Professional Documents
Culture Documents
3.0 Conclusion.................................................................................................................................31
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4.0 Reference and Citation ......................................................................................................32-33
1.0 INTRODUCTION
world as Bentley & Co. It is the largest music instrument retailer and distributor in the
country and in turn launch the country's leading music school. A lot of renowned
musicians will hold mini concerts or music sharing sessions in this auditorium from
time to time. It is a perfect venue for small seminars and conference.
This assignment is carried out by 8 group members consisting Tristan Yu, Roy
Yiek, Eveline Devina, Louis De Razario, Harish Kumar, Adam Tan, Lim Joe Onn and
Ong Seng Peng. Our objective is to understand how the sound propagation works in
the auditorium by analysing the data we collected from site. Besides, we are also to
make a conclusion about whether the selected case study achieve the ideal acoustic
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properties based on the analysis we did on our auditorium from several aspects such
as sound reflection, sound absorption, sound diffusion and others.
would one day turn into the largest music instrument retailer and distributor in the
country and in turn launch the country's leading music school.
In 1981 Bentley Music acquired its own building in Jalan Bukit Bintang launching
a super store with a 4-storey showroom. This store once claimed to be "the largest
music store" in the country and became a landmark in its own right. Spread over four
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levels of retail space, it has everything a musician needs, making it a music mecca on
a national and international level.
To this day Bentley Music continues to lead the way in music retailing and
continues to adapt itself to the demands of the music market with a 20,000-square-
foot Mega Store located within its new building in 2008 at Mutiara Damansara. It is in
this building that Bentley Music Auditorium is located.
This auditorium is one of the most famous places for the singers around the
world to host their music sharing session or mini live concert.
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1.3 DRAWINGS OF AUDITORIUM
PLAN VIEW
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LEFT ELEVATION
RIGHT ELEVATION
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1.0 DATA COLLECTION
Absorber panels, Sound Diffuser panels, Sound reflector panels, soft carpet flooring
and fabric stage curtains. All these acoustical elements are well placed and designed
in a way that the acoustic is the best when performance is going on.
The highlighted area in the picture above shows the diffusers present in
the auditorium.
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Diagram
illustrating the
type of
diffuser used
in the
auditorium.
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The diffusers actually consist of two elements which comprise of
absorber and reflector that made up its sound diffusion effect, the following
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2.1.2 SOUND REFLECTIVE PANEL
The reflectors are the catchy-eye panels located on top of the ceiling. With its
huge size shows its strong characteristics of giving the best reflection in the
auditorium.
Highlighted
area above
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2.1.3 SOUND ABSORBER PANEL
requirements.
panels are used to absorb sound waves which reduces general noise, clarify
speeches and limit reverberation within enclosed areas. Using acoustic panels,
When sound waves travel through the air and strike the wall reducing
the conversion of sound energy to kinetic (heat) energy. Since kinetic energy
naturally, no sound.
Fabric
Fiberglass
Bricks
Plaster
50mm
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2.1.4 CARPET FLOORINGS AND FABRIC CURTAIN
sound. The noise reduction coefficient (NRC) for typical commercial carpets is
around 0.20. The absorptivity is confined mainly to the high frequency,
however, it also helps to absorb the bass
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2.1.4.2 CURTAIN FABRIC
Fabrics include a range of textiles that are used on their own (as
curtains) or as coverings for other materials may or may not be sound
absorbing. The curtains used behind the stage in the auditorium can be
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2.2 SOUND SOURCE
Sound systems are used to electronically amplify natural sound, also called live
sound. Traditionally, these are called sound reinforcement systems with purpose to
augment the loudness of the live sound with amplified sound, with the listener
major types of loudspeaker arrangements typically used are the central loudspeaker
cluster, split cluster systems, distributed loudspeaker system, and multichannel
systems. The following diagram discuss about the kind of sound system present at
the site.
2 Subwoofers
The picture
beside shows
the full range
speaker.
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The speakers used in Bentley Auditorium can be safely driven with over
1000 Watts of amplifier power. The 2-way passive 8-Ohm design uses a single
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2.3 SOUND REFLECTION
Incident sound wave hits the surface until the sound energy come to a zero.
Reflection of sound waves bounce off surfaces can lead to one of two phenomena -
an echo or a reverberation.
listener. The loudspeaker illuminates its entire view but only a tiny fraction of the
sound actually hits the target, the ears of the people below, the "direct sound". The
rest of the sound crashing into the walls, floor and carpet, the people, coats, and
chairs, the walls, windows and doors. Every time some part of the indirect sound hits
a surface, it is reflected. How the surfaces of the hall reflect the indirect sound
determines how the room sounds.
The floor carpet surface, wood panels on wall and aluminums panels attached
ceiling reflect almost all incident sound energy striking them. The properly concave -
shaped aluminums panels on the ceiling form a reflective surface. Concave-shaped is
especially useful, and they have one focus point which concentrate the sound
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Diagram showing listeners at the front row
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Diagram showing listeners at the back row
Based on
observation,
concave-shaped
ceiling panels
provide angle of
sound
concentration
towards the
center of the
area. While
carpet floor reflect sound from direct speaker towards the front row. The partially
wooden panels act as reflector to reflect the sound towards the center of the
audience form early reflection. Early reflections raises the apparent loudness of the
direct sound in a comfortable, natural way, much more agreeable than turning up the
volume.
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2.4 SOUND DIFFUSION
concept of sound When the sound is spread from its source in a given
enclosed environment, how well does it spread evenly throughout the room
will depend on the sound diffusion efficiency. A good diffusive sound space
will have the same acoustic properties anywhere in the space. A poor sound
diffuser system would produce unwanted echoes. Both design and choice of
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The diagram above illustrate how the different design can have
auditorium form to be designed following its floor plan, there would be some
part of the audience will receive unwanted echoes sound. It’s a preferable way
to design the ceiling in responding to the sound source and its acoustic
sound reflective ceiling with concave side facing the interior therefore each of
the seating zone from front to back can relatively receive the same sound
quality and equal sound intensity. As mentioned previously, the diffusers used
in Bentley Auditorium are the irregular wood patterns on the side wall. Not
only does it serves the sound diffusion function but it is also aesthetically
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2.5 SOUND ABSORPTION
The sound is
absorbed by
the fiber panel
and release as
heat.
friction and resonance. Sound-absorbing panel affects the reverberation time and the
noise in level in the room. It works through friction when sound has access to the fine
pores and interstices that one finds in porous and fibrous material. Absorption is
frequency dependent. Porous-fibrous absorbers are most efficient in the higher
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Sound Absorption Efficiency value at 500Hz
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ENTRANCE WALL
Glass
2
Area: 6m
Absorption Coefficient: 0.04
Absorption coefficient of the surface: 0.24
Absorber Panel
2
Area: 60m
Absorption Coefficient: 0.5
Absorption coefficient of the surface: 30
Brick Wall
2
Area: 60m
Absorption Coefficient: 0.3
Absorption coefficient of the surface: 1.8
FACADE WALL
Glass
2
Area: 127m
Absorption Coefficient: 0.04
Absorption coefficient of the surface: 5.08
Curtain
2
Area: 127m
Absorption Coefficient: 0.25
Absorption coefficient of the surface: 31.75
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CEILING
Concrete (slab)
2
Area: 404m
Absorption Coefficient: 0.02
Absorption coefficient of the
surface: 8.08
Aluminium deck
2
Area: 404m
Absorption Coefficient: 0.25
Absorption coefficient of the
surface: 101
FLOOR
Concrete (slab)
2
Area: 404m
Absorption Coefficient: 0.02
Absorption coefficient of the
surface: 8.08
Carpet
2
Area: 404m
Absorption Coefficient: 0.25
Absorption coefficient of the
surface: 101
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LEFT WALL
Absorber panel
2
Area: 150m
Absorption Coefficient: 0.5
Absorption coefficient of the
surface: 75
Reflector panel
2
Area: 76m
Absorption Coefficient: 0.15
Absorption coefficient of the
surface: 11.4
Brick wall 2
Area: 226m
Absorption Coefficient: 0.03
Absorption coefficient of the
surface: 6.78
RIGHT WALL
Absorber panel
2
Area: 150m
Absorption Coefficient: 0.5
Absorption coefficient of the
surface: 75
Reflector 2panel
Area: 76m
Absorption Coefficient: 0.15
Absorption coefficient of the
surface: 11.4
Brick wall 2
Area: 226m
Absorption Coefficient: 0.03
Absorption coefficient of the
surface: 6.78
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2.6 DIRECT AND INDIRECT SOUND PATH
The perception of sound directions is attributed to the law of the first wave
front which states that the sound will usually be localized in the direction from which
the first sound wave that arrives at the listener’s location comes. The concept of
sound being divided into several components defined by perceived acoustic qualities
is based on the idea that an impulse response can be subdivided into several
components: direct sound, the early sound reflections, the later or reverberant
sounds, and the ambient or background noises. The basic two are the direct sound
and the early sound reflections (indirect sound). Direct sound travels directly from the
source to the listener without striking any of the surfaces of the room which
contributes to sensations of loudness, clarity, and localization. It will generally
decrease as it moves further from the sound source. The early sound reflections strike
one of the room surfaces (ceiling, wall, etc.) and are reflected to the listener’s
location. Reflections that arrive within short time intervals after direct sound (less
than 80msec for music) are usually combine with the direct sound by the ear,
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2.7 ACOUSTICAL DEFECTS INAUDITORIUM
Noise from foyer open area of the building can be heard from interior. Which
will cause distraction of noise enter the auditorium if there's any function
happening inside.
The hollow surround the door frame allows sound to pass through into the
interior from the slit easily.
We discover the door jambs comes without proper seals. Besides that, we can
feel the air movement and light shine through the door frame.
Before After
Therefore, the solution is to add seals, for example flexible material like
Neoprene. So that, when the door is shut the seal should be in line that
compress against the clean surface. The goal is be an air tight connection
from allowing air and light passing through the hollow area.
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2.7.2 MECHANICAL NOISE PROBLEM
The air vents is right on top of the ceiling hiding behind the aluminums panels
An annoying whooshing sound from the vents outlet are usually result of
small openings and tight grillwork that restrict the airflow from the aluminums
panel.
Due to the fact that music room need nearly twice the rate of fresh air
large with open grillwork. Thus, small vents and heavily screened grills is
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2.7.3 EXTERNAL NOISE FROM CURTAIN GLASS
One of the major defects in this auditorium is that it is not completely sound
proof from the external noise. This is because of the selection of material at the front
part (exterior façade) of the hall. The front part of the auditorium hall is a huge
able to penetrate
into the auditorium
hall. It is even more
obvious as there is a
construction work
going on at the
opposite of the
auditorium.
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2.0 CONCLUSION
that gave us the opportunity to find out deeper about. We analysed deeply
about the right combination of both sound absorption and diffusion. This
combination can transform the acoustics of virtually any room into a world-
pollution from the exterior affecting the internal sound, thus we proposed a
few solutions for that issue. An auditorium should take into consideration
towards future planning. This problem doesn’t affect the auditorium as much,
as it is perfectly usable. The fact that this auditorium is made from low
budget but still ideal for its current function. In terms of materials and
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4.0 REFERENCE AND CITIATION
Astralsound. (2003). Bass Loudspeaker Position in PA Systems. Retrieved from
www.astralsound.comBentley Music Academy Sdn Bhd (2016). A Brief History.
Retrieved from http://www.bma.com.my
Cavanaugh, J. W., Tocci, G. C., & Wilkes, J. A. (2010). Architectural Acoustics Principles
and Practice. USA: John Wiley & Sons, Inc.
GraceNote Design Group. (2013). Acoustics 101 for Architects. Retrieved from
www.sound-image.com
Graves, R. S., & Zarr, R. R. (1997). Insulation Materials, Testing, and Applications (3rd
Ed.). US: ASTM International.
Harris, Cyril M. (2012). Noise Control in Buildings: A Practical Guide for Architects and
Engineers. NY: McGraw-Hill.
Mehta, M., Johnson, J., & Rocafort, J. (1999). Architectural Acoustics: Principles and
Design. USA: Upper Saddle River.
Neufert, Ernst, & Peter. (2012). Neufert Architects’ Data. Oxford: Wiley-Blackwell.
The University of Hong Kong Libraries. (1996). Auditorium Acoustic Design, Hong Kong
Academy for Performing Arts. Retrieved from
http://ebook.lib.hku.hk/CADAL/B38631787.pdf
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Theatre Project Consultants. Types and Forms of Theatres. Retrieved from
www.http://theatreprojects.com
Wenger. (2000). Acoustic Problems & Solutions for Rehearsal and Practice Spaces.
Retrieved from www.wengercorp.com
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