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    Architectural-Acoustics-Workbook

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    15 views3 pages

    Architectural Acoustics Workbook

    Uploaded by

    Viktor Mickovski
    Architectural-Acoustics-Workbook

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 3
    EVALUATION GUIDE FOR MUSIC PERFORMANCE SPACES How To Use Evaluation Guide ‘The scales on the evaluation guide can be used by listeners to record their subjective impressions of spaces for music performance (e.g., concert halls, churches, recital halls) . Place a checkmark in the section of the scale which ost represents your individual judgment of the specific attribute or condition. The primary purpose of the evaluation guide is to encourage users to become familiar with important acoustical properties of rooms where music is per- formed. The guide is not intended to be used to rank the best or worst spaces because there always will be a wide range of individual judgments, even ‘among experienced listeners and performers. Recognize also that itis ex- tremely difficult to separate judgment of a hall from either judgment of the quality of a particular musical performance, or from longstanding personal mu- sical preferences, ‘Subjective Judgments of Music Performances Subjective impressions can be recorded for the following conditions (see “evaluation guide*). Carty (listen to beginnings of musical notes and observe degree to which individual notes are distinct or stand apart) Roverberance (listen to persistence of sound at mid-frequencies) Warmth (listen for strength or liveness of bass compared to mid- and treble frequencies) Intimacy (listen to determine if music sounds as though played in a small room regardless of actual size) Loudness (listen for direct sound and reverberant sound; evaluate during louder passages for comfort conditions and weaker passages for aucibility) Diffusion (listen for envelopment of terminal sounds or feeling of immer- sion in sound; compare conditions with eyes open and closed) Bolance (listen for relative strength and quality of various sections of orchestra, and between orchestra and soloist or chorus) ‘Sounds which interfere with perception of music performances may also be observed. The most common are the following: Background noise (sounds other than music or from audience, heard uring times solo instrumentalists play faintest notes, or when hail is empty) Echoes (notice direction and strength of any long-delayed, discrete sound reflections) 4.14 Student Exercises EVALUATION GUIDE (Place mark on section of scale which best represents your impression of listening condition. Use separate sheet for each seat where performance is to be evaluated.) CLEAR SOUND be BLURRED SOUND (varies from clear or distinct to blurred or muddy) LIVE REVERBERANCE |__| ___i __ ___|_ DEAD REVERBERANCE (liveness or persistence of mid-frequency sounds) ‘WARM BASS Ce comp Bass {relative liveness of bass or longer duration of reverberance at bass compared to mic- and treble frequencies) INTIMATE SOUND L___p a REMOTE SOUND (auditory impression of apparent closeness of orchestra) SATISFACTORY UNSATISFACTORY LOUDNESS LOUDNESS (too weak 1 oF too toud} (indicate early or direct sound (symbol D) and reverberant sound (FR) on scale) RICH DIFFUSION POOR DIFFUSION (expansive sound) (pt constricted sound) (envelopment of sound which surrounds listener from many directions ) GOOD BALANCE Cs POOR BALANCE {observe between musicians and soloist or chorus, among sections of orchestra) SATISFACTORY UNSATISFACTORY BACKGROUND NOISE BACKGROUND NOISE (very quiet) et very noisy) (from HVAC system, or intruding noise from ancillary spaces or outdoors} ECHOES (1 No 1 Yes Direction: (long-delayed reflections that are clearly heard) Music Performance Space: Date: _ Seating Capacity: ‘Cubic Volume’ 8 Orchestra/ Conductor: Composer /Work: Seat Location: Seat No. {Use space at right to sketch floor plan, or cut and paste seating layout from program booklet.) OVERALL IMPRESSION (Refer to instructions on preceding pages.) MODERN ACOUSTICAL MEASUREMENTS FOR AUDITORIA In the table below, students are to: define objective acoustical measurements, describe briefly how measurements are made (equipment and test setup), list criteria for auditoria, and identify architectural design features affecting sound. Some definitions, criteria, and essential design features are given for concert halls. For example, cubic volume to seat ratio (VIN) for concert halls should be 300 to 450 ft'/seat. Most successful halls have low seating capacity (< 2000). INOTE: Orchestras do not play best in half-filed halls.) ‘Keoustical | Measurement] Acoustical ‘Architectural Attribute Measurement _| Method | Criteria Feature Reverberation | RTis decay time | [RT= 181620880 (RT, EDT, BR) | from-5 10-95 48x2.| | (occasion) EDTis decay ime | | ane | from 0t0-10.68%8. | | eor= | BRis, | | and _ | | BR= 1.1010 145 Clarity T | 80=-1 to -4 dB per | Cubic volume to seat (C80, RASTI | ad vericoralum of | ratio (VIN). | cchesra ns | conductors Seating area contig, | and Loudness Gis ato of sound 4eoe8 Height to width rato © energy in r00m to (my > 08 Sound energy 10 m and avray from same | Seating area (S1. source in anechoic | and ‘Spatial T [FS OAS Wath Wy S80 Impression | [and and (LE, Acc family) | [Reo

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