Fundamentals of architectural acoustics.

MODULE-1
LECTURE-1-14-02-25
(Introduction to Acoustics-understanding the basic
terminology, units, and characteristics of sound)

Learning Objectives :Explain sound

propagation, velocity, frequency, and intensity

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Architectural Acoustics
Architectural acoustics is the science of controlling sound in buildings.
Embraces all aspects of acoustical design for all types of architectural spaces, in order
to optimize environments for many functions, including business, recreation, learning,
worship, communication, broadcasting and entertainment.

The first application of architectural acoustics was in the design of :

•Opera houses
•Concert halls
•Auditoriums
•Radio and television studios
•Classrooms, etc

“a science that deals with the production, control, transmission, reception,

and effects of sound.”
definition from the Merriam-Webster Online Dictionary

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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Greco-Hellenistic theatre of Epidaurus

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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 • Sound is a mechanical wave and therefore requires a medium in which it can travel.
• Acoustics is classically divided into sound and vibration.
• Sound refers to waveforms traveling through a fluid medium such as air
• Vibration describes energy transmitted through denser materials such as wood, steel,
stone, dirt, drywall or anything besides a fluid.
• It is not heard as much as felt, due to its extremely low frequency, which is below the
range of most human hearing.
• Sound is reflected, transmitted, or absorbed by the materials it encounters.
• Soft surfaces, such as textiles, and batt insulation, tend to absorb sound waves,
preventing them from further motion.
• Hard surfaces, such as ceramic tile, gypsum board, or wood, tend to reflect sound
waves, causing ‘echo’. Reverberation is the term used to describe sound waves that
are reflected off of surfaces.
• Dense, massive, materials, such as concrete or brick, tend to transmit sound waves
through the material. High frequency sound waves (think of a high whistle) are not
capable of being transmitted through massive, heavy, material.
• Low frequency sound waves (bass) are transmitted through massive materials

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Sound
Waves

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 frequency;
vibration cycles per second

amplitude

wave length:
distance between identical points on a wave

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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 • The speed of sound versus the speed of light
• Sound travels at 1130 feet per second at
normal room temperature.

• Light travels at 299,792,458 meters per

second, which is roughly 974,325,489 feet per
second (974 million feet per second!!)

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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 • Pitch - the frequency of a sound wave
– The human ear is not equally sensitive to all frequencies
(EAR VISUAL & discussion)
• Most people cannot hear frequencies below 20Hz
or above 16,000Hz (Audible ʄ DEMO)
• Most people are most sensitive to frequencies
between 1,000 and 5,000 Hz
Musical Scale
• Example “middle C” has a frequency of 262 Hz.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 The human ear can
detect sounds between
20 HZ and 20,000
HZ.
Most sensitive in the
range of 100HZ to
5000HZ

▪ The commonly stated range of human hearing is 20 Hz to 20 kHz.

▪ Humans are most sensitive to (i.e. able to discern at lowest intensity) frequencies between 2,000
and 5,000 Hz.
▪ Individual hearing range varies according to the general condition of a human's ears and nervous
system. The range shrinks during life, usually beginning at around age of eight with the upper
frequency limit being reduced.
▪ Women typically experience a lesser degree of hearing loss than men, with a later onset. Men have
approximately 5 to 10 dB greater loss in the upper frequencies by age 40.
▪ High frequencies are the first to be affected by hearing loss due to age and/or prolonged exposure
to very loud noises.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
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 Fundamentals of architectural acoustics.
MODULE-1
LECTURE-2-28-02-25
(Introduction to Acoustics-understanding the basic
terminology, units, and characteristics of sound)

Learning Objectives :Explain sound

propagation, velocity, frequency, and intensity

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Sound quality/Timbre
• In Physics, the sound is characterized based on the pitch, frequency, loudness, and timbre.
• Timbre is one of the characteristics exhibited by the sound wave and is used for
differentiating characteristics of a tone.
• The change in timbre is observed when there is 4dB change either in mid or high harmonics
and for low harmonics, 10dB change is required.
• Timbre is a quality of musical tone to distinguish between two sounds when they are of the
same frequency.
• Every sound we hear depends on its source. Sound timbre is known as the characteristic
waveform of sound that depends on the material from which it produces.
• Timbre is one of the properties of a sound wave that distinguishes the characteristics of a
note.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
• Timbre" and "sound quality" are essentially the same thing,
referring to the perceived characteristic quality of a sound that
Timbre is a quality of a musical
allows us to distinguish between different sounds even if they sound which is used for
differentiating two sounds when they
have the same pitch and loudness, like identifying the difference
between a piano and a violin playing the same note; essentially,
it's the "color" or "texture" of a sound. are in the same frequency. Every
sound that we hear is dependent on
• Timbre describes the unique sonic characteristics of a
sound, allowing us to differentiate between instruments or voices its source. Sound timbre is defined by
producing the same pitch.
the characteristic sound waveform,
Factors influencing timbre:The shape of a sound wave, the which is dependent on the material
through which it is produced.
presence and intensity of harmonics (overtones) are key factors
determining a sound's timbre. Example: When you hear a
trumpet and a flute play the same note, the different timbres of
the instruments allow you to easily identify which one is playing.

What is Theory of Timbre?

Any sound consists of more than one frequency,
and most of these additional frequencies are known
as harmonics. The fundamental frequency is the
lowest frequency waveform which is known as the
pitch of the note in music. For any sound to possess
timbre, it must have one fundamental frequency
and seven or more additional harmonics.

For any sound to be identifiable, the sound must

have one fundamental frequency and seven
additional harmonics and if any sound which
doesn’t possess these, won’t be identified by the
human ear.
 Human Hearing

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ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 MEASUREMENT OF SOUND
One parameter of the acoustic (sound) wave which is generally used to assess sound exposure to humans is
the sound pressure level expressed in μPa or Pa. Human ear’ audible sound pressure levels range from 20
μPa (hearing threshold) till 20 Pa (pain threshold), resulting in the scale 1:10,000,000. Since using such a
large scale is not practical, a logarithmic scale in decibels (dB) was introduced which is also in agreement
with physiological and psychological hearing sensations.
dB of sound pressure level (dB SPL) is defined as: 20 log10 p1/p0 where p1 is actually measured sound
pressure level of a given sound, and p0 is a reference value of 20μPa, which corresponds to the lowest
hearing threshold of the young, healthy ear. In the logarithmic scale the range of human ear’s audible
sounds is from 0 dB SPL (hearing threshold) to 120-140 dB SPL (pain threshold

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
1.Sound intensity, also known
as acoustic intensity, is defined as
the power carried by sound waves
per unit area in a direction
perpendicular to that area. The SI
unit of intensity, which includes
sound intensity, is the watt per
square meter (W/m2). One 1.SOUND
application is the noise INTENSITY,
measurement of sound intensity in 2. SOUND
the air at a listener's location as a INTENSITY
sound energy quantity. LEVEL

2.Sound intensity is not the same

NOT
physical quantity as Sound Pressure.It’s SAME Sound Intensity
unit is PASCAL or Newtons/Square
Meter. Human hearing is sensitive to Sound intensity is defined as the sound power per unit area.
sound pressure which is related to The usual context is the measurement of sound intensity in
sound intensity. In consumer audio the air at a listener's location. The basic units are watts/m2 or
electronics, the level differences are watts/cm2. Many sound intensity measurements are made
relative to a standard threshold of hearing intensity I0 :
called "intensity" differences, but sound
intensity is a specifically defined quantity
The most common approach to sound intensity measurement
and cannot be sensed by a simple
is to use the decibel scale:
microphone.
Decibels measure the ratio of a given intensity I to the
3. Sound intensity level .It’s unit is threshold of hearing intensity, so that this threshold takes the
Decibel(DB).It is a logarithmic value 0 decibels (0 dB). To assess sound loudness, as distinct
expression of sound intensity relative to from an objective intensity measurement, the sensitivity of
a reference intensity. the ear must be factored in.
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 And, that is why if you
convert the pressure level to the decibel level, you have to
multiply that by 20 not 10.
And, if you convert the intensity to decibel level you have
to multiply that by 10 because
it is logarithmic.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Definition of sound pressure and sound pressure level

Sound pressure or acoustic pressure is the local pressure deviation from the ambient
(average or equilibrium) atmospheric pressure, caused by a sound wave. In air, sound pressure
can be measured using a microphone, and in water with a hydrophone. The SI unit of sound
pressure is the Pascal

Because your ears are sensitive to a very wide range of sound pressure, it makes sense to use a
logarithmic scale to measure the loudness of a sound. Sound pressure level uses a logarithmic
scale to represent the sound pressure of a sound relative to a reference pressure. The reference
sound pressure is typically the threshold of human hearing: remember that it's 2 x 10-5 Pa.
Sound pressure level is measured in units of decibels (dB) and is calculated using the following
equation, where p is the sound pressure of the sound wave and po is the reference sound pressure:

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
The Relative Loudness levels are important insofar as they demonstrate that a 10-decibel increase will be perceived as twice as
loud as the pervious level or conversely, a decrease of 50% from the previous higher level. It is less important to understand the
physics of this relative difference as much as to accept it as an acoustical phenomenon.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Sound Pressure/Amplitude vs. Frequency
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 PERCEPTION OF SOUND (LOUDNESS)
1.The deviation of sound above and below the
atmospheric pressure levels is called Sound Pressure.
2. The energy expanded in the the process of sound
propagation is labeled intensity (loudness) and is
measured in energy units.
3. Placing a numerical value on sound is very difficult
due to the extraordinary sensitivity of the human
ear.
4.In order to make the measurement, calculation
and perception of sound more manageable, a
compact scale has been devised incorporating the
decibel (dB).
5.A decibel is a logarithmic unit measure of sound
pressure.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
• 0 The softest sound a • 130dB - Jack Hammer
person can hear with (at 5ft)
normal hearing • 120dB - Rock Concert /
Pain threshold
• 10 normal breathing • 110dB - Riveter or a
• 20 whispering at 5 feet Heavy Truck at 50ft
• 90dB - Heavy Traffic (at
• 30 soft whisper
5ft)
• 50 rainfall • 70dB - Department
• 60 normal conversation Store or a Noisy Office
• 110 shouting in ear • 50dB - Light Traffic
• 30dB - Quie Auditorium
• 120 thunder • 20dB - Faint Whisper (at
5ft)
• 10dB - Soundproof room
/ anechoic chamber

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
INVERSE SQUARE LAW In real life situations however,
rooms bounded by walls, floors and
As a sound wave propagates ceilings will interrupt the inverse
square law at a distance in tan
spherically, the sound
average 30′ square room at
energy is distributed over approximately 10-12 feet from the
the ever-increasing surface sound source. Nevertheless it is
diameter of the wave front important to accept the notion that
surface. The Inverse Square The intensity of the sound will diminish in intensity with
Law teaches us that for sound is inversely distance. For example, in a typical
every doubling of the classroom with a teachers voice
proportional to the
distance from the sound signal of 65 decibels at a three-foot
square of the distance of distance from the teacher; at 6 feet
source in a free field the wavefront from the away the sound intensity will be 59
situation, the sound signal source. decibels and at twelve feet it will
intensity will diminish by 6 diminish down to 53 decibels
decibels. Example:
1d = 1
2d = 4
3d = 9
4d = 16

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Far field Near Field
The acoustic far field is defined as beginning at a 1.When close to a sound emitting object, the sound waves behave
distance of 2 wavelengths away from the sound in a much more complex fashion, and there is no fixed relationship
source, and extends outward to infinity .As between pressure and distance.
wavelength is a function of frequency, the start of 2.Very close to the source, the sound energy circulates back and
the far field is also a function of frequency. forth with the vibrating surface of the source, never escaping or
propagating away. These are sometimes called “evanescent”
1.In the far field, the source is far enough away to waves. As we move out away from the source, some of the sound
essentially appear as a point in the distance, with field continues to circulate, and some propagates away from the
no discernable dimension or size. At this distance, object .
the spherical shape of the sound waves have grown 3.This transition from circulating to propagating continues in an
to a large enough radius that one can reasonably unpredictable fashion until we reach the threshold distance of 2
approximate the wave front as a plane-wave, with wavelengths, where the sound field strictly propagates (the far
no curvature . field.)
2.At this distance, sound pressure level is governed 4. This mix of circulating and propagating waves means that there
by the inverse square law, and a single microphone is no fixed relationship between distance and sound pressure in the
sound recording will give reliable & predictable near field, and making measurements with a single microphone
results. can be troublesome and unrepeatable.
3.For each doubling of distance away from the 5.Typically, measuring in the near field requires the use of more
source, the sound pressure will drop 6 dB in the far than one microphone in order to accurately capture the energy
field. borne by the circulating and propagating waves.
Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Decibels, Phons, and Sones-MEASUREMENT OF LOUDNESS
1. The rate at which sound energy reaches a given cross-sectional area is
known as the sound intensity. There is an abnormally large range of
intensities over which humans can hear.
2. Given the large range, it is common to express the sound intensity using
a logarithmic scale known as the decibel scale. By measuring the
intensity level of a given sound with a meter, the deciBel rating can be
determined.
3. Intensity values and decibel ratings for several sound sources listed in
Table .
4. The decibel scale and the intensity values it is based on is an objective
measure of a sound.
5. While intensities and deciBels (dB) are measurable, the loudness of a
sound is subjective. Sound loudness varies from person to person.
Furthermore, sounds with equal intensities but different frequencies are
perceived by the same person to have unequal loudness. For instance, a
60 dB sound with a frequency of 1000 Hz sounds louder than a 60 dB
sound with a frequency of 500 Hz.
6. The unit phon is used to indicate an individual’s perception of loudness.
By definition, 1 phon is equivalent to 1 deciBel at 1000 Hz (1 kHz).

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 The sone scale is a third scale associated
with the loudness of a sound. The sone
scale is based on the observation that a
10 phon increase in a sound level is most
often perceived as a doubling of loudness.
According to the sone scale, a 1 sone
sound is defined as a sound whose
loudness is equal to 40 phons.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 EQUAL –LOUDNESS CONTOUR

1.An equal-loudness contour is a measure of sound pressure level,

over the frequency spectrum, for which a listener perceives a
constant loudness when presented with pure steady tones.
2. The unit of measurement for loudness levels is the phon and is arrived
at by reference to equal-loudness contours.
3. By definition, two sine waves of differing frequencies are said to have
equal-loudness level measured in phons if they are perceived as equally
loud by the average young person without significant hearing impairment.
4.Equal-loudness contours are often referred to as Fletcher–Munson
curves, after the earliest researchers.

Figure shows several equal loudness curves. The curves were

determined experimentally. Volunteers were subjected to a 1
kHz sound at 60 dB; this is a loudness of 60 phon. Sounds with
different frequencies were then played; the volunteer adjusted
the decibel level until it was perceived to have the same
loudness as it had at 1000 Hz. This was repeated for varying
frequencies to generate the entire 60-phon curve. To create an
80-phon curve, subjects were exposed to 1 kHz sounds at 80
dB. For other frequencies, they adjusted the decibel level until
it was perceived to be of equal loudness as the 1 kHz sound.
Figure 1 represents an average of the results for many
individuals.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 FORMULA-2
FORMULA-1

FORMULA-3

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 FORMULA-4
FORMULA-5

FORMULA-5
(Same as
before) FORMULA-6

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Module-1 :Lecture-1
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 Q1. Which sound characteristic enables us to distinguish one sound from another having the same
pitch and loudness?
Answer. The sound waves made by various vibrating bodies differ in quality or timbre. For
example, a note from a saxophone varies from that of the same pitch and intensity created by a
violin or xylophone; similarly vibrating reeds, columns of air and strings also differs. Quality
depends on the number and relative intensity of the overtones produced by the vibrating body,
which, in turn, depend on the nature of the vibrating body.
Sounds is classified by pitch, loudness and timbre. Sound quality or timbre defines the sound
characteristics that allow the ear to differentiate sounds of the same pitch and loudness. Timbre is
a common term for distinctive tone characteristics. Hence, the quality or timbre of the sound is
that characteristic which enables us to differentiate between sounds that has the same pitch and
the same loudness.
Q2. Define Timbre or Quality.
Answer. Timbre or sound quality is that characteristics by virtue of which we can distinguish
between sounds of the same pitch and loudness produced by two different musical instruments or
voices. Example: When two musicians perform the same note on two various musical instruments,
such as piano and harmonium, the notes easily differentiate their sound quality from each other.
Q3. What is the difference between pitch and timbre?
Answer. Pitch and timbre play a key role in both voice and music. Pitch helps one to hear the tone
in a melody, language and notes. Timbre helps to differentiate between vowels and consonants
that make up words, as well as the distinctive sound qualities of various musical instruments.

Module-1 :Lecture-1
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Sound pressure to sound pressure level
Sound intensity to sound pressure level
https://personalpages.manchester.ac.uk/staff/
richard.baker/BasicAcoustics/index.html
 Architectural Defects
MODULE-1
LECTURE-3
Date:07-03-25

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 COMMON ACOUSTICAL DEFECTS
▪ Acoustical conditions in a big room, ball or auditorium etc. are
achieved when there is clarity of sound in every part of the occupied
space.
▪ For this, the sound should rise to suitable intensity everywhere with
no echoes or near echoes or distortion of the original sound ; with
correct reverberation time.

COMMON DEFECTS :
(1) Reverberation
(2) Formation of echoes
(3) Sound foci
(4) Dead spots
(5) Insufficient loudness
(6)External noise

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Phenomena related to Changes in the direction of
sound travel

• Sound waves change their direction of travel through four categories of phenomena
: reflection, refraction, diffraction and diffusion.
• These phenomena can occur when changes occur in a sound wave’s medium of
travel. These physical principles are the same a those that occur in the ptical world
with light.

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ARCHITECTURAL ACOUSTICS
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Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Sound diffraction refers to the bending of sound waves around obstacles or openings, occurring when the wavelength of the sound
is comparable to the size of the obstacle, while sound diffusion is the scattering of sound waves in multiple directions, usually
caused by hitting an irregular surface, resulting in a more even distribution of sound throughout a space; essentially, diffraction is
about bending around corners, while diffusion is about spreading sound out widely.

Key points to remember:

•Diffraction: Example scenarios:

•Happens when sound waves encounter an obstacle with a size •Diffraction:

similar to their wavelength.
•Hearing someone talking from around a
•Causes sound to bend around corners or through openings. corner because the sound waves diffract
•Most noticeable with low-frequency sounds due to their longer around the wall.
wavelengths.
•Diffusion:
•Diffusion:
•Installing acoustic diffusers on a room's walls
•Occurs when sound waves hit a surface with irregular contours, to prevent sound from focusing in one area
causing them to scatter in various directions. and creating a more evenly distributed sound
•Aims to create a more even distribution of sound in a room, field.
reducing echoes and improving sound quality.
•Often achieved using specially designed acoustic diffuser panels
with complex surface patterns.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Why sound absorption is important [1]
•Sound absorption can help reduce echoes and
reverberations in large buildings [1]
•It can improve the quality of sound in recording
studios [1]
•It can create a suitable acoustic environment in
spaces like auditoriums, offices, and gyms [3, 4]
Materials that absorb sound [5, 6]
•Fibrous materials like wool, cotton, and polyester
Sound absorption is the process by which a
•Mineral wool
material absorbs sound energy instead of
•Fiberglass
reflecting it. It's achieved by converting sound
Measuring sound absorption [2]
energy into heat or other forms of energy. [
•Sound absorption is measured by the sound
absorption coefficient, which is the percentage of
How sound absorption works absorbed energy to the total energy that was
•Sound waves hit the surface of a material transmitted [2]
•Some of the sound is reflected, some •The sound absorption coefficient varies from 0 to 1
passes through, and some is absorbed [2] [7]
•The absorbed energy is converted into
heat or other forms of energy [1]

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 1:ECHO
When the walls of the hall are parallel, hard
and separated by about 34m distance,
echoes are formed. Curved smooth
surfaces of walls also produce echoes.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 1:ECHO & REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 2:SOUND FOCI & REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 3: DEAD SPOT & REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 SOUND FOCUS AND DEAD SPOT REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 4: ECHELON EFFECT & REMEDY
(5) Echelon effect
• If a hall has a flight of steps, with equal width, the sound
waves reflected from them will consist of echoes with
regular phase difference. These echoes combine to
produce a musical note which will be heard along with
the direct sound. This is called echelon effect. It makes the
original sound unintelligible or confusing.
Remedies
• It may be remedied by having steps of unequal width.
• The steps may be covered with proper sound absorbing
materials, for example with a carpet.

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PH0101 Choudhury
Dr. Prof. Deepashree UNIT 1 LECTURE 7 15
ARCHITECTURAL ACOUSTICS
 DEFECT 5: RESONANCE

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 5: RESONANCE REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 A "standing wave" refers to a wave pattern that appears
stationary, formed when two identical waves traveling in
DEFECT 6: STANDING WAVES opposite directions interfere with each other, creating
points of maximum amplitude (antinodes) and points of
zero amplitude (nodes) at fixed locations along the wave
path; to "remedy" standing waves, depending on the
context, typically means to take steps to reduce their
unwanted effects by altering the environment or
manipulating the wave source to disrupt their
formation or minimize their amplitude.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 6: STANDING WAVES REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 • DEFECT 7:
IMPROPER REVERBERATION
TIME

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Module-1 :Lecture-3
Dr. Prof. Deepashree Choudhury 22
ARCHITECTURAL ACOUSTICS
 ▪ Excessive reverberation is one of the most common defect,
with the result that sound once created longs for a longer
duration resulting in confusion with the sound created
next.
▪ However, some reverberation is essential for improving
quality of sound.

Thus, optimum clarity depends upon correct reverberation

time which can be controlled by suitably installing the ab-
sorbent materials

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Parallel Reflective surfaces Reverberation time must match room function
generates unwanted •Pure speech requires short reverberation time
Reverberation
•Symphony blends notes with long reverberation
time

Reverberation time must BE RIGHT FOR THE PURPOSE-

WE NEED TO ADJUST REVERBERATION TIME BY USING
SUITABLE ABSORBERS AN DREFLECTORS

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Module-1 :Lecture-3
Dr. Prof. Deepashree Choudhury 25
ARCHITECTURAL ACOUSTICS
Module-1 :Lecture-3
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 If
Ii

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Dr. Prof. Deepashree UNIT 1 LECTURE 7 27
ARCHITECTURAL ACOUSTICS
Module-1 :Lecture-3
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 • DEFECT 8:
INSUFFICIENT LOUDNESS & REMEDIES

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 • DEFECT 9:NOISE

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 10 ? WHISPERING GALLERY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 DEFECT 11: GRAZING SOUND &REMEDY

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 ACOUSTICS DEFECTS IN AN AUDITORIUM

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Case Study: Lecture Room
✓This study presents results from an acoustic analysis carried out on the proposed design for a 200 seat
lecture facility.

✓ The proposed building is an earth-covered structure designed to take maximum advantage of thermal
mass, passive design and ESD principles.

✓ It features a natural ventilation tower which draw air through an intake plenum beneath the seating to
take advantage of ground temperature cooling in summer and heating in winter.

✓The preference of the architect is for a slightly 'live' facility that is suitable for both unassisted speech and
music production.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 STATISTICAL ANALYSIS

The acoustic analysis of the design •At the earliest stages in the design phase, the most important
involved two phases: objective measure of the
acoustic performance of the hall is its Reverberation Time
(RT).
•Statistical Analysis
The derivation of room-averaged values
•This refers to the time taken for generated sounds to decay
calculated using published empirical
away.
formula worked out over time from the
comparison of many similar enclosures.
•Too short an RT and the hall appears dead and 'lifeless'.
•Geometric Analysis •Too long and the audience will experience difficulties
Position-specific data generated directly
understanding speech as the individual syllables will blend
from a computer model of the enclosure
together and become almost indistinguishable.
geometry.
•From empirical experience with the performance of a wide
range of halls and lecture theatres, there are published
recommended RT values for lecture facilities and auditoria of
all sizes.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 •As the RT is a function of room volume and surface absorption, there are also published recommended
volumes required to achieve satisfactory acoustic conditions, given standard building materials.

•These are given as a volume-per-seat value, which is simply the total internal room volume divided by its
total seating capacity.

•These two values, the RT and the volume-per-seat can be used as a preliminary, yet quite accurate initial
guide to the predicted acoustic performance of a design.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Reverberation Times

•Reverberation time calculations were carried out comparing the effects of linoleum and a thin carpet as floor
coverings.

•The two graphs below show a comparison of the two materials for unoccupied and fully occupied conditions.
The volume of the space was calculated at 1161m³.

•At mid and high frequencies, a completely carpeted floor provides close to the optimum RT of 0.83 seconds
for speech.

•The linoleum floor is more suited to musical performances with an optimum RT of 1.44 seconds.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 •An obvious compromise is some combination of the two, or a linoleum floor with some additional absorption
panels on the side or rear walls.

•It is suggested that carpet be used in traffic areas within the space which are open to direct reflection of sound
whilst areas beneath the audience be linoleum.

•The next set of graphs shows the resulting reverberation times from an example of such a compromise.

•Carpet was used on the main entry floor at the rear of the facility, down the two ramps and across the front of the
first row of seating.

•The stage area and all other floor surfaces are linoleum.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 •This shows that it is necessary to include some measures to reduce low frequencies within
the space, between 63Hz and 250Hz.

• This can be achieved using approximately 15-20m² of thin wooden panel absorbers fixed
to either the side or rear walls.

• The image below shows the plan view of a suggested configuration for these absorbers

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Ventilation Shaft

➢ The internal surfaces of the ventilation shaft must be made as absorbent as possible. This has two effects:

1. Minimizes the effects of external noise entering the space through the upper vents.
2. Minimizes any effects of acoustic coupling between the main internal volume and the volume inside the shaft.

➢ If the shaft volume is less reverberant than the main space there will be no problem.

➢ There are a wide range of materials that would be suitable for lining the duct, from applied foams or fibrous mats
to acoustic tile.

➢ The major consideration should be particle durability and long life, such that particles do not drop into the main
space as the material ages.

➢ A determining factor for the exact selection of this material will be the type of external noise penetration expected,
if any.

➢ A significant low frequency content will require more absorbing material than a spectrally even white noise source.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 GEOMETRIC ANALYSIS

•A preliminary acoustic ray-trace was performed for a number of points within the enclosure.

•The orientation of the side walls in the proposal, particularly toward the rear of the enclosure, did not allow any
reinforcing sound reflections back into the audience plane.

•A preliminary model that is rectangular in plan shows a greater amount of lateral energy arriving at all points.

•This is desirable as it promotes a feeling of being surrounded and involved in the sound field, as opposed to simply
observing it.

•Additionally, any further first or second order reflections that can be directed towards the audience will affect a
perceived increase in the direct sound level coming from the speaker.
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 •A comparative study of an alternative rectangular plan was then carried out.

•The rectangular form retains the reflectors at the front of the facility whilst removing the alcoves at the
rear, as shown in the following image.

•The results show an average 9% increase in the lateral energy fraction arriving in the first 50ms at each test point in
the enclosure.

•The rear side points experience a 13% increase.

•A further increase is possible by angling the walls in even further, however, this reduces the available audience area
and gives diminishing returns. Thus the rectangular plan as shown in the above figure is recommended.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 •Diffuse Rear Ceiling
•An acoustic ray-tracing analysis of the first three (3) reflections was used to determine the distribution of sound
rays within the enclosure. A number of potential echo sources became obvious.

•In order to prevent cue-ball echoes off the rear section of the ceiling and back off the rear wall, three patches of
either absorber or a diffusing material is required.

• An absorber will reduce the level of the reflected sounds so that they are less noticeable. A diffusing material will
actually break up the wave front and scatter the sound in many directions.

•A diffusing material is recommended. The following image shows the areas requiring treatment, each 2m from the
rear wall.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 •Acoustic diffusion can be achieved a number of ways, each requiring a rough surface to scatter incident sound
waves.

• In this situation, the diffuser must be most effective throughout the speech band, from 500Hz to 4000Hz.

•This will require a range of different spacings and sizes, from 20mm to 80mm.

•These materials must be arranged in a random or pseudo-random manner.

•Figures 2 and 3 show two possible arrangements, one using timber sections, the other flat plywood panels. The exact
size and position of each member is not important, (as long as they are relatively evenly distributed over the 20-
80mm range)

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 RECOMMENDATIONS

From an analysis of the results of this study, the following recommendations are made:

▪Overall, with some simple surface treatment to achieve the recommended reverberation time, the proposed design of
the hall will perform adequately.

▪The reverberation time of the hall with untreated surfaces is quite high, too high for adequate speech intelligibility.

▪The high RT at low frequencies can be overcome using the plenum which is understood to be proposed beneath the
audience seating.

▪ In consultation with the environmental consultants, it should be possible to utilise this as a bass trap without
affecting its thermal or natural ventilation functions.

▪This simple means including an amount of sound absorption material around the support columns, leaving the other
internal surfaces free for thermal exchange.

▪The volume of the hall is also quite high. Given the divergent requirements of speech and music, it is recommended
that the acoustic design be primarily based on meeting the speech intelligibility requirements as it is understood that
this is to be the primary function of the space.
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 ▪The front 9m of the exposed concrete ceiling provides a suitable surface for first-order reflections onto the
audience plane.

▪ This will function best if kept free of ribs or deep beams. If no absorption is to be applied to the ceiling in
order to maximize its thermal effect, then the rear 6-7m should be made as diffusing as possible.

▪This can be done using ribs, beams or even a more creative pattern using the concrete formwork. The
required dimensions of the ribs will be provided.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://www.youtube.com/watch?v=davIeuH6yps&t=122s

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
EXTRA SLIDES
 REVERBERATION TIME: IS THE TIME INTERVAL WITH IN
WHICH ,THE INTENSITY OF SOUND PRODUCED, DIMINISHES TO
ONE MILLIONTH OF ITS ORIGINAL INTENSITY.
•DEPENDS ON THE SIZE OF ROOM AS IF ROOM IS SMALL
REFLECTIONS WILL TAKE PLACE QUICKLY AS WAVES HAVE TO
TRAVEL LESS DISTANCE, SO TIME WILL BE LESS.
•PLAYS AND IMPORTANT ROLE IN ACHIEVING DESIRABLE
ACOUSTICAL CONDITIONS.
•IN CASE OF CINEMA HALLS R.T SHOULD BE SHORT.

RT60 IS TIME IN
SECONDS FOR
REVERBERATION TO
DIMINISH TO -
60DB (1/1,000,000).

• WITH PRACTICE THIS TEST CAN BE APPROXIMATED WITH A SINGLE HAND-

CLAP, IN A QUITE ROOM, AS IN THE ABOVE GRAPH. BUT WITH CONTINUOUS
SOUND (MUSIC) REVERBERATION BUILDS UP AND REMAINS AT A CONSTANT
LEVEL.
3) SOUND FOCI :
▪ Reflecting concave surfaces cause concentration of reflected sound
waves at certain spot, creating a sound of large intensity.
These spots are called sound foci.
▪ This defect can be removed by
(a) geometrical designed shapes of the interior faces, including ceilings
(b) providing highly absorbent materials on focusing areas.

4) DEAD SPOTS :
▪ This defect is an outcome of the formation of sound foci.
▪ Because of high concentration of reflected sound at sound foci, there
is deficiency of reflected sound at some other points.
These points are known as dead spots. where sound intensity is so low
that it is insufficient for hearing.
▪ This defect can be removed by
a) installation of suitable diffuser so that there is even distribution
of sound in the hall .
5) INSUFFICIENT LOUDNESS :
▪ This defect is caused due to
a) Iack of sound reflecting flat surface near the sound source
b) excessive sound absorption treatment in the hall.
▪ The defect can be removed by
a) providing hard reflecting surface near the source,
b) by adjusting the absorption of the hall so as to get optimum time
of reverberation.
c) When the length of the hall is more, it may be desirable to install
loud speakers at proper places.

6)EXTERNAL NOISE:
External noise from vehicles, traffic engines , factories, cooling plants
etc. may enter the hall either through the openings (such as doors,
windows, ventilators etc.) or through walls and other structural
elements having improper sound insulation.
This defect can be removed by
a) proper planning of the hall with respect of its surroundings
b) proper sound insulation of exterior walls.
 ECHO:
•A SOUND REFLECTED OFF A SURFACE THAT ARRIVES AT THE
LISTENER AFTER THE DIRECT SOUND. SOMETIMES THOUGHT OF AS
REVERBERATION, BUT AN ECHO IS VERY DISTINCT WHILE
REVERBERATION IS A MIXED TOGETHER SOUND WHICH DECAYS
GRADUALLY.

•ECHO IS HEARD AS DISTINCT REPEAT, 100 MILLI-SECONDS (1/10 SEC)

OR GREATER, FROM WALLS AND CEILING WITH PATH-LENGTHS
GREATER THAN 15 METERS (45FT) APART.

• DEFECTS CAN BE REMOVED BY

- BY SELECTING PROPER
SHAPE OF THE HALL.
- PROVIDING ROUGH AND
POROUS INTERIOR
SURFACES.
NEAR AND FAR FIELD PROPAGATION OF SOUND
Differentiation Between Acoustical Requirements
for Spaces Used for Speech vs. Music
Spaces for Speech (e.g., Lecture Halls, Classrooms, Spaces for Music (e.g., Concert Halls, Opera Houses, Recording
Criteria
Conference Rooms) Studios)
Rich, immersive sound experience with tonal clarity and balanced
Primary Objective Clear speech intelligibility with minimal distortion and echo.
reverberation.

Longer (1.5 – 2.5 sec) to enhance musical resonance and

Reverberation Time (RT60) Short (0.5 – 1.0 sec) to prevent speech blurring.
harmony.

Well-distributed reflections to enhance sound warmth and

Sound Reflection Controlled reflections to support speech clarity.
richness.

High absorption to reduce excessive echo and background Balanced absorption and reflection to maintain sound depth and
Absorption Materials
noise. liveliness.

Diffusion Limited diffusion to focus sound on the audience. High diffusion to distribute sound evenly across the space.

Low background noise (NC 25-30) to prevent speech Controlled background noise (NC 15-20) to preserve dynamic
Background Noise
masking. musical details.

High isolation to avoid sound leakage and maintain acoustic

Sound Isolation Moderate isolation to prevent external noise interference.
purity.
 Factors Affecting the Behavior of Sound in an Enclosed Space
The acoustics of an enclosed space are influenced by several factors that determine how sound
propagates, is absorbed, reflected, or diffused. Below are the key factors along with their
explanations:
 PART -1-Absorption Coefficient and Acoustic
Materials
PART-2-Room Acoustics Concept
PART-3- SOUND IN AN ENCLOSED SPACE
/CALCULATION OF RT

MODULE-1
LECTURE-4 AND LECTURE -5
Date:20-03-25 & 21-03-25

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 Acoustic Materials

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
https://commercial-
acoustics.com/acoustic-
absorption-coefficient/
https://commercial-acoustics.com/acoustical-calculator/
https://www.acoustic-supplies.com/absorption-coefficient-chart/
https://www.alfaacoustics.com/sound-
absorption-coefficient.html
https://sasint.com.au/blog/sound-absorption-
coefficient-explained/
 PART-2
Room Acoustics Concept

Resonance, Reverberation, echo, reverberation time (Sabine’s

Formula) (numerical)

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 1.A flat surface-After reflection ,sound is uniformly distributed
2. A convex surface –After reflection sound is distributed
3.A concave surface-After reflection, sound moves towards a point. So, it means it is
concentrating towards a point.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 ▪ Sound concentration can
create some points within
the floor where there will
be a glare. So, all the sound
from the source will go and
concentrate in that
particular area, which is
called the hotspot.
▪ The entire sound energy
which was supposed to get
distributed into the other
areas, there no sound has
reached particularly from
these two reflected sound
rays. So, that creates a
REMEDY-A flatter concave surface, this concentration of sound or the focus point sound shadow area, or
can be taken below the floor level, which can at least take care of the glare to dead spots, beside or
some extent. So, this can be done by moving the source; or by changing the
curvature. IDEAL CONDITION: Sound remains spread and does not concentrate at surrounding a hotspot.
different points within the floor creating hotspots or dead spots.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 WE GENERALLY HAVE ECHO PROBLEMS IN
BIGGER SPACES.
• Very regular, rectangular room, with a flat
ceiling. You can see that from the source we
do not require more than 2/3 rd of the
ceiling to be reflective, because it can cover
the whole of the length of the audience
within this particular distance. So, someone
sitting here and someone sitting here can
hear very clearly. So, this is the zone of
useful reflection. And beyond that, actually,
it will lead to longer path differences.

Let us see in the next picture. So, this is the longer path, which we need to avoid. Now, if we splay the room on the ceiling
path, we can reduce the length which is shown in red color. So, this can lead to lesser path differences, and that can help to
avoid forming echoes, we see another example, where it has been splayed twice, we see that the sound is coming back to
the receiver again. So, splaying of surfaces directs the sound downwards. And it can reduce delays; so, when you will be
tackling bigger spaces, like, say auditorium, and multipurpose walls, if you have the opportunity, you can splay your ceiling to
take care of avoiding the formation of echoes.
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://www.youtube.com/watch?v
=Auc7gXysTSc

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 PART-3
SOUND ABSORPTION COEFFICIENT

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://commercial-
acoustics.com/acoustic-
absorption-coefficient/

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://commercial-acoustics.com/acoustical-calculator/

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://www.acoustic-
supplies.com/absorption-coefficient-chart/

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://www.alfaacoustics.com/sound-absorption-coefficient.html

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 https://sasint.com.au/blog/sound-absorption-coefficient-explained/

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 PART-3
SOUND IN AN ENCLOSED SPACE /CALCULATION OF RT

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
 similar to linear equation, y=mx
So, I will if I plot this A on Y axis and V on X axis, I’ll get different lines due to various combinations of RT.
Here in the graph, the blue lines represent RT=0.5, the red one I 1.0,and the green one is 1.5.
So, as the RT value changes the line and slope also changes and, as the RT value is decreasing the slope is
increasing, that is one of the major observation from this particular graph.

Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury
Module-1 :Lecture-3
ARCHITECTURAL ACOUSTICS Dr. Prof. Deepashree Choudhury