ACOUSTICAL DESIGN

CONSIDERATIONS

SANIYYA MUJEEB S8 ROLL NO:27

ROOM ACOUSTICAL ATTRIBUTES AFFECTING THE QUALITY

OF MUSIC
The shape and volume of the room, its audience capacity
and attendance and surface acoustical treatments all
contribute to certain room-acoustical characteristics
In the music gives the impression of being performed in a small
intimate hall, the auditorium is said to have acoustical
intimacy ie

The initial time delay gap ie the time delay gap between the
sound received by a listener and the first reflection from any
bounding surface of the room is shorter than 20 msec ,the direct
is not too faint and the room is found to be acoustically intimate.
Acoustical intimacy is one of the most desirable features of
an auditorium used primarily for music.
Another important room-acoustic feature of a hall used for music
is balance. It can be achieved by numerous sound-reflective and
sound-diffusive surfaces around the sound source to strengthen
and improve the balance between various sections of the
orchestra as well as between the orchestra and soloists.

 If the musical sounds are well mixed before they reach the
listener, so that they are perceived as harmonious ,the sending
end of the auditorium is said to have good blend.
The reflective and diffusive orchestra enclosures control
blend. If an orchestra platform or orchestra pit is too wide, it
will lack a good blend
If the musicians and soloists have the ability to perform in unison
so that the entire orchestra sounds like a well-rehearsed and
coordinated unit, the music hall is said to possess ensemble.
Ensemble can be enhanced by a well proportioned and suitably
raked stage floor and by stage enclosures that project the sound
from one side of the platform to the other
Freedom from noise, ie the reduction of exterior and interior
noises to inaudibility or at least an acceptable minimum, is one
of the most important requisites in auditoriums for music
Another essential room acoustic quality is the complete
freedom from acoustical defects such as echo, sound
concentration , distortion and sound shadow

ROOM FOR MUSIC

Sound isolation and background noise are the important acoustic
considerations in the music department.
The shape and volume of the room, its audience capacity and
attendance, and surface and acoustical treatments all contribute to
the room-acoustical characteristics which affect the sound quality of
music performed in the hall
EFFECTS OF ROOM ACOUSTICS ON MUSIC
Room acoustical attribute exercises a marked influence on the various
stages of musical process, that is
-on composition
-on performance (production)
-on listening
Since the appreciation of music cannot be dissociated from the acoustical
environment of the room in which it is performed, musicians normally
adjust their performance according to the acoustic quality of the room in
which they are playing

Acoustical considerations in the architectural

design of music auditoriums

No music hall is built for one specific type or style of music.Thus a

carefully controlled RT will increase fullness of tone and will help
loudness, definition and diffusion. However an ideal RT is only a
contributing factor for good performance
Definition will be satisfactory if the initial time -delay gap do not
exceed 20msec ; if the direct sound is loud enough relative to the
reverberant sound ,then the listeners are close to the sound
source ; that is there is no echo
Providing an adequate supply and distribution of bass tones over a
large audience area (above 2500 seats) is an acoustical problem as
the fundamentals of several musical instruments (double bass, harp
etc.) are relatively weak
To achieve uniform quality of sound over the entire area,
balconies should not protrude too deeply into the air space of the
room.
Listeners should have unobstructed sight lines so that they
receive ample direct sound
Room should be of reasonable size and proportion and concave
enclosures should be avoided

 In order to avoid echo, we need to provide longer RT and adequate

diffusion.
The frequencies of sound in the acoustics of music halls extend over
arrange of 30 Hz to 12000 Hz
Attention should be taken to control noise and vibrations coming
from heating, ventilating and air-conditioning systems, electrical
and mechanical rooms and from surface and underground
Masking noise should be reduced to an absolute minimum to
avoid interference with pianissimo notes
FLOOR SHAPES
The shape of the floor in a room for music affects the sound source
transmission path receiver sequence
Rectangular shape
Cross reflection between parallel walls contribute to increased fullness
of tone, a highly desirable feature for music halls
Horse shoe shape
Traditional layout of Opera houses
Characteristic feature is the rings of boxes on top of each other. Even
without interior sound absorptive treatments, they contribute to
efficient sound absorption

Curvilinear Floor shape

Normally associated with a dome roof of excessive height.
Unless treated acoustically, they may create echoes, long-delayed
reflections and sound concentrations. So, curvilinear floors should be
avoided.
Irregular Floor shape
It can bring the audience unusually close to sound source and cause
random distribution of absorbent elements and diffusive surface
irregularities. The free relationship between audience and performance
area offers wide scope in design and fulfillment of several acoustical
requirements
CONCERT HALLS
The audience and musicians are contained within the same space
with no separating structure between them
There is no specific room shape
The use of balconies in large concert halls is advantageous as it
brings the audience closer to the platform
Achievement of highly desirable long RT in concert halls in
difficult
In a concert hall with volume less than 90000cu ft., the use of
sound amplification system should be avoided

While designing an orchestra platform:

Floor area should be based on the space requirements of musicians
and their instruments
Close musician-listener relationship should be achieved with
horizontal and vertical sight clearance to provide loudness ,
intimacy and definition
The orchestra platform should be neither too deep nor too wide. A
maximum depth of 9m and a minimum width of 18m is
recommended
The surrounding enclosures must have reflective treatments to reduce
undesirable sound absorption
The level of the platform must be elevated high enough above the
audience floor level to provide ample direct sound to every listener
OPERA
Structural,
mechanical and electrical requirements should be
HOUSES
with
needs
coordinated
A combination
ofacoustical
a legitimate
theatre and a concert hall
Opera houses uses proscenium stages with the separation between
performers and spectators
The area and volume should be adjustable to suit orchestras of different
sizes and to secure balance within the orchestra
In the relationship between the audience area and stage house, coupled
spaces should be eliminated.
Provision for an apron stage protruding into the audience is
recommended to reduce distance between singer and audience

BIBLIOGRAPHY
Reference from the book:
Architectural Acoustics and Noise Control-theory design and
practice
By S.Kandaswamy