Architectural Acoustics Handbook

Front Cover......Page 1
Title Page......Page 2
Copyright......Page 3
Contents......Page 6
Preface......Page 20
About the Editor......Page 22
About the Contributors......Page 24
1.1 Room Acoustic Modeling......Page 32
1.2 Analytical Solutions......Page 33
1.2.2 Modal Solution + Propagating Waves......Page 35
1.2.3 Domain Matching......Page 36
1.3.1 Finite Difference Methods......Page 37
References......Page 39
2.1.1 Acoustic Radiative Transfer Model......Page 42
2.1.2 Room Acoustic Rendering Equation......Page 43
2.2.1 Image Source Method for a Single Surface......Page 45
2.2.2 Exact Image Source Solution for Shoebox-Shaped Rooms......Page 46
2.2.3.1 General Algorithm......Page 48
2.2.3.2 Algorithm with Diffraction......Page 50
2.2.3.2.1 Contribution by a First-Order Diffraction ES......Page 51
2.2.4 Beam Tracing......Page 52
2.3.1 Ray Tracing......Page 54
2.3.3 Diffusion Equation Method......Page 56
References......Page 57
3.1 Fundamentals of Acoustic Characteristics in Long Rooms......Page 60
3.1.1 Ray Theory......Page 61
3.1.3 Definition of Long Rooms......Page 62
3.2 Acoustic Simulation of Long Rooms......Page 63
3.2.1 Image Source Model......Page 64
3.2.2 Radiosity Model......Page 67
3.3.1 SPL with Geometrically Reflecting Boundaries......Page 69
3.3.2 T30 with Geometrically Reflecting Boundaries......Page 71
3.3.4 SPL Based on Wave Theory......Page 72
3.4.1 Sound Distribution......Page 73
3.4.2 Reverberation with a Single Source......Page 75
3.4.3 Reverberation with Multiple Sources......Page 78
3.5.1 Diffusers......Page 81
3.5.2 Absorbers......Page 83
3.5.3 Reflectors and Obstructions......Page 84
3.6 Case Studies Based on Site Measurements......Page 85
Defining Terms......Page 87
References......Page 88
For Further Information......Page 89
4.1 Introduction......Page 90
4.2 Statistical Acoustics Models......Page 91
4.3 Wave-Acoustical Methods......Page 93
4.4 Geometrical Acoustics Methods......Page 95
4.5 Diffusion Equation Methods......Page 96
4.6 Experimental Investigations and Analysis Tools......Page 99
References......Page 102
5.1 Overview......Page 106
5.2.1 Traditional Sound Level Measurements and Assessment......Page 107
5.2.2.1 Fundamentals......Page 108
5.2.2.2 Conventional Excitation Signals......Page 110
5.2.2.3 Sweep-Based Measurements......Page 112
5.2.2.4 Noise Applications......Page 113
5.2.2.5 Technique Using Maximum-Length Sequences......Page 114
5.2.2.7 Measurements Using Arbitrary Excitation Signals......Page 116
5.2.3.1 Measurement Parameters......Page 120
5.2.4 Measurement Errors, Optimization, and Limits of Application......Page 121
5.2.4.2 External Influences......Page 122
5.2.4.3 Post-Processing......Page 123
5.3.1 Introductory Comments......Page 125
5.3.3 Measurement of Room Acoustic Properties......Page 126
5.3.4 Time Domain Quantities......Page 127
5.3.7 Special Applications......Page 130
5.3.7.1 Filtering and Averaging......Page 131
5.3.7.2 In Situ Measurement of the Absorption Coefficient......Page 133
5.3.7.3 Measurement of Scattering Coefficients......Page 134
5.3.7.4 Modal Analysis......Page 136
5.4.1.1 Subjective Tests......Page 137
5.4.1.2 Electrical Measurements......Page 138
5.4.2.1 Introductory Comment......Page 139
5.4.2.2 SPL Coverage......Page 140
5.4.2.3 Maximum Sound Pressure Level......Page 141
5.4.2.4 Measurement of the Frequency Response......Page 142
5.4.2.5 Measurement of the Speech Intelligibility STI......Page 143
5.4.2.7 Signal Roughness and Source Mislocalization......Page 145
5.4.2.8 Subjective Assessment......Page 146
5.4.3.3 Polarity Test......Page 147
References......Page 148
6.1 Introduction......Page 150
6.2.1 Schroeder Integration and Energy-Time Function (Curve)......Page 151
6.2.2 Schroeder Decay Model......Page 153
6.3 Truncation Approach......Page 155
6.4.1 Pre-Subtraction......Page 156
6.4.2 Post-Subtraction (Noise Compensation)......Page 157
6.4.3 Least-Squares Fitting for Noise Estimation......Page 158
6.5 Nonlinear Regression......Page 159
6.6.1 Model Selection: The Second Level of Inference......Page 162
6.6.3 Bayesian Information Criterion......Page 163
6.6.4 Advanced Sampling Methods......Page 165
References......Page 166
7.2.1 Descriptors......Page 168
7.2.2 Solid Plates......Page 169
7.2.3 Cavity Wall and Floor Constructions......Page 173
7.2.4 Wall and Floor Linings......Page 177
7.2.6 Glazing and Windows......Page 181
7.2.7 Doors......Page 183
7.3 Impact Sound Insulation—Direct Transmission......Page 184
7.3.1 Standard Impact Sources......Page 185
7.3.4 Timber Floor......Page 188
7.3.5 Floor Coverings......Page 189
7.4.1.1 Sound Insulation Within Buildings......Page 191
7.4.1.2 Façade Sound Insulation......Page 193
7.4.2 Flanking Transmission Between Rooms—Airborne Sound Insulation......Page 194
7.4.3 Flanking Transmission Between Rooms—Impact Sound Insulation......Page 199
Acknowledgments......Page 200
References......Page 201
8.2 Localization of a Single Sound Source......Page 204
8.3 Listening to Multiple Sound Sources......Page 209
8.3.1 The Precedence Effect......Page 210
8.3.2 Spatial Impression......Page 212
8.3.3 Instrumental Indices for Perceptual Assessment of Rooms......Page 216
8.3.4 Limitations of the Room-Impulse-Response Concept......Page 220
8.4 The Quality of the Acoustics......Page 221
References......Page 224
9.1 Introduction......Page 228
9.2.1 Impulse Responses in Rooms......Page 229
9.2.3 Structure-Borne Sound in Buildings......Page 230
9.3 Audio Signal Processing for Architectural Acoustics......Page 231
9.3.1 Discrete and Fast Fourier Transformation......Page 232
9.3.2 Convolution......Page 233
9.4 The Concept of Auralization......Page 234
9.4.1 Source Characterization......Page 236
9.4.2.1 Filter Design from Room Impulse Response Data......Page 237
9.4.2.2 Filter Design from Sound Transmission Data......Page 240
9.4.2.3 Filter Design from Impact Sound Data......Page 242
9.4.3 Spatial Sound Reproduction......Page 243
9.5 Challenges and Limitations......Page 244
9.5.2 Diffraction and Seat-Dip Effect......Page 245
9.6 Real-Time Processing for Virtual Room Acoustics......Page 246
Defining Terms......Page 247
References......Page 249
For Further Information......Page 250
10.1 Introduction......Page 252
10.2 Intensity Stereophony......Page 253
10.3 Amplitude-Difference Panning......Page 255
10.4 Surround......Page 258
10.5.1 Classical Ambisonics......Page 259
10.5.2 Higher-Order Ambisonics......Page 261
10.6 Wave-Field Synthesis......Page 264
10.7 Binaural-Cue Selection......Page 266
10.8 Discussion and Conclusions......Page 269
References......Page 271
11.1.1 Source Model......Page 274
11.1.3 Ground Attenuation......Page 275
11.1.6 Noise Barriers: Basic Configurations......Page 276
11.1.7 Noise Barriers: Strategic Design......Page 277
11.2 Micro-Scale Sound Propagation......Page 279
11.2.2 Ray-Tracing......Page 280
11.2.3 Radiosity Model......Page 281
11.2.5 Wave-Based Models......Page 283
11.2.8 Auralization......Page 284
11.2.10Noise Control in Street Canyons......Page 285
11.2.11Noise Control in Urban Squares......Page 287
11.3.1 Indicators......Page 288
11.3.2 Standards and Regulations......Page 289
11.4 Noise Perception......Page 290
11.5 Urban Soundscape......Page 291
11.5.1 Sound......Page 292
11.5.3 People......Page 293
11.5.5 A Framework for Soundscape Description......Page 295
References......Page 296
Wolfgang......Page 300
12.1.1 Subjective Assessment of the Quality of Sound Events......Page 301
12.1.2.1 Reverberation Time......Page 302
12.1.2.2 Energy Criteria......Page 306
12.1.2.2.1 Principal Measures for Speech Transmission......Page 308
12.1.2.2.2 Measures for Music Reproduction......Page 314
12.1.2.2.3 Measures for Music and Speech Reproduction and Binaural Measures......Page 315
12.1.3 Basics in Sound Propagation for Sound System Design in Open Spaces......Page 320
12.1.3.1 Auditory Localization......Page 325
12.1.3.2.1 Mechanism of Hearing Impairment......Page 326
12.1.3.2.3 Possibilities for Reducing Excessive Sound Levels......Page 327
12.2.1 Level Restrictions......Page 328
12.2.2 Primary and Secondary Structures of Spaces and Noise Floor Considerations......Page 329
12.2.3 Mono or Multipurpose Spaces......Page 332
12.3.2.1 Point Sources......Page 334
12.3.2.2 Sound Columns......Page 340
12.3.2.3 Line Arrays......Page 342
12.3.2.4 Digitally Controlled Line Arrays......Page 343
12.3.3.2 Microphones......Page 344
12.3.3.2.2 Directivity Behavior......Page 345
12.3.4.1 Delay Equipment......Page 346
12.3.4.3 Reverberation Equipment......Page 347
12.3.4.4.1 Use of Narrow Band Filters......Page 349
12.3.4.5 Filters......Page 350
12.4 Calculation of Sound Reinforcement Systems......Page 352
12.4.1.2 Diffuse Field......Page 353
12.4.1.4 Conclusions for the Practice......Page 354
12.4.2.1.1 Wall Materials......Page 355
12.4.2.1.2 Transducer Data for Acoustic Simulation......Page 359
12.5.1.1.1 Reverberation Time......Page 365
12.5.1.2 Ray-Tracing Approach......Page 366
12.5.1.3 Results of All of These Calculations......Page 367
12.5.2.1 Aiming......Page 368
12.5.2.2 Time-Arrivals, Delay, and Alignment......Page 369
12.5.2.3 SPL Calculations......Page 373
12.5.2.4 Mapping, Single-Point Investigations......Page 374
12.5.3.1 Useful Application of Auralization......Page 377
References......Page 378
13.1 Noise Criteria......Page 382
13.2 Duct-Borne Noise Transmission......Page 383
13.2.1 Sound Attenuation in Straight Ducts......Page 384
13.2.4 Sound Attenuation by Elbows......Page 385
13.2.5 Prefabricated Silencers......Page 386
13.2.6 Sound Attenuation by Plenums......Page 387
13.3.1 Main Duct System Design......Page 388
13.4 Noise Break-Out/Break-In......Page 390
13.5 Fans......Page 391
13.6 Terminal Boxes/Valves......Page 392
13.7 Vibration Isolation Considerations for Building Mechanical Systems......Page 393
13.8 Outdoor Noise Emissions......Page 395
References......Page 396
14.1 Introduction......Page 398
14.2.1.3 Suitable Reverberation......Page 399
14.2.2 Sound Propagation Outdoors......Page 400
14.2.3.1 Acoustical Properties of Materials......Page 401
14.2.4 Planning for a New Building......Page 402
14.2.5.2 Criteria for Background Noise......Page 403
14.2.6.1 Site Evaluation......Page 405
14.2.7.1 Noise Control Between Spaces......Page 406
14.2.8.2 Control of Fan Noise in Ductwork......Page 408
14.2.8.3 Air Distribution—Supply and Return......Page 409
14.2.10.2 Size and Shape of Space......Page 410
14.2.10.4 Reverberation Time......Page 411
14.2.10.8 Accommodating Nonworship Events......Page 412
14.3.2.1 Site Noise Measurements......Page 413
14.3.2.3 Outdoor Air Conditioning Equipment......Page 414
14.3.3.3 Impact Noise Control......Page 416
14.3.3.5 Air Distribution Noise Control......Page 417
14.3.4.1 Size and Shape of Sanctuary......Page 419
14.3.4.2 Organ and Choir......Page 420
14.3.4.4 Sound Reflecting and Absorbing Materials......Page 421
14.3.4.5 Reverberation Time......Page 422
14.3.4.6 Estimation of Reverberation Time......Page 423
14.3.4.7 Choir Rehearsal Room......Page 424
14.3.4.9 Adapting for Other Events......Page 425
14.3.5 Remodeling of Existing Facilities......Page 426
14.3.6.3 Ambiguities in Terminology......Page 427
14.3.6.7 Monitoring Construction......Page 428
Summary......Page 429
Appendix—Defining Terms......Page 430
B. Chapter Sections......Page 432
C. Obtaining Desired Results......Page 433
15.I.2.1 Design and Construction Processes......Page 434
15.I.2.3 Seating Capacities......Page 435
15.I.2.4 Reverberation and Reverberation Times......Page 436
15.I.2.5 Hall Volume......Page 440
15.I.2.6.1 Floors and Chairs......Page 441
15.I.2.6.2 Walls, Balcony Faces, Ceilings, and Soffits......Page 442
15.I.2.7.2 Appropriate and Uniform Loudness......Page 444
15.I.2.7.3 Sound Arrival Times at Audience Members and Performers......Page 446
15.I.2.7.4 Lateral Sound Reflections to the Audience......Page 448
15.I.2.8 Platform and Stage Planning......Page 450
15.I.2.9 Audience Seating Configurations......Page 454
15.I.2.10 Clouds and Canopies......Page 456
15.I.2.11 Detailed Surface Shaping......Page 459
15.I.3.2.3 Concert Pipe Organ Halls......Page 461
15.I.3.4 Examples......Page 464
15.I.4.2 The Problems......Page 468
15.I.4.3 The Solutions and Key Details for a Concert Hall......Page 470
15.I.4.4 The Solutions and Key Details for a Multipurpose Hall......Page 471
15.I.4.5 Examples......Page 472
15.I.5.1 Introduction......Page 476
15.I.5.3 Hall Shaping and Materials......Page 477
15.I.5.3.3 Basic Hall Shaping and Materials......Page 479
15.I.6.2 Basic Concepts......Page 482
15.I.6.3.3 Las Vegas-Style Showrooms......Page 485
15.I.8.1 Books......Page 486
15.I.8.2 Papers in Technical Journals......Page 487
15.II.1 Introduction......Page 488
15.II.2.1.2 Travel Path(s)......Page 489
15.II.2.3 Aberrant Reflections......Page 490
15.II.3 Three Basic Theater Forms......Page 491
15.II.3.1.1.1 The Proscenium Opening......Page 495
15.II.3.1.1.2 Catwalks and Tension Grids......Page 497
15.II.3.1.1.4 Orchestra Pit......Page 498
15.II.3.1.2.1 General Design Guidelines......Page 499
15.II.3.1.3 Example: South Mountain Community College Theater......Page 502
15.II.3.2.1.2 Catwalks and Tension Grids......Page 504
15.II.3.2.2.1 General Design Guidelines......Page 505
15.II.3.2.3.1 Design Attributes and Features......Page 507
15.II.3.3.2.1 General Design Guidelines......Page 509
15.II.3.3.3.1 Design Attributes......Page 512
15.II.4.1 Issues of Balance and Communications of Stage Voices with Pit Musicians......Page 513
15.II.4.1.2 The Eyebrow Design......Page 514
15.II.5.1 Acoustical Criteria......Page 515
15.II.5.3.2 Variable Acoustics......Page 516
15.II.5.3.4 More Audio......Page 517
Further Reading......Page 518
15.III.1 Introduction......Page 520
15.III.2 General Isolation Concerns......Page 521
15.III.3 General Mechanical System Noise and Vibration Concerns......Page 522
15.III.4 General Surface Treatments and Shaping Concerns......Page 525
15.III.6.1 Sound Isolation: Sound Transmission Class (STC)......Page 526
15.III.6.3 Surface Treatments: NRC (Noise Reduction Coefficient)......Page 527
15.III.7.1 Classrooms......Page 528
15.III.7.2 Faculty Offices......Page 529
15.III.7.3 Practice Rooms......Page 530
15.III.7.4 Ensemble Rooms......Page 532
15.III.7.5 Large Rehearsal Rooms......Page 533
15.III.7.6 Critical Listening Rooms......Page 535
15.III.7.7 Recording Studios......Page 536
15.III.7.8 World Music Rooms......Page 538
15.III.7.10 Lobbies/Atriums......Page 539
Further Reading......Page 540
Glossary......Page 542