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Need to study Architectural Acoustics 1. Different structure has to be consider separately like place, purpose, environment, economics, phycology and sociology of the group. Likely to use material as per availability and according to basic rules and regulation of the acoustics. 2. Involvement of gadgets that produces noise 3. Technological development develops acoustical problems. These problems has to be solved by evolving effective techniques. 4. Need sufficient loud, without unwanted echo, flutters, sound focuses, dead spaces. 5. Need clarity and yet continuity. 6. Structures that demand acoustical solutions are Workshop, Assembly Hall, Class Room, Drama Theatre, Cinema hall, TV & Radio Stations etc. 7. Population explosion and increase urbanization--- resultant of Noise Pollution. 8. Multi-storied building poses vibrational and sound flanking problems. 9. Study of sound absorbent materials. 10. It should be solved and consider at the planning state and before undertaking actual construction work of the proposed site.
Pioneers and Their Contributions 1. OM can energies and elevate human beings, chanting of different Mantras and Sloks. 2. Sound produces by different elements for future predictions. 3. Greek used OAT at the foot of the hill. 4. Roman started wooden platform and wall behind the platform. 5. 17th century - sound reflection produced whispering galleries and Mersenne measured the velocity of sound. 6. 18th century - Introduction of architect and musicians came close for good acoustics. 7. 19th century - Chladin (1802) presented nature of sound wave by using sand patterns. In 1857 we got Lissajous figures, In 1895 W.C. Sabine conducted experiments to find Echo, Sound absorptions and Reverberation Time. Reyleigh-Disc came up for sound energy. 8. 20th century - Helmholtz (1908) gave cavity resonators & Pierce gave Noise Measurement. In 1912, the concept of motional impedance & in 1917 we got condenser microphone. In 1939, P.E. Sabine came up with automatic recording of RT. 9. Now we have different electro-magnetic devices to study acoustics. Simulation techniques. 10. Prof W.C. Sabine, Lord Rayleigh and Helmholtz are known as Trimurti Pioneers
Sound, Vibration, Frequency, Wavelength and velocity of sound 1. Sound energy is created in our mouth as the tongue moves and creates vibrations in the air present in the mouth. 2. The compression and rerefactions created in the air advance in the outer air in the form of a longitudinal-wave. 3. These advancing vibrations strike our ear drum which in turn vibrates and conveys these vibrations to the brain and then we name these vibrations as Sound. 4. For every vibration of the sound source, the wave moves forward by one wavelength () which is the distance between any two consecutive repeating points on a wave. Frequency (f) is the number of cycle of vibration per second called Hertz (Hz). Velocity is the distance moved in one second (v). 5. The velocity of the sound in the air increases with temperature and humidity. Sound travels faster in liquids and solids than in air because the densities and elasticities of these materials are greater and particles of such materials respond to vibrations as a faster rate.
Points, B&F, compression Point D, Rerefction Frequency f= 1/T Velocity, v= .f Distance AE= , Wavelength
Sensitivity of hearing depends upon 1. Sound Intensity 2. Pressure 3. Frequency range of sound 4. Duration of exposure of sound 5. Age group 6. Psychology of the Individual
1. Sound Energy impinging on the ear drum causes it to vibrate. 2. Vibrations transmitted to middle ear by three bones: Hammer, Anvil and Stirrup by level action. 3. Middle ear - cavity contains air at Atoms Pressure. It is connected to throat by Eustachian tube. Sudden Pressure changes are manipulated by it. 4. Cochlea Fluid in it stirrup vibrations to brain. 5. External Ear.
Frequency ranges of Audible sound, Human-Ear and Sensitivity of hearing 1. Usually frequency range of audible sound is from 20Hz to 20 KHz. 2. To hear sound of 1000 Hz, minimum pressure change on the ear-drum is 3 x 10-5 N/m2. 3. The same sound of 1000 Hz becomes unbearable when the pressure change on the ear drum is 30 N/m2. 4. Sound of 1000 Hz with Sound- Pressure- Level (SPL) of 2 x 10-5 N/m2 dyne/cm2 is the reference (minimum) Loudness level and is called Loudness of Zero Phone. 5. Loudness depends upon both SPL and Frequency. 6. Generally intelligibility is provided by three octave bands 1. 700-1400 Hz 2. 1400-2800 Hz 3. 2800-5600 Hz
(Octave Band is the range of frequencies between any one frequency and double the frequency) 7. Our ear response to sound energy is logarithmic. If A is radiating 100W power and B is radiating only 100 W power, A will sound only 60 times louder than B.
Inverse Square Law, dB Scale for Sound Intensity, Pressure, Power and Loudness perception The sound intensity from a point source of sound decreases in inverse proportion to the square of the distance from the source. i.e. I 1/d Or Intensity = Power (Watts) / Spherical area i.e. I = W / 4d Hence I1 = W / 4d12 and I2 = W / 4d22
I1 / I2 = d22/d12 Where S= Point source of sound 1= Surface Area, A at point D 2 = Spread of Sound Energy 3= Surface Area, 4A at point E SD= Distance d1 SE= Double the distance, d2 =2d1
Inverse Square Law, dB Scale for Sound Intensity, Pressure, Power and Loudness perception
The range of values between the threshold of hearing and the threshold of pain is too large. The ear feels different effects when listening to high intensities and low intensities. As the ear response to sound is logarithmic, the decibel scale is convenient to use.
Sound
Power in W
1 x 10-9 1 x 10-5 0.1
Level in dB
20-30 60-70 100-110
I0 = Reference (Lowest) Intensity (10-12 Watts/m2) Conversation W = Sound power of the source W0 = Reference power (10-12 Watts) P = Sound Pressure P0 = Reference Pressure (2 x 10-5 N/m2)
Radio Human Ear Air Craft Jet
Problems 1. Calculate the change in sound level when the intensity of the sound is doubled.
Problems 2. Calculate total SIL caused by combination of levels of 95dB and 90 dB. Given I0 = Reference (Lowest) Intensity (10-12 Watts/m2)
Problems 3. A sound produced at one end of a long tube is heard twice at the other end in an interval of 2 sec. The velocity of sound in metal is 5130 m/s. and that in air is 343 m/s. Find the length of the tube.
Problems 4. 90% of the sound of level 20 dB is absorbed by the wall and the rest is reflected back. Find the level of reflected sound.
UNIT 1 Sound Engineering Introduction to architectural acoustics - Characteristic and measurement of sound, frequency, intensity, decibel scale, auditory range, effects of sound on humans, loudness.
10. Speech 11. Ultrasonics 12. Underwater acoustics 13. Vibration and dynamics
Reflection
1. 2. 3. 4. 5. This occurs when the wavelength of a sound wave is smaller than the surface of an obstacle. In the case of an enclosed space, the sound waves hit every side of the enclosure continuously until the sound energy reduces to zero. The amount of waves reflected depends on the smoothness, size, and softness of the materials of enclosure. The angle of incidence of sound rays is equal to that of the reflected rays only if the surface of the reflector is flat. But when it is curved, the angles are different.
Absorption
1. 2. 3. When sound waves hit the surface of an obstacle, some of its energy is reflected while some are lost through its transfer to the molecules of the barrier. The lost sound energy is said to have been absorbed by the barrier. The thickness and nature of the material as regards its softness and hardness influences the amount of sound energy absorbed.
Refraction
1. 2. This is the bending of sound when it travels from one medium into another medium. The difference in the composition of the two different media bends the sound i.e. the angle of incidence changes into an angle of refraction as it travels into the new medium.
Diffusion
1. 2. 3. 4. This is the scattering of waves from a surface. It occurs as a result of the texture and hardness of the obstacle is comparable to the wavelength of the sound. The direction of the incident ray changes when it strikes the surface of the obstacle. Satisfaction is achieved when sound is heard in all direction at equal level.
Diffraction
1. When the wavelength of a sound wave is smaller or equal to the size of the obstacle, the sound rays tend to bend round the edge of the obstacle thereby turning the edge to a sound source.
Transmission
1. 2. In this phenomenon, sound wave is carried by molecules of the obstacle through vibration and re-emitted at the other side irrespective of the medium. It can be structure borne, air borne or impact sound.
Reverberation and Reverberation time calculation. Sabine equation. Dead and Live Rooms
Reverberation : Several repetitive sound reflections from different surfaces in a room reduce the sound energy. Even when the sound source is stopped, some sound energy is retained in the room for some time. This process of Sound energy retention is called Reverberation. Reverberation Time(R.T.) It is the time required for a sound of 60dB level to become inaudible i.e. to come down to zero dB level. According to Sabine it is time for sound intensity to come down to 10-6 of its original intensity. Factors affecting R.T. : 1. loudness of original sound 2. Absorption by bounding surfaces, people, furnishings etc. 3. Volume of the room
Sabines equation
RT= 0.16V/S Here RT = Time in sec V = Volume of the room in M3 S = Total absorption in the room in M2 i.e. S = (1S1 + 2S2 + .) + a1, a2. Where 1= absorption coefficient of a surface area S1 etc. and a1 = absorption by empty chairs etc. RT= 0.05 V/S when V is in Cu. ft. and S in Sq. ft.
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Speech Studios Cinema Theatre Chamber Music School Auditorium Music Hall Church Music
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Uniform distribution of sound energy in the room. Decay be smooth, without fluctuations. The absorptive treatment not to be considered at a few places in the room i.e. diffusion and random scattering of sound in the room. No domes and curved surfaces. Temperature and humidity to remain constant. If the total absorption in the room is much greater than the volume of the room; as in the recording studio etc., the Sabine's formula need correction. With angle reflectors on dias and parabolic shape of the room, the RT will be low. given, is usually for random, diffused incidence of sound on the absorptive material of about 6m2 panel. How ever this specification is not realised in actual rooms. The audience member members are expected to be seated, one behind the other. In the half filled room, this condition may not be realized.
9.
Proper RT
1. Every member of the audience should receive direct sound from the source and that should be followed by the sound from the first reflection only. 2. 3. Smooth parallel walls be avoided to avoid resonance effects. Few items in the room should be for sound reflections and remaining items for sound absorption and diffusion.
THANK YOU
Partha Sarathi Mishra Asst. Professor School of Architecture GITAM University parthaconcept@gmail.com