Noise Insulation, Foam Wedge,
Foam Pyramid, Studio Sound Proofing, Vocal Booth Foam,
Noise Isolation Foam, Sound Absorption Foam, Soundproof
Foam, Acoustic Foam Products, Acoustic Foam Pad, Acoustic
Foam Panels, Acoustic Foam Pyramid, Sound Absorption
Products, Sound Proofing Material.
Acoustic Cones

Suspended from the ceiling using a vertical cable the Stereo Cones offer a novel solution when
acoustic reverberation proves to be difficult to resolve. They give life to spaces and adapt to all
ceilings, high or low, with quick and easy integration into the existing decor. The fabric covering
is removable if cleaning is required. Supplied complete with 1.5m suspension cable.

 Colour: Range of 23 round knit colours.

 Size:610x180x60mm
 Fire Rating: Class 0
 Weight:0.2kg
 Finish: Plain or Embossed Fabric.

Acoustic Cubes

A mix of different sizes of Stereo Cubes and

Bricks, and of different hanging heights, creates a
completely new look - playful and colorful. The
fabric covering is removable if cleaning is
required. Supplied complete with 1.5m
suspension cable. The Stereo bricks (760 x 380 x
380 mm) and cubes (380 x 380 x 380 mm) can be
stacked on the floor to create acoustic walls to
mark out quieter zones, in the form of an L or T.
This is ideal for nursery type applications. It is up
to the individual to create the arrangement that
provides the best solution. The shape can be
tailored to accommodate external requirements
and the size of the quiet zone concerned. The
Stereo large cubes are decorative blocks with
acoustic properties. They can be repositioned
easily to accommodate a change to the acoustic
conditions, such as a nursery or conference room
reorganization, or for an impromptu briefing in
the cafeteria. Totally repositionable, they
instantly introduce warmth and comfort. An
optional clear plastic methacrylate window, 380
x 380 x 380 m, 6 mm thick is also available.

 Colour: range of 23 round knit colours.

 Size small cube:380x380x380mm Size large cube:500x500x500mm
  Size brick:760x380x380mm
 Fire Rating: Class 0
 Weight small cube:0.8kg Weight medium cube:1.6kg
 Weight brick:1.5kg
 Finish: Plain or Embossed Fabric

Cloudsorption panels

 Cloudsorption panels are suspended

horizontally from a structural ceiling giving
more of a ‘cloud’ effect.
 This method of installation reduces
reverberation within a room because it
will absorb noise from both below and
above the panel.
 It enables lower frequency noise to be more
easily absorbed because of the air space
between the top of the Cloudsorption panels and the underside of the ceiling.
 Cloudsorption sound absorbing panels are ideal for use in schools, offices, music studios,
shopping arcades, airports, restaurants or any area where a new innovative look is
required.
 Available in 1200 x 600 x 30mm panels produced from high density sound absorbing
core with a factory applied white speckled finish on the face side. This panel has beveled
edges to give it a more pleasing appearance.

Synthetic Acoustic Plaster

Sonacoustic is a synthetic acoustic plaster finish with the appearance of conventional painted
plaster. Unlike plaster, it absorbs sound energy instead of reflecting it, thereby reducing
reverberation times and overall noise levels, giving clarity to speech and music.

A beautiful room with simple surfaces such as feature wood floors and plain flat walls may be
visually appealing but may not be the most pleasurable place to spend time due to overwhelming
poor acoustics.The same visual impact combined with a sympathetic and relaxing acoustic
ambience is possible with Sonacoustic synthetic acoustic plaster.

Sonacoustic can be directly applied to any substrate - wood, gypsum board, concrete or any other
usual construction surface.Sonacoustic is applied at 25mm thick, the area is dependent on the
acoustical requirements of the project. An air gap is introduced to achieve high absorption at low
frequencies.Sonacoustic synthetic acoustic plaster is fire rated Class 1 .
CEILING MATERIALS

1. Wallsorba
2. Timber Acoustic Panel System
3. Acoustic Pinboard Wall tiling
4. Wool Bubbles

WALLSORBA

WALLSORBA acoustic panels are high specification

sound absorbing wall panels for the reduction of echo and
reverberation. Wallsorba acoustic panels are very popular
due to their aesthetics and high sound absorbency. Some
properties are

 Durable
 Fire rated
 Visually pleasing
 Excellent acoustic performance.
 Decorative noise reverberation reduction
solution

Application

Buildings such as lecture theatres, music rooms, offices, boardrooms, sports and community
halls, classrooms, cinemas, interview rooms and many other applications. They transform a
stark, echoing area into a warm quiet congenial work place. These panels are fabric covered and
therefore decorate a room and solve acoustic problems in one operation.

Materials

Wallsorba acoustic panels are made from resin bonded fibre glass specifically tooled and pressed
for maximum sound absorption. The panels are fabric finished hence forming a sound absorbing
panel which is decorative, durable and resistant to mild impacts.
A wide range of standard fabric colours are available. Upvc trims are available in white but can
be sprayed with suitable paint on site to achieve any required colour.

TIMBER ACOUSTIC PANEL SYSTEM

Acoustic is a noise-absorbent timber acoustic panel system for walls and ceilings which, due to
its unbeatable acoustics and aesthetic qualities, the warmth of the material and its easy
installation, is ideal for acoustically treating all kinds of areas such as theatres, auditoriums,
offices, hotels, conference rooms, restaurants and lobby areas etc.
Acoustic is available in either a melamine finish, real wood veneer finish or painted finish. All
Acoustic panels are available with 2mm, 3mm or 4mm grooves. Narrow
128mm wide panels can be supplied for curved wall/ceiling applications
ACOUSTIC PINBOARD WALL TILING

The “Sound Display” Acoustic Pinboard Wall Lining System is a newly developed product for
use in new or refurbishment work to classrooms, training rooms, lecture theatres, educational and
commercial fitouts.

In conjunction with an exciting and fashionable colour range, it turns the entire wall into an
attractive pinboard surface.

Features:

 Excellent acoustic and insulation properties;

 Exceptionally durable and attractive surface with excellent pin retention properties;
 Can be installed around doors and windows, columns and / or curved walls;
 Secret fixing method means attractive finish;
 No need for repainting of walls;\
 A wide range of attractive and functional aluminum trims and mouldings
 A wide range of fabrics and colours available
 TERMITE RESISTANT, FIRE RESISTANT or STANDARD Substrates available;

Panel Sizes:

Width: 1200mm
Height: Up to 3600mm

WOOL BUBBLES
These sound absorption acoustic wall panels are upholstered with 100% wool. There are 15
standard coloursto choose from

Mounting method

The panels are simply mounted on the wall with industrial strength velcro (supplied) although
they could be glued in place if a permanent mounting method was required. The velco option
means its simple to remove the panels or even change the pattern from time to time.

These acoustic panels have a unique design with softly arched forms that are sculpted so that
light falls softly on them. There are many possibe combination in colour and form and they can
adapt to any interior .

Wool bubbles

Consists of 6 soft and arched shapes that can be put together in endless ways. The space in
between them is just as important to the harmony as are the shapes. This also improves the
acoustic absorption properties.

Square bubbles

Available in Plain or Graphica they are again softly arched squares in 3 sizes and with 3 different
patterns.

FLOORING MATERIALS

1. Acoustic Roll Acoustic Roll-down Floating Floor System

2. Acoustic Floor Slabs

Acoustic Roll Acoustic Roll-down Floating Floor System

This isolation system has been developed to reduce the cost of the acoustic floating floor systems
designed to prevent transmission of noise through a building's structural components in
acoustically critical environments.

This system is produced in a roll form with the type isolators inserted into the roll at
predetermined spacing and locations to provide a standard range of acoustic blankets to solve
most airborne noise problems. The isolators are 75mm x 75mm x 50mm thick with varying load
ranges depending upon material density.

The new "roll-out" acoustic blanket and the SVA isolators it uses are supplied in l0m long x
1.2m wide x 50mm thick rolls with a density of 24kg/m
The top surface of the blanket is finished with a glass reinforced aluminum foil/kraft, laminate
facing. With the isolators spaced at 300mm or 400mm centres dependant upon the loading
requirements of the concrete slab and any machines that need to be supported.

Installation of the "roll-out" acoustic blanket is simple and easy, as its name implies the blanket
is rolled out in strips to cover the area designated fo racoustic treatment. With the vertical
perimeter expanded neoprene isolation strip in place the plywood panels are laid on top then
clipped together to prevent movement. Cover the plywood with double layer polythene and the
system is ready to accept the reinforced concrete slab. Acoustic blanket system will satisfy the
acoustic requirements of nearly all airborne structural noise problems.

Benefits

 Easily installed, just roll it out

 High performance - provides the same attenuation as a 5 to 8 times increase in floor slab
mass.\

ACOUSTIC FLOOR SLAB

For use as a resilient layer in the acoustic insulation of separating floors

Description

Acoustic Floor Slab and Acoustic Floor Slab Plus are dense, compression resistant, non-
combustible, rock mineral wool slabs that have been manufactured specifically for use as a
resilient layer beneath chipboard and floor screeds.

Application

Acoustic Floor Slab is for use as a resilient layer in the

acoustic insulation of separating floors.

Acoustic Floor Slab meets the requirement for a resilient

layer under a floating platform to be mineral wool, 25mm
thick with a nominal density between 60 and 100 kg/m3.

Acoustic Floor Slab also provides a weighted reduction in

impact sound pressure level of at least 17 dB.Acoustic
Floor Slab Plus is an extra high density slab, with a
nominal density of 140 kg/m3, for the acoustic insulation of separating floors to meet the
requirements of a floating floor treatment in the Robust Details
Acoustic Performance

The high density of mineral wool in Acoustic Floor Slab and Acoustic Floor Slab Plus offer
excellent acoustic absorption and impact resistance and excellent Fire Performance

Benefits

 High compressive resistance

 Excellent acoustic and thermal properties
 Easy to install

Durability

Acoustic Floor Slab and Acoustic Floor Slab Plus are rot proof, do not sustain vermin and will
not encourage the growth of fungi, mould or bacteria, and is odourless and non-hygroscopic.

Moisture Resistance

When exposed to 90% relative humidity and 20°C Acoustic Floor Slab and Acoustic Floor Slab
Plus absorb less than 0.004% of moisture.

Handling and Storage

Acoustic Floor Slab and Acoustic Floor Slab Plus are easy to handle and install, being
lightweight and easily cut to size.

Acoustic Floor Slab and Acoustic Floor Slab Plus are supplied in weatherproof Supakube
packaging, on non-returnable wooden pallets. This makes them very easy to unload and ideal for
outside storage, which frees up internal stock space.

Thickness Length (mm) Width (mm) Slabs per Pack Area per Pack (m2)
25 900 600 14 7.56

Acoustic Floor Slab Plus

Thickness Length (mm) Width (mm) Slabs per Pack Area per Pack (m2)
50 900 600 4 2.16
40 900 600 5 2.70
30 900 600 7 3.78
25 900 600 8 4.32
SOUND INSULATION MATERIALS:

GLASS FIBER

These are available in diameters ranging from

microscopic dimensions to those like brooms straw.
The thickest variety (0.008 in. diameter) is used for
air filters, the next diameter size (0.00055 in.) is used
for round and thermal insulation and is termed ‘glass
wool’ while the finest variety (0.00022 in. diameter)
is a textile material used for electrical insulation,
fireproof fabrics etc. The latest product of
submicroscopic thickness (0.00005 in.) has
exceptional heat and sound insulating and absorbing
properties. The plain white variety of ‘glass wool’ is
not only available in bat, roll or blanket form but also
as preformed insulation board and acoustic tiles.

FIBER GLASS WOOL

These are fabricated thermal and acoustical

materials, from various forms of Fiberglass
insulation (a mineral wool made of highly
resilient glass fibers) faced on one or both
sides with a non-metallic, flexible material
such as paper, muslin or glass cloth These
are available in many forms and are
efficient in use, light in weight and arc
easily applied. In so far as the acoustical
application is concerned, such blankets,
faced with fiberglass cloth or frame proofed
muslin, find wide use in broadcasting, film and television studios, where these are employed
either with or without facings of perforated metal or boards. These blankets are available in
various sizes and in thicknesses ranging from ½ in. to 4 in. These are usually manufactured with
a density of l- lb. per cu.ft. but could be used in higher densities by compression during
application.

Sound absorption properties of Fiberglass wool are very good and depend both upon thickness
and density. Absorption of this material with different thicknesses and densities. It is observed
that the absorption increases with thickness and density upto certain limit and is optimum for a
thickness of 2 in. or 3 in, with four pounds density. In the case when a choice of the thickness is
to be made for a given weight of the material, large thickness is preferable: The greatest
advantage of this material in providing substantial increase in absorption at the lower
frequencies, with greater thickness or density.

ROCK WOOL

Rockwool is a precisely engineered bonded fiber insulation that offers maximum resistance to
the passage of heat. They consist of fine fibers spun from molten rock and bonded with
thermosetting resin. Rock wool has best combination of thermal insulation and fire protection
properties.

 Rockwool are used for both hot and cold

insulation to conserve energy.
 Lower density material are used for
building applications like under deck
insulation, wall insulation and sound
proofing of partitions and over false
ceilings, air-conditioning duct insulation &
chimney insulation.
 Higher density materials are used for high temperature application like furnaces, oven,
autoclaves, kilns etc Compression Resistance.
 Rock wool are highly resilient and easily regain their nominal thickness after the removal
of normal compressive load

CERAMIC WOOL

Ceramic fibre is an alumino-silicate fibre made from

blends of high purity alumina and silica. A unique
combination of physical and refractory insulation
properties makes it an outstanding material for use in
high temperature applications. The basic fibres, which are
white and non-crystalline, are converted into various
product forms to suit many different applications
throughout the broad spectrum of the industry. It is
completely asbestos free.
ceramic fibre products stand up to abuse in handling and
service. The resist the erosive effects of circulating
furnace gases, maintaining thickness and integrity during both initial heatup & normal service.
NITRILE FOAM RUBBER

This is the 21st century insulation material. It is a flexible

& light weight elastomeric nitrile foam material designed
for thermal insulation. Black in colour, it is available either
in tubing or sheet form. The extruded flexible tubing is
specially designed to fit the standard diameters of steel and
copper pipings. Sheets are available in standard precut sizes
or in rolls

FOAM INSULATION

Foam is used because it takes up less space and

it has greater R-values than other insulation. It
is made up of a molded or extruded polystyrene
or polyurethane. It can be in liquid or board
form.

Liquid forms of foam insulation can be used in

large or small quantities. Small quantities can
be picked up at local hardware stores and used
to insulate water pipes or air ducts. Whereas
larger quanities are used to fill in wall cavities
in existing buildings. Molded forms are large sheets of insulation that are used for insulating flat
roofs or walls and ceilings. This type can also be made in smaller quanities to be used in
insulating concrete blocks or hollow cavities. Extruded forms of insulation are sturdier and are
also used for insulating walls and ceilings.

MINERAL WOOL

Mineral wool is made from molten glass, stone or slag that is spun into a fiber-like structure.
Inorganic rock or

slag is the main components (typically 98%) of stone wool. The remaining 2% organic content is
generally a thermosetting resin binder (an adhesive) and a little oil.
Mineral wool Mattresses has a unique arrange of properties combine high thermal resistance
with long-term stability. It is made from molten glass, pericarp or scum that is spun into a fiber-
like structure which creates a combination of properties that no another detachment touchable

crapper match. It has the noesis to spend energy,

minimize pollution, combat noise, reduce the risk of fire
and protect chronicle and property in the event of fire.

COMPOSITE OR ASSEMBLED UNITS

Asscmb1ed units comprise different combinations of sound absorbing elements such as glass
silk, rock wool, slag woo1 or similar materials and faced with acoustically transparent materials
like perforated hard hoards or metal plates. The greatest advantage in their use, apart from the
considerations of absorption characteristics, is the convenience in their maintenance. \gain,
because of their inorganic composition, these do not retain any moisture. These are therefore,
particularly useful in places where high humidity is a factor to be reckoned with.