LECTURE 9:

LAWS OF SOUND/ACOUSTICS

Dr. Noor Aziah Mohd Ariffin

Extn: 5224
Department of Architecture Kulliyyah of Architecture and Environmental Design International Islamic University Malaysia
 THE BASIC LAWS

When a sound wave or vibration hits an object,

3 things will happen:

i. Reflection
ii. Absorption Absorption
Reflection
iii. Transmission

Transmission

Sound waves hitting

an object
 1. REFLECTION

Same as the basic laws of physics:

• angle of reflectance = angle of incidence
is applicable as the Laws of Acoustics.

i. Specular reflection

io=ro

i r
Smooth and hard
surface
 1. REFLECTION

ii. Scattered reflection

diffused

Matte surface
(rough)

iii. Combined reflection

diffused & specular

Smooth and matte

surface
 Nature of reflection

a) Sound that is reflected off a concave shape

will converge.

converge
 Nature of reflection
b) Sound that is reflected off a convex shape
will scatter.

scatter
 Nature of reflection

c) Sound that is reflected off a straight surface

will reflect the sound waves evenly in parallel.

in parallel
 Nature of reflection

• Among the three, a concave surface is the least

practical and will create a convergence of the
sound waves reflected.
• Concentration points of high intensities will occur
sporadically throughout the whole space.
• Convex surface is the best. Can distribute sound
waves to all parts of a space.
• Even/flat surface is the most practical for uniform
sound distribution.
 Effects of Reflection

PRINCIPLES OF NATURAL AMPLICATION

• Reflection is the natural means amplify sounds.
• It has been used since the Greek and Roman
times as a means of amplification of theatres,
etc, before electronic amplifiers were invented.

The ensuing diagrams will show the effects of

reflections for amplification.
 Effects of Reflection Towards Amplification

A. The diagram shows the distribution of sound

waves from a speaker in an open air situation.

• The sound waves is distributed in all directions.

• Only the ones in front will be able to hear, others in the
back cannot, due to obstruction of those in front.
• Source of sound - direct sound.
 Effects of Reflection Towards Amplification

B. A better solution would be to raise speaker on a

stage.

• less obstruction
• but direct sound is still not able to travel very far.
• sound is scattered every where.
 Effects of Reflection Towards Amplification

C. Build a wall and roof over the speaker for further

amplification.

• The scattered sound will be reflected.

• Sound is amplified.
• However the reflections is not optimised.
 Effects of Reflection Towards Amplification

D. Geometry of ceiling is further changed to

optimise reflection.

• Sound is able to be reflected further.

• Raked seatings improves better listening and
seeing.
 Effects of Reflection Towards Amplification

E. Extending and slanting ceiling further.

• Sound is able to be reflected much further into the

audience to ensure that almost everyone could hear.
• Seatings are also raked for better effect.
 CHARACTERISTICS OF REFLECTOR

• Needs to be big, smooth and hard.

• A small reflector will not be able to reflect sound
effectively.
• A small reflector could diffract the sound waves.

Diffraction occurs when sound

waves tend to skid off a small
reflector.
 CHARACTERISTICS OF REFLECTOR

Other examples of diffraction

Transmission
Reflection

Diffraction - sound
can spill over to create
noise.

Diffraction of a Sound Barrier

EXAMPLES OF REFLECTORS
University of Michigan Recital Hall
COOP HIMMELB(L)AU
Pavilion 21 MINI Opera Space for the
Bavarian State Opera - a temporary 300 seat
Pavilion for the Munich Opera Festival 2010
with a multifunctional stage.

The acoustical properties is enhanced by

tilted walls and increased surface area.
Another design strategy is also to reduce the
influence of external sources of sound.
The Pavilion which is 21 meters long, 17
meters wide and between 6 and 8 meters
high will be positioned in such a way on the
Marstallplatz that it will act more as a sound
reflector than as a barrier to the sound of
the cars passing by.
The Interior
 EXAMPLES OF REFLECTORS
Road Sound Reflectors
 Temporary Pavilion at Serpentine
Gardens, London

The interior

Sound reflector and barrier to

traffic noise
 2. ABSORPTION

• Absorption is necessary to :
a. reduce noise level in a space
b. avoid unwanted reflections
c. to control reverberation time.

• To reduce the noise level of a space -

- the absorbent material must be situated at the source or
at the room which produces the noise, eg. a plant room,
etc.

• To avoid unwanted reflections which can cause multi

reflections or mixed noises –
- the absorbent material should be situated where the
reflection may prove a problem.
 2. ABSORPTION

Absorption here is
Reflection here is optimal.
optimal.
Reflection here may
cause mixed noises
(echoes)
 2. ABSORPTION

Place absorbents here to

absorb unwanted reflections.
1/3 of area at back of room
 2. ABSORPTION

• To reduce the reverberation time -

- the absorbent material should be placed all over the
interior, especially at the back of the wall, floor and
ceiling to standardized the reverberation time for the
space.

2/3 1/3
 TYPES OF ABSORBERS

There are 3 main types:

1. Porous materials
• eg. fibreboard, carpet, mineral wool,
curtains
 1. Porous Absorbers

• Mainly used to absorb higher frequency range

• Consist of fibrous materials that can absorb sound and
transform to other forms of energy
• Eg: fabric, carpets, foam, acoustic blankets
• Can be slightly improved by increased thickness or mounting
with an airspace behind.
 Porous Absorbers

• Available in 3 types:
i. Prefabricated (tiles)

Acoustic Foam Tile Sound absorbing Tegular

Ferrite tile tiles are a plain tile with
bevelled edges.

Reduce uncontrolled ambience and Can provide 10dB - 25dB of absorption The thicker the sound absorbing
allow your ears and microphone to between 30MHz and 1GHz. Tiles are thin tiles the lower frequencies they
hear only the source but can be heavy will absorb.
 1. Porous Absorbers

ii. Plaster and spray-on materials

Acoustic porous fibre Sprayed acoustical plaster Acoustic plaster tile

Noise or sound is trapped and To control noise by absorbing sound To reduce sound transmission
absorbed by the porous material. and reducing echoes. Popular for
homes and offices
 1. Porous Absorbers

iii. Acoustic blanket (glasswool or rockwool)

Acoustic blanket Acoustic fibre in wall

construction

Quilted glass fibre and a lead core

Provides up to 21dB reduction
or a polymeric barrier core.

Blanket dissipates sound energy passing

through it, and this dissipated energy
cannot be transmitted through to the
other side of the wall.
 1. Porous Absorbers

iii. Acoustic blanket (glasswool or rockwool)

 2. Membrane or Panel Absorbers

• Good absorption characteristics in mid to low

frequencies range, between 50 to 500 Hz.
• Performance is quite restricted
• Maximum absorption occurring at the resonant
frequency of the absorber
• A more effective absorbent can be achieved by
combining porous and membrane absorbers
together.
• Eg: wooden panels
 2. Membrane or Panel Absorbers

Good absorption in mid to

low frequencies range
 MEMBRANE ABSORBERS

eg. timber panel, plywood, etc.

 RESONATORS

3. Cavity or Helmholtz Resonators

• these are containers with small open necks
and they work by resonance of the air
within the cavity.
• Porous materials can be introduced into the
necks to increase the efficiency of the
absorption.
• Efficient absorption is possible over a very
narrow band.
 RESONATORS

• Mainly used to absorb a particular band of

frequency
• Helmholtz resonator contains a volume of air,
which is connected to the room via a narrow
neck.
• When the sound wave hits the neck opening,
the air within the body of the resonator vibrates
causing the air within the neck to move.
• The friction of the air in the neck causes some
energy to be absorbed
• Eg: Helmholtz resonator, or perforated panels,
acoustic bricks
3. Cavity Resonators
 3. Cavity or Helmholtz Resonator

Helmholtz resonator

Perforated panels

Very efficient for a narrow

frequency band that needs
to be isolated
 3. Cavity or Helmholtz Resonators
Decorative Helmholtz resonators Custom-designed resonators
Cavity Resonators
Shukran Jazilan