ACOUSTICS

CAUSE OF NOISE
INTERNA EXTERNAL
L
PROJECTOR OUT DOOR
ROOM TRAFFIC

EXCESS SOUND ADJACENT

FROM THEATRE
SPEAKERS

AUDIENCE SPECTATORS
MOVEMENT AND MOVEMENT IN
CONVERSATION LOBBY
IMPORTANT TERMS
• ABSORBTION IT OCCURS WHEN IMPRESSING SOUND
ENERGY CONVERTED TO THE HEAT ENERGY IN THE BODY
OF ABSORBER DUE TO SURFACE FRICTION & RESONANCE.
IT OCCURS AT
• AIR
• FURNITURES
• BOUNDARY SURFACES – WALL, CEILING, FLOOR
• AUDIENCE – CLOTHES & BODY
o ABSORPTION COEFFICENT
THE RATIO BETWEEN SOUND ABSORBED BY 1sq.m. OF
MATERIAL TO THE SOUND ABSORBED BY 1sq.m. OF A
FULLY OPEN WINDOW.
ABSORPTION COEFFICENT OF SOME MATERIALS
• CARPET – 0.2
• WOOD PANELLING (1/2”) - 0.5
• GYPSUM BOARD - 0.04
• CHAIR - 0.67
• AUDIENCE – 0.94
• DIFFUSION It is the efficacy by which sound
energy is spread evenly in a given environment.
• REVERBERATION Persistence of sound after the
source has stopped producing sound. It is reflection of
sound due to improper absorption.
• REVERBERATION TIME Time taken by the
sound pressure to become 1/1000 times of its initial
value OR to reach the level of 60 db after the source
has ceased sound production. It occurs due to
absorption of the surface, volume of the interior &
varying sensitivity.
NRC (Noise Reduction Coefficient)
•  Noise Reduction Coefficient (commonly
abbreviated NRC) is a scalar representation of
the amount of sound energy absorbed upon
striking a particular surface.
• An NRC of 0 indicates perfect reflection; an
NRC of 1 indicates perfect absorption.
IMPORTANT ACOUSTICAL
PARAMETERS
• Volume per seat ratio should be 80 to 150 cu.ft. per
person.
• Reverberation time should be less than 1.2 sec from
250 to 4000 hz.
• Distance between the speakers and the rear wall
audience area should be short so that the loudness
will be sufficient through out the room.
• Ceiling or overhead sound reflection should provide
short delayed sound reflections directly to the
audience.
• Electronically reproduced sound may sound
“harsh” and unnatural when played in rooms
with extremely low reverberation times.
• The rear wall behind the last row of seats
should be sound absorbent to prevent echo.
• The loudspeakers should be distributed
around the theater so that the volume
difference between the first and last row of
seats does not exceed 4db.
MATERIALS
DIFFUSE
ABSORBER BARRIER
R
FOAM DOUBLY BROADBAND
DUTY ABSORBERS
GLASS DIFFUSER
FIBER TRIANGLE
ART TRAPS
FABRIC DIFFUSER
VINYL
ACOUSTICAL PYRAMIDA SOUND
BLANKET L DIFFUSER BARRIER
POSITIONING OF MATERIALS
• Ceiling of the source should be reflective.
• Mid-ceiling must be made for diffusion
by making them convex.
• Floor must be absorptive.
• The side wall must be reflective, the refection
should be so intense such that the sound
source (apparent) is felt behind the wall.
• The rear wall must be covered by deep and
thick absorptive material.
ABSORBING MATERIALS
• Sound absorbers are generally porous,
lightweight material.
• There are three basic categories of sound
absorbers:
Porous materials commonly formed of matted
or spun fibres ;
Panel (membrane) absorbers having an
impervious surface mounted over an airspace;
Resonators created by holes or slots connected
to an enclosed volume of trapped air.
POROUS ABSORBERS
• Common porous absorbers include carpet,
draperies, spray-applied cellulose, aerated plaster,
fibrous mineral wool and glass fibre, open-cell
foam, and felted or cast porous ceiling tile.
• All of these materials allow air to flow into a cellular
structure where sound energy is converted to heat.
• Porous absorbers are the most commonly used
sound absorbing materials.
• Thickness plays an important role in sound
absorption by porous materials.
• Fabric applied directly to a hard, massive
substrate such as plaster or gypsum board
does not make an efficient sound absorber
due to the very thin layer of fibre. Thicker
materials generally provide more bass sound
absorption or damping.
Panel Absorbers
• Typically, panel absorbers are non-rigid, non-porous
materials which are placed over an airspace that
vibrates in a flexural mode in response to sound
pressure exerted by adjacent air molecules.
• Common panel (membrane) absorbers include thin
wood panelling over framing, lightweight impervious
ceilings and floors, glazing and other large surfaces
capable of resonating in response to sound.
• Panel absorbers are usually most efficient at
absorbing low frequencies.
Resonators
• Resonators typically act to absorb sound in a
narrow frequency range.
• Resonators include some perforated materials
and materials that have openings (holes and
slots).
• The classic example of a resonator is the
Helmholtz resonator, which has the shape of a
bottle. The resonant frequency is governed by
the size of the opening, the length of the neck
and the volume of air trapped in the chamber.
BARRIERS
• Acoustic Bass Traps
• Corner bass
• Controlling lows is essential in any music room, especially in the corners where very
long waves are generated, that is, low stationary frequencies, which are heard as a
"boom", making the low range loose and muddy and disjointed from the rest of the
sound spectrum.
• This panel, which is extremely efficient at holding back excessive levels of low
frequencies, is manufactured with an exclusive production membrane mounted on
a tuned box, which gives this box high efficiency ranging from 32Hz to 280Hz.
The Corner bass absorbing panel lessens excessive energy at low frequencies, and
its highest absorption coefficient stands at 80 Hz.
• Available sizes :
1200 x 600 x 850mm 
• Absorption Coefficient
• 125         250         500         1000       2000       4000 
• 0.85        0.72        0.70        0.70        0.83        0.83
• Soundtrap
• The Soundtrap is a broadband absorber with increased absorbsion at the
lower frequency range. It can be applied to walls and ceilings.
• To make room for and improve the precision of the low range, Subsonic
produces this easy-to-apply panel with excellent performance.
• It was designed to absorb background noise in back, front or side walls
reducing the low energy that is present at excessive levels at the point of
hearing, thus lowering unwanted resonances.
• Available sizes :
• 600 x 600 x 120mm
• 1200 x 600 x 120mm
• 1800 x 600 x 120mm
• Absorption Coefficient
• 125         250         500         1000       2000       4000 
• 0.80        1.00        1.05        1.10        1.15        1.15
Fibre glass ceiling tiles
• Designed for drop ceiling grids.
• Fibreglass ceiling tiles are designed to absorb
more sound than standard ceiling tile panels.
• Available with a white nubby finish or black
perforated vinyl.
• To prevent the migration of sound energy
beyond the ceiling tiles and into the space
above, consider installing a layer of vinyl sound
barrier.
USE OF WOOD IN
ACOUSTICAL TREATMENTS
MELAMINE TILES
MELAMINE TILES

• Light, flexible ceiling tiles reduce noise levels

in any room.
• Made from fire rated foam.
• Perfect for use in commercial applications.
• INSTALLATION: Lay in acoustical ceiling grid
panels. Noise Acoustical Adhesive is used for
direct application to walls and ceilings.
ACOUSTICAL COTTON PANELS
POLYACOUSTIC PANEL
• COMPRISES OF RECYCLED COMPRESSED
BEADS.
• EXTREMELY DURABLE.
• CAN BE PRESSURE WASHED.
• UV RESISTANT AS WELL AS MOLD & MILDEW
RESISTANT.
• USED IN HIGH MOISTURE ENVIRONMENTS
SUCH AS POOLS.
SOUND ABSORBING FOAM
POPCORN CEILING
• THIS IS A NEW AND UNIQUE WAY OF
ACOUSTICAL TREATMENT.
• A LAYER OF POWDERED ASBESTOS MIXED
WITH SEALANT IS SPRAYED ON THE CEILING
AND LEFT TO DRY.
• THE RESULT IS AN ACOUSTICAL TREATMENT
TEXTURED LIKE POPCORN.
EASY INSTALLATION & REMOVAL
 MATERIALS SIZE COST
1. Gypsum board Tile (595*595mm) Rs 140/ each

2. Glass wool Roll (25000*1200mm) Rs 1650/ roll

3. Fibre glass Tile (595*595mm) ,14 mm thick Rs 120 /each

4. Plain particle perforated board (610*610mm), 16 mm thick Rs 50/ each

5. Wood wool tile (600*300mm), 12mm thick Rs 55/ sq.ft

6. GRID (powder coated GI frame) Rs 8/ feet