NOISE REDUCTION FOR HIGH-NOISE ENVIRONMENTS

Low Ceiling, Machines Widely Spaced

• Machines are widely spaced so that installing efficient sound-absorbing treatment on the ceiling and upper walls can reduce
reverberant noise levels throughout the room.

• However, the sound absorbing treatment will be of little benefit to the individual equipment operators in the free field because
the direct sound energy will reach the operator before it reaches the sound-absorbing materials.
 High Ceiling, Machines Closely Spaced

• Closely spaced machines in a room with a high ceiling, room surface treatment can be effective if reverberant noise levels are
higher than the free-field noise of some machines.

• However, operators of closely spaced machines may be in the free field of several machines, which would be unaffected by
ceiling and upper-wall treatment.
 Enclosure To Contain Machine Noise

• The sound-isolating enclosure shown below can be designed to provide noise reduction near the source so individual operators
can be close to their machines without experiencing high noise levels.

• Enclosures can be designed with operable viewing panels to allow rapid access when needed.
 NOISE REDUCTANT FACINGS

1. TRANSONDENT FACINGS

2. PERFORATED FACINGS

3. PROTECTIVE FACINGS FOR WALL ABSORPTION

4. RESONANT PANELS
TRANSONDENT FACINGS

1. Sound-transparent facings (called transondent) may range from 5 to 50

percent or more open area, depending on absorption requirements.

2. Facings tend to reduce the effectiveness of sound-absorbing materials

by reflecting high-frequency sound waves. The lower the percentage
of open area in the facing, the less absorption of high-frequency sound
energy.

3. Sizes of holes, number of holes per unit area, and dimensions of solid
area between openings also affect the reduction in absorption.

4. Transondent facings such as perforated sheet metal, expanded metal,

or punched and pressed metal can be used alone in front of
sound-absorbing materials, or in combination with wood slats or Other
large-scale protective elements.
PERFORATED FACINGS

1. Perforated facings can be used to protect

and conceal porous sound absorbing
materials or, if highly transparent to sound
waves, to conceal sound reflecting or
diffusing surfaces.

2. When used over a solid backup surface

without fuzz (fibrous materials) in the cavity,
perforated facings can act as multiple volume
resonators to selectively absorb sound with
the individual holes sharing a common
volume.

3. As shown by the graph below, the thinner the

facing, the more efficient the absorption of
sound energy at mid-and high frequencies.
The higher the percentage of open area (from
numerous, closely spaced perforations to
reduce size of solid areas), the more efficient
the absorption of sound energy at high
frequencies.

4. Sound transparency increases as the size of

the holes and number of holes per unit area
increases, and as the distance between holes
decreases.
 Perforated material

Source-
https://brotexacoustic.en.made-in-china.com/product/SODApZIYaUtn/China-32-32-12mm-Straight-Perforated-Acoustic-Panel-for-
Wall-and-Ceiling-Sound-Absorption-Solution.html
PROTECTIVE FACINGS FOR WALL ABSORPTION

1. When absorption of high-frequency sound energy is

not critical, the open area of protective facings need
only be greater than about 10 percent to control
reverberation or noise buildup within rooms.

2. As a consequence, a wide variety of textures and

forms can be used to satisfy this requirement. When
absorption is used to control echoes, however,
protective facings should have a higher percentage
of open area from numerous, closely spaced
openings.

3. To conceal the sound-absorbing material behind most

facings, tint the material black by spraying with
nonbridging water-base paint or use a dark sound
transparent protective cover.
PROTECTIVE FACINGS FOR WALL ABSORPTION
RESONANT PANELS

1. Resonant panels are sound-absorbing panels which are designed to provide low-frequency absorption ( < 250 Hz). Example
applications for resonant panels are music practice rooms, radio/TV studios, and the like. Resonant panels absorb energy from
sound waves by vibrating at a frequency determined by the geometry and damping characteristics of the panel.

2. To decrease the resonant frequency, use wide spacings between supports (> 2 ft), thin panel materials (e.g., plywood,
hardboard), and "deep" air space behind panels. To increase the resonant frequency, use close spacings between supports,
thick panel materials (or perforated, thin panel materials with sound-absorbing material located close behind the panel), and
shallow or narrow airspace behind panels.
Students

ACOUSTICAL ELEMENTS…..

Me
 WHAT IS ACOUSTICAL ELEMENTS??????????

UNWANTED SOUND

ACOUSTICAL ELEMENTS…..
 WHAT IS ACOUSTICAL ELEMENTS??????????

• Acoustical elements are those materials designed and used for the purpose of absorbing,
directing sound that might otherwise be reflected or concentrated.

• An open window is an excellent absorber since the sounds passing through the open
window are not reflected back but makes a poor sound barrier. Painted concrete block is a
good sound barrier but will reflect about 97% if the incident sound striking it.
TYPES OF MATERIALS

• SOUND ABSORBERS
• SOUND DIFUSERS
• NOISE BARRIERS
• SOUND REFLECTORS
 1. SOUND ABSORBERS

These sound absorbing acoustical panels and soundproofing materials

are used

1. To eliminate sound reflections.

2. To improve speech intelligibility.

3. To reduce standing waves and prevent comb filtering.

Typical materials are open cell polyurethane foam, cellular melamine,

fiberglass, fluffy fabrics and other porous materials.

1. A wide variety of materials can be applied to walls and ceilings

depending on ones application and environment.

2. These materials vary in thickness and in shape to achieve different

absorption ratings depending on the specific sound requirements.
 SOUND ABSORBENTS FOAM PANELS

1. These absorbers are used in a wide variety of applications

ranging from recording and broadcasting studios to
commercial and industrial facilities.

2. These absorbers are mainly made of polyurethane and can

be applied directly to walls, hung as baffles or used as
freestanding absorbers.

3. These materials are cut into various patterns, shapes and

sizes. Thicker foam will absorb more sound, especially in the
lower frequency ranges

4. Prevent destructive specular reflections.

5. Eliminate room modes, comb filtering, standing waves and

undesirable specular artifacts.

6. Attenuate sound pressure build-up in a room.

 SOUND ABSORBENTS TONE TILES

1. Tile is a white acoustical wall panel with a soft textured

appearance.

2. Their easily manageable sizes provide installers the flexibility to

mount acoustical panels around existing objects.

3. In addition to reducing echo and reverberation, these panels

are used to create unique designs and patterns.

4. The glass fibre core is faced with a paintable covering. This

allows one to match or complement existing wall colours by
applying a light coat of flat or matte spray paint.
 FABRIC WRAPPED PANELS

These panels are used to reduce echo and reverberation. These

panels are manufactured from a rigid high density glass fiber
acoustical board and covered with a acoustically transparent
fabric.

The edges on these decorated wall panels are chemically

hardened. These absorbers are suitable for all applications
including offices, recording, broadcast, worship facilities, schools,
gymnasiums, museums, auditoriums, theatres etc. Some fablic
wrapped wall panels are:

1. Ceiling Clouds.

2. Ceiling Tiles

3. Fabric Wrapped Ceiling Baffles.

4. Broadband Absorber.
 ACOUSTICAL WALL COVERING

It is a dimensional fabric that offers excellent acoustical

properties, unmatched fade resistance, and a fire/smoke
retardant Class A. They are resistant to moisture, mildew, rot,
bacteria, and in non-allergic.

1. Lightweight acoustic fabric

2. Easy to install

3. Class A

4. Passes corners burn test

5. Available in many colours

6. Durable

7. Improve speech intelligibility.

 FIBREGLASS BLANKETS AND ROLLS

▪ Quilted Fibreglass Blankets, Rolls and Panel Curtains combine

absorption and barrier material for use in areas that require
tough, flexible materials and provide a surface that can be
wiped clean.

▪ These can be great for machine and industrial enclosures and

can be hung as temporary acoustical panels.

▪ The quilted fibreglass materials are available in panels or in

rolls for easy to hang absorption or a do-it-yourself approach.
 2. SOUND DIFFUSERS

1. These devices reduce the intensity of the sound by

scattering it over an expended area. Rather than
eliminating the sound reflection as an absorber would.

2. Traditional spatial diffusers, such as the polycylindrical

(barrel) shapes also double as low frequency traps.

3. Temporal diffusers, such as binary arrays and quadratics,

scatter sound in a manner similar to diffraction of light,
where the timing of reflections from an uneven surface of
varying depths causes interference which spreads the
sound.
 QUADRA PYRAMID DIFFUSER PYRAMIDAL DIFFUSER

▪ This diffuser generates a uniform polar response over a ▪ This traditional industry workhorse disperses sound uniformly
broad frequency range using a pre-rotated pyramidal over a broad frequency range. A quick solution to flutter
pattern to create sixteen angles of reflection. echo.
 Double Duty Diffuser Quadratic Diffuser

▪ These Polycylindrical Diffusers do twice the work. They ▪ A true quadratic residue diffuser designed for uniform
scatter sound and function as a bass trap. broadband scattering and reducing High-Q reflections.
 ABSORBERS

These materials typically have

porous surfaces or fibrous
structures that allow sound waves
to penetrate and get trapped
within the material. As the sound
travels through the pores, it loses
energy, effectively reducing the DIFFUSERS
amplitude of sound waves. The
absorbed sound energy is Diffusion is achieved by the use
transformed into heat (though in of irregular, uneven, or
negligible amounts). geometrically complex
surfaces. When sound waves
hit a diffuser, they are
scattered or reflected in
multiple directions, breaking up
concentrated sound
reflections. This prevents strong,
single reflections and creates a
sense of spaciousness.
 KEY DIFFERENCES……….

Feature Sound Absorbing Materials Sound Diffusing Materials

Purpose Reduce sound reflections by Scatter sound waves for
absorption balanced reflections
Effect Dampen echoes and Maintain reverberation while
reverberation avoiding echoes
Applications Offices, studios, theaters Concert halls, music studios,
large spaces
Material Characteristics Soft, porous, or fibrous Geometrically irregular or
uneven
Impact on Sound Quality Increases speech clarity, reduces Enhances spatial sound
noise distribution, maintains liveliness
 3. NOISE BARRIER

1. Noise barriers are solid obstructions built between

roadways and residential areas such as boundary walls.

2. These barriers do not block all noise, they only reduce the
overall noise level.

3. Effective noise barriers typically reduce noise levels by 5-

10 dB.

HOW DOES A NOISE BARRIER WORK?

1. A noise barrier must be tall enough and long enough to

block the view of a highway from the area that is to be
protected, the “receiver”.

Source: https://www.acoustiblok.co.uk/soundproof-garden/
WHAT TYPE OF MATERIAL IS BEST FOR A NOISE BARRIER?

Concrete

MATERIALS
Masonry
Metal
Wood
Foam
 4. SOUND REFLECTORS

1. In order to hear a loud, clear echo, the hearer must also

be far enough away from the surface the sound wave is
bouncing off so the sound wave has space to
reverberate.

Two types of materials are selected as reflectors according to

there material property. Hard Materials and Smooth Materials

Hard Materials

1. A hard, relatively nonporous material, such as concrete.

2. As the surface is hard and impenetrable the sound wave

cant seep through the surface so it doesn’t get absorbed
within it. It bounces off and is reflected back as an echo.

Natural : Rock
Manmade: Concrete
Smooth Materials

1. When a sound wave, which is made up of kinetic energy, collides with a surface it will release its kinetic energy as heat at the
site of that collision.

2. Smooth materials allow relatively few opportunities for small individual collision between the surface’s molecules and the sound
wave’s energy is converted to heat, and more of it bounces back off the surface as an echo.

3. For example : glass and metals.

 ACOUSTIC ELEMENTS THEN AND NOW

Factors Then Now

Materials Used 1. The acoustic materials used in the old 1. The new halls are mainly built of blocks
churches were mainly stones, mud and and concrete and padded with sound
bricks. insulation/absorptive materials, sound
barriers and reflectors, e.g. acoustic
2. These items were the all materials for foam panels.
the halls but had ability to absorb and
control; sound as well.
Design and materials 1. The shapes of halls of the past were 1. The new halls come with varieties of
application techniques mainly rectangular irrespective of the shapes depending on size and
capacity. capacity of the hall.

2. They also had curved ceiling shapes. 2. Materials application techniques are
technology aided and of high quality.
3. Materials application techniques were
crude as opposed to technology aided
application techniques of today.
Quality and durability of 1. Materials were largely very natural with 1. Materials are of quality and durable as
materials used little or no proper industrial chemical they are mostly factory treated with a
treatments to improve their quality and guaranteed life span.
prolong life span.
Factors Then Now
Materials Functionality in 1. Materials were to some extent 1. They perform better due to the well
terms of sound control performing well, but were largely limited calculated architectural designs, the
and amplification by the quality of production and use of microphones, loudspeakers to
installation. amplify and control sound.

2. They have HVAC technology for

comfort.
Aesthetics of materials 1. Walls were mostly bare with little or no 1. The new halls are better decorated
used decorative touches and where it and comfortable as some of the
existed was old fashioned. acoustic materials also serve as
decorative elements.

References

1. Architectural Acoustics M. David Egan

2. https://www.slideshare.net/slideshow/acoustical-materials-78926021/78926021
3. https://www.slideshare.net/slideshow/acoustic-material-131646197/131646197
Thank You

Prasenjeet Sarkar Anik

Lecturer (Part-time)
DoA, KUET.