ACOSUTICAL DESIGN CONSIDERATION FOR AUDITORIUM LECTURE HALL RECORDING STUDIOINTRODUCTION The auditorium, as a place for listening developed from the classical open-air But Clem PC l mur Ce em Ue aed Cue ete nace ete eed eed - meeting halls PCr mes oe CUR Rte Mel ea elie Po MCU COMO Roo COUT UDC eMC) PCL ee nie aco ett aesINTRODUCTION .... * In some ways, even the largest hall is no different from the smaller rooms, the basic acoustic criteria are the same. SC Ct sd eT Re a eer) BC Re Pate ello + Hearing conditions in any auditorium are ee Ne te a eh me eet ie Pre aC ae Ty - Layout of boundary surfaces Bey - Seating arrangements Sel Ty Se utter tia CM Ret| an bl i] ey NY be Pgyomen i 5 y Te ee SUC Ce Te Ceri] RUE aCe LD ids clot Ra a Reverberation time is closely linked to the intended purpose for any room, ULM eth Halls designed for sp« Ly Dd UCL MCL ut bert) barr CU Ma Md ReeLarge enclosed spaces are all potentially subject to the BUC UCU eC eu Ch URE aie PU eter eee teeREINFORCEWENT BY LOUDSPEAKER Sound amplification system are used for the following purpose: UTD eee + To provide amplified sound for overflow audience. Se Ce RCo ie CM Mat eo ede Od Pees Cine ect Bae eee ee eee toe ad eee tS ee BM rg system are available: BP ee me single cluster of loudspeakers over a PTC Belt iset We CU ee SUC aCe Reed direction as original sound.2. The distributed system, DOU Me TM Tr Ce rr RTT ele ay BC Ee eT CCRC RU Co ee + When majority of listeners do not have an adequate sight line of central POO ES StL Ceo Ue a el Baie ly Been CRU MM MLC PO Re eee Cue eu Rec ee Stereophonic system preserves the illusion that, the sound is coming from the original , unamplified source.PROBLEMS ASSOCIAPED WITH LOUDSPEAKE! LA N OT eo ee Cece aired BT le oe CR ort) Dern eee iL Bee TS ae OOo eum Ce me eT] Cie UC ee This problem can be overcome by introducing a delayed mechanism in ee tt)ee ee ee Se SB TT le Set lB ele tog - Directional relationship to speaker Sete Caer - Reinforcement by reflectors - Reinforcement by loudspeakers PUL urd Se ue Me Crt ls = Delayed reflections : Echos, Near Echos, Reverberation eee tnC eee NaC Ce) cir - Ambient Noise - Intrusive Noiseale REL T= Sm es Rt Cee el el ey PeteCe ECR eeeee eeu nC e crs Oe en Ce aCR Ce Cth R mane Ce Rr tcl large volume is desirable. * Ina face-to-face conversation, an unamplitied talker may generate a SPL level of about 65 dB. This level decreases 6 dB for every doubling of distance. Sound is also attenuated as it travels through the hall because of Peete SMR sere sa Cs ee Re elle ele ee elle) Bl Ld speaker. This minimizes sound attenuation, provides a more direct sound path, and also improves visual recognition which improves intelligibility.Re eet et eat rd minimized by carefully considering the room geometry. aay TC the stage across one narrow end, may to . De EOC eu MOS PU) a cy Clgv7 ‘ ee Ce ee oie ¥I i rd od it Cesc om Splayed side walls v 2 that is relatively a BO RO eae oe eR ee ee ae ee CeCe Ce mee orn PUR ecu me rsABSORPTIO! In small speech halls, the majority of absorption is provided by the audience, therefore, the room surfaces can be relatively reflective. In larger CUCM me ee hem ely Be ie mL Beneficially, a reflective front stage area provides strong early reflections that are integrated with the direct sound and enhance it. On the contrary, ‘strong late reflections and reverberation, such as from rear walls, would not be integrated and may produce echoes, Be MM ee MEU Mae CMe ML Critter ee eeCEILING + In many large halls, ceiling reflectors, sometimes called clouds, are used to Cee RNa Reise ek Ok ier th ere + Both dimensions of a square reflecting panel should be at least five times the wavelength of the lowest frequency to be reflected. CCUM a Cee es Ce MM eM ee a Tae Pa ane Ras tT BT CMC RE id i EBM iitPa mele] t) eC ee eC ee eon i COC he eee en ne Se eee CO ae Bur ee UE eee eee Coc WALLS eee nen Ome CR ERC UC ee eee ey eee ete te et Cats rT a Ce Ce Se ee ee Te ee Oe Rm cn Me a eC Cn ea Cra ao een ee ae ou ice MC MT TTT ee Dee RCM Re GB Bett Rr |a a le RULE of THUMB for SEAT! Ce [Desi Diesen (FUskel ior Vat So Snr ol Depth fox Seni Sem orbs Be F See ag re aE - Concert Hall Se BLT tet eC mr - Town HallTable II - Aisle Width Increase (in inch Per Row of Long Table Ill - Seating Capacities, 1-32 Rows I wo | a | mm | us | os Proportions of 1 traditional auditorium (view)5” USE ABOVE EXTENDED SigHr Uwe + eee ea tg Eg PUT ca taciy id| Wow MUMBRES 30 49 20 27 2h 14 24 2H 5 |ALIMS LIKE APEX HEALTHCARE INSTITUTE AT BHUBANESHWAR NoreSECTION 1 15K075 T_W FRAME: WY FRANE — HINGES: SPONGE NEOPRENGEPOM HOLLOW BULB GASKE 9MM THK.RUBBER INTERLATER 25M THK LAMINATE:os a daha a Penge ame cr cain, ses ct awe, SECTION X—K (TYPE — a) PLAN DETAIL AT A (TYPE - a} a t waLL, ee rue nye tome DETAIL AT B (THE '— ) AUD) REAR WALLwn a ati rune awn cee See ae se 4 eva AT Ty Jak pas ih Pan aoe fee, DETAIL OF 4 EL (STAGE TYPE —AFTER (SALWOOD) AT pe Pacts wares oust bes ie THICK 2800. kot That Used Panel er Tas be 130 SALKCOD FRAME. ALwOoD SPACE: tare ae THC So TMK HICK Wath, i neTORD Fe class Mtn bE ob Peat L DETAIL OF FLOORINRi mcad Ce LCM md DO Ue roe CC Luo De Re an ee ee Ee CM ea rea me eT ET eT: re ee RR Ce Re eebere an rd Eta Ideally, the depth should not be more BOC la Dr a Pe LCCC r ECC OCU Cente Re Let eC ee Ted underside of the balcony, should be designed to add as much reflected sound as possible to the seating areas on the balcony and under it, to supplement the direct sound from the stage.BALCONY * The front of a balcony parapet should be designed to avoid reflections that PCE Ce CUCM CRC RC CRC UCR eae CR URE Re URS Uhm CMe Coe CEILING + Ceiling height is usually determined by the overall room volume that is Pete st ie * Ceiling height should be about one-third to two-thirds of the room width. BC OC CC CM met mCi Cole BUC * A ceiling that is too high may result in a room volume that is too large, and may also create undesirable TCU C Toit TsBee eu Ri a a) c . ee Oe eee Ce eC Roe Ce ry hall, or to diffuse it throughout the hall because of the undesirable Se Ceiling shape and soundeer ee UNE Me Cum Ce lias eee eee ee CEC Rm ee Cait WUTC PM ee CE Ue tm Ge eam at elt) the audience seating area, and to provide diffusion. ae eee Mee me cre met et ts gee ee undesirable angle should be covered with absorptive material.Pan bd i] De fe hie ot ny 2 oo OM mm MMe MG eC lead Pee ee tr ess PCM met l tttM TMel am od aU one mad Pence tra re eM me ig Pee RM RCs a RO ees Co RE os RCL ord SUC ee ee UR RCE Riri rele+ Asloping floor is desirable in halls where audience sound absorption must Cet cryTable 4 Acceptable Indoor Noise Levels for Various Buildings (Clause 4.1) Location @ Auditoria and concert halls Radio and TV studios Cinemas Music rooms Hospitals and cinema theatres Apanments, hotels and homes Conference rooms, small offices and libraries Court rooms and class rooms Large public offices, banks and stores Restaurants Table 8 Maximum Sound Pressure Levels Due to External and Mechanical Equipment Noise in Auditoria (dB) (Clause 12.3.2) Type of ‘Centre Frequency (Fix) Awéliortum <-——— 63 125 250 590 1.000 2.000 4 000 $000 Concert Halls 5139 31 4 20 17 OB [dB(A)-25) Drama Theatres $5 44 35 29 and Cinemas [6B (A)-30) Table 9 Typical Sound Insulation Specification for Wall Separating Two Cinema Screens (Clause 12.4) ‘Octave Band Sound Reduction Inde R. 1000 +000 8.000VOLUME AND CEILING H VOLUME INFLUENCES BOTH REVERBERANCE AND LOUDNESS. FOR HALLS OF HIGH CAPACITY, A LOW VOLUME PER SEAT HELPS PRESERVE ACOUSTICAL ENERGY. Volume per Seat cu ft (cum) _Min_ Mid ‘80 (2.3) Concert Halls 220 (6 Opera HousesRECORDING STUDI Se Re Ut ag UMUC MC em CM Me Mad Pon eet le AMBIENT NOISE Dee Ra ae ne Many noise and vibration problems can be avoided entirely by choosing a site in a PC ers BUC e CL Lt criteria goal within the space by the transmission loss of the walls, windows, and CT Mc Car ing, while providing high transmission-loss partitions, also Pouce RCCL ee Ree ate efficiently conducts noises throughout via structur: Re ROE i Re ceBe on ee Ry Conc) consists of T und. ee ee cud ER eae ad Foe BL cc Re mr Dm CR Ce CC ee he UC ae Rees ule Se CU CCCs + Resonances dominate the low frequency region in which wavelengths of the sound are ‘comparable to room dimensions. ee en Cun ou Oe hm ee walls, and floors. These too are set into vibration by sound from the sourcePCC ue Coun et Re ae cer ct) RCE COU CMac I BR eee Es ecu et Se BO MM MC COC MCL Ree ee EY CR eee BSE Pree Mm string ensemble, hard rock or a waltz? Dye OE Re Cue tT eee Me eet Se ee RGus Distributing the absorbing material is a useful means of not only achieving some CCR ue eat mears ln mee: rw ey ne eee. eaaaey oe — ROOM rea Toa 4 fl ” BUC CUCM CCU Tac on CST eel Re ee Every rectangular room has three sets of primary modes, with one each for POCO mtn OMe Meas Generally speaking, larger rooms are better acoustically than smaller rooms. Another important factor in the design of studios is the ratio between the length, width and height. Bie et ee ee Tee ed HEIGHT (ft.) 1.00 8.00 12.00 WIDTH (ft.) 128 © 10.24 15.36 LENGTH (ft,) 154 | 12:32 18.48 VOLUME (cu. ft.) 1000 3400 8000 ELEC PEt