ROOM DESIGN

I. REVERBERATION CRITERIA FOR SPEECH ROOMS

- Speech intelligibility relies on the ear's undistorted reception of short, disconnected

sounds (30 to 300 ms in length). The ideal room should maintain a minimum
reverberation time, ideally 0.35 seconds. Reverberation time can have either a
salutary or deleterious effect, with a maximum of 50 ms between sounds. Proper
design compromises between reflection and reflection to preserve intelligibility,
ensuring the room's size and speaker's voice level.

II. CRITERIA FOR MUSIC PERFORMANCE

- Adequate design for a music space involves recognizing the need for direct-path
sound reinforcement by reflection, long reverberation time to enhance music, and a
good direct path between sound source and listener. High-frequency content is
crucial for brilliance of tone, and a good vision path is essential for proper
appreciation. Designing a music performance space involves calculations,
simulation techniques, and acoustic models, with movable reflector panels and
active variables used in the design process.

III. SOUND PATHS

- Direct-path sound, a form of sound, is characterized by waves, which can be

difficult to control and reinforce, requiring careful design and control.

A. Specular Reflection
- Specular reflection in sound creates effective image sources, as seen in ancient
theaters and using reflecting panels for minimal attenuation.

B. ECHOES
- A clear echo occurs when reflected sound reaches a listener over 50 ms after direct
sound, producing undesirable echoes. Echoes' undesirability depends on time delay,
loudness, and reflecting surface size. Redirecting energy to useful reinforcement
can reduce echoes.

C. FLUTTER
- A flutter is a buzzing or clicking sound, often occurring between shallow domes
and hard floors, and can be remedied by altering reflector shape or adding
absorption.
 D. DIFFUSION
- Diffuse sound field, achieved through convex surfaces and flat horizontal and
inclined reflectors, maintains a constant sound level throughout the space, making
it ideal for musical performances.

E. FOCUSING
- Concave domes, vaults, or walls focus sound reflections into specific rooms,
causing hotspots and depriving some listeners of useful reflections.

F. CREEP
- Sound reflection along a curved surface occurs from a near-surface source, with the
sound being audible at points along the surface but inaudible away.

G. STANDING WAVES
- Standing waves and flutter are similar but differ in their impact on sound. Standing
waves occur when a steady tone is the source, but only when parallel walls are
spaced apart at a half-wavelength. Resonance, or the accentuation of a frequency,
can cause standing waves. Room geometry can minimize these effects, but
nonparallel walls and undulating ceilings are generally unacceptable.

RAY DIAGRAMS
- Ray diagramming is a design procedure that analyzes reflected sound distribution
in a hall using the first reflection only. It assumes spherical reflection and allows
for additional sound sources. Ray diagrams are useful for determining ceiling
shapes and the placement of reflector panels, especially in fan-shaped auditoriums.
However, they have limitations and require compromise for various speaking
positions on a stage.

AUDITORIUM DESIGN
- An auditorium is a space where people sit and listen to speech or music. Acoustical
design includes room acoustics, noise control, and sound system design. Factors
influencing acoustical design include audience size, range of performance
activities, and audience sophistication. Wall and ceiling surfaces are designed to
distribute sound and eliminate focusing or echoes. Acoustics must be considered in
selecting materials, including sound-reflecting and sound-absorbing materials.
Adjustable treatments allow for modifications to meet acoustic program
requirements, and remedial treatment may be necessary to eliminate unwanted
phenomena.