Workplace Acoustical Performance: Designing for Privacy
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Basics of Acoustics Contents
BASICS OF ACOUSTICS CONTENTS 1. preface 03 2. room acoustics versus building acoustics 04 3. fundamentals of acoustics 05 3.1 Sound 05 3.2 Sound pressure 06 3.3 Sound pressure level and decibel scale 06 3.4 Sound pressure of several sources 07 3.5 Frequency 08 3.6 Frequency ranges relevant for room planning 09 3.7 Wavelengths of sound 09 3.8 Level values 10 4. room acoustic parameters 11 4.1 Reverberation time 11 4.2 Sound absorption 14 4.3 Sound absorption coefficient and reverberation time 16 4.4 Rating of sound absorption 16 5. index 18 2 1. PREFACE Noise or unwanted sounds is perceived as disturbing and annoying in many fields of life. This can be observed in private as well as in working environments. Several studies about room acoustic conditions and annoyance through noise show the relevance of good room acoustic conditions. Decreasing success in school class rooms or affecting efficiency at work is often related to inadequate room acoustic conditions. Research results from class room acoustics have been one of the reasons to revise German standard DIN 18041 on “Acoustic quality of small and medium-sized room” from 1968 and decrease suggested reverberation time values in class rooms with the new 2004 version of the standard. Furthermore the standard gave a detailed range for the frequency dependence of reverberation time and also extended the range of rooms to be considered in room acoustic design of a building. The acoustic quality of a room, better its acoustic adequacy for each usage, is determined by the sum of all equipment and materials in the rooms. -
Physics of Music PHY103 Lab Manual
Physics of Music PHY103 Lab Manual Lab #6 – Room Acoustics EQUIPMENT • Tape measures • Noise making devices (pieces of wood for clappers). • Microphones, stands, preamps connected to computers. • Extra XLR microphone cables so the microphones can reach the padded closet and hallway. • Key to the infamous padded closet INTRODUCTION One important application of the study of sound is in the area of acoustics. The acoustic properties of a room are important for rooms such as lecture halls, auditoriums, libraries and theatres. In this lab we will record and measure the properties of impulsive sounds in different rooms. There are three rooms we can easily study near the lab: the lab itself, the “anechoic” chamber (i.e. padded closet across the hall, B+L417C, that isn’t anechoic) and the hallway (that has noticeable echoes). Anechoic means no echoes. An anechoic chamber is a room built specifically with walls that absorb sound. Such a room should be considerably quieter than a normal room. Step into the padded closet and snap your fingers and speak a few words. The sound should be muffled. For those of us living in Rochester this will not be a new sensation as freshly fallen snow absorbs sound well. If you close your eyes you could almost imagine that you are outside in the snow (except for the warmth, and bizarre smell in there). The reverberant sound in an auditorium dies away with time as the sound energy is absorbed by multiple interactions with the surfaces of the room. In a more reflective room, it will take longer for the sound to die away and the room is said to be 'live'. -
Vern Oliver Knudsen Papers LSC.1153
http://oac.cdlib.org/findaid/ark:/13030/kt109nc33w No online items Finding Aid for the Vern Oliver Knudsen Papers LSC.1153 Finding aid updated by Kelly Besser, 2021. UCLA Library Special Collections Finding aid last updated 2021 March 29. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Vern Oliver LSC.1153 1 Knudsen Papers LSC.1153 Contributing Institution: UCLA Library Special Collections Title: Vern Oliver Knudsen papers Creator: Knudsen, Vern Oliver, 1893-1974 Identifier/Call Number: LSC.1153 Physical Description: 28.25 Linear Feet(57 document boxes, and 8 map folders) Date (inclusive): circa 1922-1980 Abstract: Vern Oliver Knudsen (1893-1974) was a professor in the Department of Physics at UCLA before serving as the first dean of the Graduate Division (1934-58), Vice Chancellor (1956), Chancellor (1959). He also researched architectural acoustics and hearing impairments, developed the audiometer with Isaac H. Jones, founded the Acoustical Society of America (1928), organized and served as the first director of what is now the Naval Undersea Research and Development Center in San Diego, and worked as a acoustical consultant for various projects including the Hollywood Bowl, the Dorothy Chandler Pavilion, Schoenberg Hall, the United Nations General Assembly building, and a variety of radio and motion picture studios. The collection consists of manuscripts, correspondence, galley proofs, and other material related to Knudsen's professional activities. The collection also includes the papers of Leo Peter Delsasso, John Mead Adams, and Edgar Lee Kinsey. -
The Sound Design Guide
The Sound Design Guide a transparent resource for sound & fire information get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. As a manufacturer, we have taken great strides in simplifying this part of the building envelope by providing new comprehensive tools and rich online resources to you, the architect and specifi er. Our product specifi cations and sustainability tools, available at www.PABCOgypsum.com and ARCAT, have been paired with new continuing education courses that cover everything from sound and acoustic challenges to discussions related to new 2015 industry standards. Meet your design goals with ease. Be it our trusted FLAME CURB®, light-weight LITECORE®, protective PABCO GLASS® or our award winning QuietRock®; we have what the job demands. what the job demands PABCO® Gypsum technical services: 866.282.9298 www.PABCOgypsum.com QuietRock® acoustical products: 800.797.8159 www.QuietRock.com get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. -
Quietrock EZ-SNAP Submittal
510 MANUFACTURER INFORMATION: PABCO® Gypsum a division of PABCO® building products, LLC QUIETROCK ES 37851 Cherry Street Newark, CA 94560 Type X Sound Reducing Panel 800-797-8159 www.PABCOgypsum.com www.QuietRock.com PABCO® Specification PGS-021 ES panels have been tested and approved on spacing and fastener type and installed as many fire-resistance assemblies and are suitable tested. To qualify for listed sound ratings, the for new construction or renovation projects use of acoustical sealants/caulking, acoustical in commercial, multi-family or single-family putty, insulation or clips are generally added to DESCRIPTION: residential applications. the systems as detailed in the test report. When an assembly is both fire and sound rated, the QuietRock® EZ-SNAP® (ES) is a sound reducing, LIMITATIONS: strictest requirements prevail. constrained-layer damped (CLD) gypsum panel, comprised of a proprietary viscoelastic polymer • QuietRock® ES panels are intended for interior SOUND CONTROL: center, enhanced high density gypsum core applications, and shall not be stored or manufactured to meet or exceed ASTM C1396. applied where there will be direct exposure QuietRock® ES panels are manufactured The core has been bisected to completely to water or continuous high humidity before, using a unique combination of patented eliminate inner layers of paper in the product for during, or after construction. technologies including gypsum core and enhanced workability. • Avoid exposure to temperatures exceeding viscoelastic polymers designed for sound 125° F (52° C) for an extended period of time. control in partitions as compared to standard QuietRock® ES panels are encased in 100% • QuietRock® ES is a non-structural panel; gypsum panels. -
The Room Acoustics of Large Spaces
ROOMROOM ACOUSTICSACOUSTICS OFOF LARGELARGE SPACESSPACES TheThe TalaskeTalaske Group,Group, inc.inc. The Room Acoustics of Large Spaces Presented by: Rick Talaske The Talaske Group, inc. Oak Park, IL – U.S.A. ASA Tutorial Cancun, Mexico The photos of all projects are designed by The Talaske Group, inc. Presented to the Acoustical Society of America – Cancun, Mexico 02 December 2002 ROOMROOM ACOUSTICSACOUSTICS OFOF LARGELARGE SPACESSPACES TheThe TalaskeTalaske Group,Group, inc.inc. Acoustically speaking: What is a “Large” Room It is my pleasure to present this discussion in Cancun regarding the acoustics of large rooms. Generally, this topic is what the public thinks of when they hear the word “acoustics”. This is because of their experiences in churches, theatres and music halls. I hope to better your understanding about this interesting topic. Es un placer de estar aqui en Cancun y al al vez hacer un presentacion sobre la acustica en grandes espacios. Generalmente, la gente cada vez que se menciona la palabra “acusticaq”, la relacionan con iglesias, teatros ysalas musicales. Espero de que en esta presentacion, ustedes se lleven un mejor entendimiento del concepto de acustica. Presented to the Acoustical Society of America – Cancun, Mexico 02 December 2002 ROOMROOM ACOUSTICSACOUSTICS OFOF LARGELARGE SPACESSPACES TheThe TalaskeTalaske Group,Group, inc.inc. Acoustically speaking: What is a “Large” Room In this paper, a large room: • Schroeder’s Frequency is less than 50 Hz •fc = 2000*SR ( T60/V ) •fc is below the voice and music bandwidth. • Comb filtering is a lesser consideration. • Un espacio grande es un cuarto con muchas resonancias normales. Hay tantas resonancias que finalmente no son tan importantes. -
Sound Attenuation Batt Insulation
Sound Attenuation Batt Insulation Product Data Sheet Description Acoustic Comparison of Cavity Insulation Types Sound Attenuation Batts (SAB’s) Gypsum Board Insulation Type Test Number STC are unfaced, lightweight, fl exible One layer each side. 5 fi berglass insulation batts, ⁄8" None TL-92-618 38 5 designed to deliver noise control ⁄8" Glass fi ber TL-93-325 49 5 in metal stud wall cavities of ⁄8" Mineral fi ber TL-93-327 47 5 interior partitions. Manufactured ⁄8" Cellulose (spray) TL-93-049 45 to fi t metal framing, they come One layer one side, two layers the other side 5 ⁄8" Glass fi ber TL-92-420 52 in 2½", 3½" and 5½" thicknesses, 5 ⁄8" Mineral fi ber TL-93-329 53 with lengths up to 9’. 5 ⁄8" Cellulose (spray) TL-93-050 49 5 Product Attributes ⁄8" Cellulose (blown) TL-92-437 49 5 3 ⁄8" 25 Gauge Non Load Bearing Studs at 16" on center NRC-CNRC Internal Report IRC-IR-693, October 1995 Excellent Acoustical Performance Sound Attenuation Batts Available Sizes provide excellent acoustical Thickness Width Length performance for metal framed 2½ " 16"/24" (406mm/609mm) 96" interior partitions. Depending 2½ " 16" (406mm) 108" on the construction method 3½ " 16"/24" (406mm/609mm) 96" and components used, SAB’s 3½ " 16" (406mm) 108" 5½ " 16" (406mm) 93" can improve STC (Sound Transmission Class) ratings by 4-10 points over an empty cavity. Reality of Sound Transmission several types of building insulation. Class (STC). All the testing was done at Easy to Install and Fabricate STC is a method of rating the same lab, using the same Sound Attenuation Batts are airborne sound transmission individually tested components, 1 ⁄8" wider than stud spacing performance of a wall or fl oor to give the most reproducible for easy friction-fi t installation. -
Paper One the Standing Wave Problem
LeadingEdge Systematic Approach Room Acoustic Principles - Paper One The Standing Wave Problem Sound quality problems caused by poor room acoustics. We all recognise that room acoustics can cause sound quality problems. But often the issues are not clearly described or discussed. Here we will cover some important considerations and principles of room acoustics problems. Treating your room should not be done in isolation from all the other system building considerations. Your thoughts about room acoustics treatment should be in conjunction with your requirements for mains, supports, system electronics, speakers and cables etc. None of these should be dealt with in isolation, and with regards to room acoustics it’s particularly important to be aware of some of the interactive nature of room acoustics, and other systematic faults. For example, a boomy bass could be caused by a room mode, but equally it could be caused by bass feedback from a wall and up into your system through the mains leads. If it’s your mains cables feeding back vibration that’s the dominant problem, spending money on room treatment may not correctly resolve the issue. Room acoustics problems can be grouped into the following categories. 1. Air mass problems: – Standing waves with sound pressure peaks and suck-outs (and associated velocity peaks) – Velocity generated intermodulation 2. Reflection problems – Unwanted reflected signals at the listening position – Raised reverberant background noise floor The behavior of a room’s air mass is the most important consideration with room treatment. A significant air mass problem is a fundamental destroyer of performance - uncontrolled room modes produce associated velocity intermodulation, which damages every aspect of musical reproduction. -
Acoustics 101 for Architects a Presentation of Acoustical Terminology and Concepts Relating Directly to the Design and Construction of an Architectural Space
Acoustics 101 for Architects A presentation of acoustical terminology and concepts relating directly to the design and construction of an architectural space. Low-tech descriptions, explanations, and examples. By: Michael Fay This essay is tailored to the one group of people who have more influence over a building's acoustics than any other; architects. The focus is on Architectural Acoustics, a field that is broader than most imagine. To do justice to the theme, we must briefly touch on many subordinate topics, most having a synergetic relationship bonding architecture and sound. This paper is based on fundamentals, not perfection. It covers most of the basics, and explores many modern and esoteric matters as well. You will be introduced to interesting and analytical subjects; some you may know, some you may never have considered. Here are a few examples of what you'll find by reading on: . What is sound and why is it so hard to manage or control? . The length of low- and high-frequency sound waves vary by as much as 400:1. Why does this disparity matter? . How and why do various audible frequencies behave differently when interacting with various materials, structures, shapes and finishes? . There are three acoustical tools available to both the architect and the acoustician. What are they? How can they benefit or hinder the work of each craft? . Room geometry: Why some shapes are much better than others. Examples and explanations. Reverberation and echo: How do they differ? Which is better, or worse, and why? How much is too much, or too little? . -
Why Acoustics Matter
Please add relevant logo here Why Acoustic Matter: Demystifying Noise Control in Buildings Randy D. Waldeck, PE Disclaimer: This presentation was developed by a third party and is not funded by WoodWorks or the Softwood Lumber Board. “The Wood Products Council” is This course is registered with a Registered Provider with The AIA CES for continuing American Institute of Architects professional education. As Continuing Education Systems such, it does not include (AIA/CES), Provider #G516. content that may be deemed or construed to be an approval or endorsement by the AIA of any material of Credit(s) earned on completion construction or any method or of this course will be reported to manner of handling, using, AIA CES for AIA members. distributing, or dealing in any Certificates of Completion for material or product. both AIA members and non-AIA __________________________________ members are available upon Questions related to specific materials, request. methods, and services will be addressed at the conclusion of this presentation. Copyright Materials This presentation is protected by US and International Copyright laws. Reproduction, distribution, display and use of the presentation without written permission of the speaker is prohibited. © CSDA Design Group 2017 Course Description Acoustics is an invisible element that designers often overlook, yet sound deeply affects our daily lives— which is why sustainable design principles incorporate acoustical elements to improve building occupant health, safety, functionality, and comfort. This session will provide an overview of design features and strategies for achieving an appropriate balance of noise control in wood-frame buildings. Techniques for reducing the intrusion of environmental noise will be reviewed, and selection of acoustical components and wood-frame assemblies discussed in the context of occupant/tenant separation in buildings such as apartments, hotels, medical offices, schools and retail. -
Room Acoustics and Reverberation
21m.380 · Music and Technology Recording Techniques & Audio Production Room acoustics & reverberation Session 18 · Wednesday, November 9, 2016 1 Pa1 presentations • • Flo: Randy Newman – A Few Words in Defense of Our Country (2006) 2 Announcement: Schlepping reminder • Please remember if you are signed up for pre- or post-class schlepping for either recording session on Mon, 11/14, Wed, 11/16. • Pre-class schlepping: Meet at , 10 minutes before class 3 Review 3.1 Recording session 1 3.2 Ed3 assignment • How to limit to −3 dB with ReaComp plugin – Large ratio – Small rms size – Short attack and release times • Review of setting up a gate 4 Audible effects of reflections & delays 4.1 Flutter echoes & resonances • Unpleasant flutter echoes tend to occur between hard, parallel walls • Real-world examples: Killian Hall – Front right stage area as seen from audience (floor & ceiling) – Center of room with folded-in wall panels (left & right wall) • Demo in Pd: Perceptual effect of delays – ≳ 30 ms: Audible as echoes – ≲ 30 ms: Audible as pitched resonance – why? 1 of 10 21m.380 · Room acoustics & reverberation · Wed, 11/9/2016 4.2 Comb filters +6 Figure 2. Comb filter frequency re- sponse (note linear 푥 axis −20 (dB) −40 gain −60 −80 푛 푛+1 푛+2 Δ푡 Δ푡 Δ푡 … Frequency 푓 (Hz) input • Result of mixing a sound with a copy of itself delayed by Δ푡: – Δ푡 = 푇, 2푇, 3푇, ⋯ = 푛 Constructive interference if 푓 푇 3푇 5푇 – Destructive interference if Δ푡 = 2 , 2 , 2 ,… • Sound example: pink noise, moving mic, reflective surface Delay Δ푡 • Can be enjoyed outdoors across mit campus; just combine: + – Broadband hvac noise – Reflections from nearby building walls – Moving observer output • Other ubiquituous examples: Figure 1. -
Saflex Acoustical Guide
www.saflex.com Acoustical Guide – Table of Contents Table of Contents for the Acoustical Guide (click on a bullet below to navigate to sub sections • Introduction • Rating • Principles • Data • Methodologies • Glossary • Worksheets • References • Example Purpose This Acoustical Glazing Design Guide has been prepared for the building design professional, manufacturer of Saflex protective interlayer used in laminated glass. This guide includes the most comprehensive and up-to- date collection of laboratory-tested sound transmission loss data for laminated, monolithic and air-spaced glass configurations. It is an indispensable reference for anyone concerned about sound transmission through windows. The primary purpose of this publication is to present easy-to-follow methodologies for estimating the minimum required sound transmission loss (TL) for exterior glazing exposed to the most common sources of exterior environmental noise: aircraft, highway traffic and rail transportation. These methodologies are devised to enable the architect to explore glazing options early in project development. The need for this planning tool is great and ever-increasing due to more extensive use of land areas close to airports, highways and rail transportation lines. This, coupled with greater building owner/user expectations for noise control and wider use of lightweight, lower-cost building materials, has heightened the importance of exterior environmental noise considerations. Organization To provide a “user friendly” design tool, this guide has been organized as follows: Section 1 presents methodologies for determining the minimum required window sound transmission class (STC) rating and various glazing alternatives that will satisfy this requirement. Also included in this section are typical examples illustrating the use of these methodologies and a compilation of window STC data measured by Riverbank Acoustical Laboratories (RALTM) in tests.