MODULE 3: Acoustics (Part II)

Absorption co-efficient, Factors affecting acoustics of buildings and their

remedies, Acoustic design of a hall.
Absorption: Sound absorption is the loss of sound energy when sound waves come into
contact with the building material such as ceilings, walls, floors and other objects. Sound
energy can be a particularly important factor in Sports hall, Schools, Recording studios etc.
When a sound wave strikes a surface there are three possibilities
I. Part of energy is absorbed
II. Part of energy is transmitted
III. Remaining energy is reflected
Absorption coefficient: The effectiveness of surface in absorbing sound energy is expressed
by absorption coefficient denoted by ‘a’. It is defined as
𝑆𝑜𝑢𝑛𝑑 𝑒𝑛𝑒𝑟𝑔𝑦 𝑎𝑏𝑠𝑜𝑟𝑏𝑒𝑑 𝑏𝑦 𝑡ℎ𝑒 𝑠𝑢𝑟𝑓𝑎𝑐𝑒
𝑎=
𝑇𝑜𝑡𝑎𝑙 𝑠𝑜𝑢𝑛𝑑 𝑒𝑛𝑒𝑟𝑔𝑦 𝑖𝑛𝑐𝑖𝑑𝑒𝑛𝑡 𝑜𝑛 𝑡ℎ𝑒 𝑠𝑢𝑟𝑓𝑎𝑐𝑒
For the comparison of relative efficiency of different absorbing material, it is necessary to
select a standard or reference.
Sabine selected a unit of open window as standard. For any open window the sound energy
falling on it is completely passed out; no reflection and no absorption. Hence open window is
an ideal absorber of sound and is considered to be as standard unit which is OWU or Sabine.
The absorption coefficient of a material is defined as the reciprocal of the surface area of
the material which absorbs the same sound energy as absorbed by unit area of open
window.
For e.g. If 20 m2 of a wooden surface absorbs the same amount of sound energy as that absorbed
by 1m2 of an open window, the absorption coefficient of the surface will be 1/20= 0.05OWU.

If a1, a2, a3 ……...an are the absorption coefficients of the material in the hall whose
surface exposed are s1, s2, …….sn respectively. The average value of absorption coefficient will
be
∑ 𝑎𝑆
〈𝑎〉 =
𝑆
Measurement of absorption coefficient (Technique based on reverberation):
This method is based on the determination of standard times of reverberation in the room
without and with a standard large sample of material inside the hall.
If the reverberation times with and without the material are T 1 and T2 respectively, then by
applying Sabine formula,
 0.165𝑉
𝑇 =
∑ 𝑎𝑆
1 ∑ 𝑎𝑆
⇒ =
𝑇 0.165𝑉
∑ ∑
And ⇒ =
.

Therefore,
1 1 ∑ 𝑎𝑆 + ∑ 𝑎 𝑆 ∑ 𝑎𝑆
− = −
𝑇 𝑇 0.165𝑉 0.165𝑉
∑
− =
.

0.165𝑉 1 1
𝑎 = −
𝑆 𝑇 𝑇
Hence by measuring the two time of reverberation, surface area of the material and volume of
the hall we can calculate the coefficient of absorption of the material.

Factors affecting acoustics of buildings and their remedies:

By an acoustically good hall, we mean every syllable or musical note reaches an audible level
of loudness at every point of the hall and then quickly dies away to make room for the next
syllable or group of notes. Following are the factors that affect the architectural acoustics:
1.Reverberation
Reverberation can affect a hall. When reverberation is large, there is overlapping of successive
sound which results in loss of clarity in hearing. On the other hand, if the reverberation is very
small, the loudness is inadequate. Thus, there must be an optimum reverberation time. A
formula for standard time of reverberation was given by Sabine, which is

0.165𝑉
𝑇=
∑ 𝑎𝑆
Where V is the volume, S is the surface area and A is the total absorption of the hall.
The reverberation can be controlled by the following factor:
 By providing windows and ventilators.
 Decorating the wall by pictures and maps.
 Using heavy curtains with folds.
 The walls should be lined with absorbent materials such as felt, Celotex,fiberboard etc.
 Having full capacity of audience.
  By covering the floor with carpets.
 By providing acoustic tiles.
2. Adequate loudness
With great absorption the time of reverberation will be smaller which will minimise the chance
of confusion but the intensity of sound may go below the level of intelligibility of hearing.
Sufficient loudness in every portion of the hall is very important factor for satisfactory hearing.
The loudness can be increased by
 Using large sounding boards behind the speaker and facing the audience.
 Low ceilings are of great help in reflecting the sound energy.
 By providing additional sound energy with the help of equipment like the loudspeaker.

3. Focussing due to walls and ceilings

If there are focussing surfaces (viz, concave, spherical, cylindrical or parabolic) on the walls
or ceiling or floor of the hall, they produce concentration of the sound into particular region
while in some parts, no sound reaches at all. In this way there may be silence in some parts.
For a good acoustic hall there should be uniform distribution of sound in the hall. To get
uniform distribution
 There should be no curved surfaces.
 Ceilings should be low.
 A parabolic reflected surface arranged with the speaker at the focus is also helpful
4. Absence of echoes
An echo is heard when direct and reflected sound waves coming from the same source reach
the listener with a time interval of about 1/7 second.
Echoes may be avoided by covering the long distant walls and high ceilings with absorbent
material.
5. Freedom from resonance
Sometimes the window panes, sections of wooden portion and walls lacking in rigidity are
thrown in vibration and they create other sounds. If this sound matches with the audio
frequency it results resonance. If this sound does not match the audio frequency, then also there
will be interference between the original sound and the created sound which results distortion
of the sound. Thus, intensity of the note will be entirely different from the original note.
To get rid of this we should avoid such type of resonating material or the material should be
suitable damped.
6. Echelon effect: A set of railing or any regular spacing of reflected surfaces may produce a
musical note due to the regular succession of echoes of the original sound to the listener. This
process of combination of multiple echoes and forming a new sound is known as echelon effect.
Because of this affect the original sound becomes confused and unintelligible.
To get rid of such affect we have to remove such type of surface.
7. Noise: In a good hall no noise should reach from outside. Noise may be defined as unwanted
sound. The noise produces displeasing effect on ear. Basically, three types of noise are found
to be very troublesome.
 Air-borne noise: This type of noise commonly reaches through windows and doors and
ventilators.
Remedy: By avoiding openings for pipes and ventilators, by allotting proper place for
doors and windows, by providing double wall construction, suspended ceiling
construction, box type construction etc,
 Structure borne noise: The noise which are conveyed through the structure of the
building are known as structural noise. These noises may be caused due to structural
vibration due to activity at around above or below the structure. Common cause of such
noise is street traffic, drilling etc.
Remedy: Using double wall with air space between them, soft floor finish (carpet,
rubber, etc.)
 Inside noise: The noise which are produced inside the hall or rooms in big offices are
inside noise. They are produced due to machinery, typewriter, etc. inside the hall.
Remedy: All the machineries should be placed on absorbent material.

Acoustic design of a hall

Dead room: A room is said to be acoustically 'dead' when it contains a great deal of sound
absorbing material, such that there is little or no REVERBERATION, and strong
ATTENUATION of high frequencies.
A live room has a long reverberation time and a dead room a short reverberation time. A live
room or tracking room should have sound characteristics that complement and enhance
the sound of the room.
Acoustic theory says that a good acoustic room should be neither too “live” nor too “dead.”
Apart from the characteristics of source producing the sound, the environment in which the
sound is created and heard also plays an important role in deciding the ultimate quality of
sound.

According to classic acoustics theory there are some requirements which, when met, result in
good acoustics:

 Clarity: It is the quality of sound that supports the comprehension of detail and the
distinction separation of individual musical notes and articulation. Every note
comprising the sound must arrive at receiver in a clear, crisp and unobscured manner
to qualify as a clear sound. Thus sound emanating from the source should be strong
enough and must each the listener in a unobstructed manner
 Uniformity: Listener can be located anywhere in a given room or auditorium. A room
with good acoustic would ensure that listener hear the same quality of sound
irrespective of their specific location.
 Envelopment: In a room with good acoustic quality, each listener must be surrounded
by sound from all the sides. At the same time, the listener must be able to identify the
 original source of sound. To ensure this early reflection must arrive from front, back
and side walls and ceiling of the room. Sides and ceiling should therefore be not flat
but include appropriate structure to induce a large number of early reflection.
 Smoothness: Smoothness of sound refers to the unpleasant roughness in the sound
received by the listener. Poorly placed concave surfaces and large flat surface can
produce strong reflection which may reach the listener after 100 ms which produces
distinct echo. The gaps between consecutive reflection should aliso be less than 30 ms
to avoid the unpleasant roughness.
 Reverberation: Reverberation is the persistence of sound in the room even after the
source of sound has been switched off. In a room of good acoustic, reverberation must
be of appropriate loudness relative to the original sound and rate of decay should also
be pleasing. The optimum reverberation time depends on the size of the room, loudness
of sound and the type of the sound or musical note that is providing the stimulus to the
ear.
 Resonance: The vibrations produced due to the presence of some resonating surfaces
like window panes, wooden portion, lacking rigidity may produce resonance when
frequency matches with the original sound frequency and sometimes may produce
distortion when its frequency interfere with the original frequency. So in a good
acoustic hall such type of resonating surface must be damped.
 Appropriate, low background noise is one of the most important acoustic criteria –
especially in concert halls and theatres. In a room, the background noise may come
from technical installations or ventilation systems.
 Liveliness: The sense of a persistence of sound as heard during ongoing speech or
music. Liveliness is achieved through a room shape that supports multiple lateral sound
reflection. Rooms with near parallel walls support liveliness.
 Spaciousness: It refer to the perceived width of sound source, such as an orchestra.
Spaciousness of sound is achieved by proper room size and shape and/or the presence
of sound diffusing surfaces, particularly at the forward portion of the hall

Review Questions:

1. Explain the difference between ordered sound and disordered sound.

2. Define Intensity and Loudness of sound wave. (ASTU 2015)
3. Explain the main characteristics of a musical sound.
4. In what unit loudness is represented.
5. Describe an expression for the intensity of sound waves.
6. State and explain Weber Fechner law. ( ASTU 2014)
7. Explain the term envelop and resonance.
8. Suggest some method for controlling air borne noise.
9. State Sabine formula. (ASTU 2014)
10. State four factors that affect acoustics of a room and their remedies. (ASTU
2014)
11. Suggest a method of measuring absorption coefficient of a surface
12. What is absorption coefficient in acoustics? (ASTU2014)
13. What do you mean by Live Room and Dead Room? (ASTU 2015)
Numerical:

1. If a concert hall of size 70ft × 40 ft × 15 ft has plastered surface of absorption

coefficient 0.1, and capacitance of audience of 100 adults (each having an
absorption of 4.7 ft2 OWU), find the reverberation time of the hall. (ASTU
2014)
2. Two sound waves of same frequency have intensities of 10-12 watt/m2 and
10-12 watt/cm2. Estimate the difference between the intensity levels of these
sound. (ASTU 2015)
3. Given reverberation time is 2.5 sec for an empty hall and 1.6 sec when a curtain
cloth of 21m2 is suspended at the centre of the hall. If the dimensions of the hall
are 12m×11m×8m, then calculate the absorption coefficient of the curtain
cloth. (ASTU 2015)

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