ACOUSTICAL DESIGN
REQUIREMENT: GENERAL
q Common problems
q Generation principle of design.
q Seats
q Reverberation time
q Distribution of acoustical material
Common problems
n Sound in free field conditions outdoors
Common problems
n Sound in reverberant field conditions indoors
Common problems
Outline of Acoustical Requirement
n There should be loudness in every part of auditorium.
n Sound energy should be uniformly distributed( diffused in room)
n Optimum reverberation time to be provided.
n Room should be free from acoustical defect as echoes, long-delayed reflection, flutter echoes, sound
concentration, distortion, sound shadow and room resonance.
n Noises or vibration which will interfere in listening should be avoided.
Adequate loudness
n The problem of providing adequate loudness, particularly in medium and large auditoriums result
from energy losses of the traveling sound waves and from excessive absorption by the audience
and the room contents, upholstered seats, carpets, draperies, etc. Adequate loudness can be
provided in following ways:
q The auditorium to be shaped such that the audience is as close as possible to the
sound source, thereby reducing the distance the sound must travel.
q The sound source to be raised as feasible in order to secure a free flow of direct
sound.
q The floor where the audience is seated should be properly ramped or raked.
q The sound source should closely and abundantly surrounded with large sound
reflective surfaces in order to supply additional reflected sound energy to every
portion of audience area particularly to remote seats.
q Floor area and volume of the auditorium should be kept a reasonable minimum,
thereby shortening the distance that direct and reflected sound must travel.
Diffusion of sound
n If the sound pressure is equal in all parts of an auditorium it is probable that the sound wave are
traveling in all directions or the sound field is homogeneous in other words. This indicates that
there is a sound diffusion in the room. Diffusion of sound can be created in several ways:
q The generous application of surface irregularities and scattering elements such as
pilasters, piers, coffered ceiling etc.
q The alternate application of sound reflective and absorptive surface treatment.
q The irregular and random distribution of differing sound absorptive treatments.
q The use of acoustical diffusers is particularly important for concert halls, opera
houses, radio and recording studios and music rooms.
q For surface irregularities must be abundantly
applied and must be reasonably large.
q For economy and in small rooms random
distribution of absorbing material or alternate
application of reflective and absorptive surface
to be applied.
Control of Reverberation
n If the sound pressure is equal in all parts of an auditorium it is probable that the sound wave are
traveling in all directions or the sound field is homogeneous in other words. This indicates that
there is a sound diffusion in the room. Diffusion of sound can be created in several ways:
q The generous application of surface irregularities and scattering elements such as
pilasters, piers, coffered ceiling etc.
q The alternate application of sound reflective and absorptive surface treatment.
q The irregular and random distribution of differing sound absorptive treatments.
q The use of acoustical diffusers is particularly important for concert halls, opera
houses, radio and recording studios and music rooms.
q For surface irregularities must be abundantly
applied and must be reasonably large.
q For economy and in small rooms random
distribution of absorbing material or alternate
application of reflective and absorptive surface
to be applied.
Elimination of Room acoustical defects
n Besides providing for positive acoustical attributes, such as adequate loudness, uniform
distribution of sound energy and optimum reverberation time it is essential to eliminate potential
acoustical defects. Some of the common defects are:
q Echo
q Long delayed reflection
q Flutter echo
q Sound concentrations
q Coupled spaces
q Distortion
q Room resonance
q Sound shadow
q Whispering gallery
1- Echo
2- Long delayed reflection
3- Sound shadow
4- Sound concentrations
General principle of Design
n Site selection and Planning:
q The choice of site for an auditorium is governed by several factors which may be mutually
conflicting, but a compromise has to be struck between the various considerations involved.
The problem of noise is an important consideration.
q A noise survey of the site should be made in advance so that noisy locations are avoided
where, possible as otherwise elaborate and expensive construction may be required to
provide requisite sound insulation.
q In fact, the quietest possible condition should be provided so that intelligibility of speech does
not suffer and even soft passages of music are heard.
q It is particularly necessary to keep the level of extraneous noise low by proper orientation and
site selection in case where no air-conditioning is provided and doors and windows' are
normally kept open during the performance.
q When air-conditioning is provided special care should be taken to attenuate the plant noise
and the grill noise. For this purpose plant should be suitably isolated and ducts as well as the
plenum should be so designed that noise gets adequately reduced so as to be within the
permissible limits.
q Depending on the-ambient noise level of the site, orientation, layout and structural design
should be arranged to provide necessary noise reduction, so that the background noise level
of not more than 40 to 45 dB
Site Selection for Sound Control
Orientation
General principle of Design:
n Size and Shape
q The size should be fixed in relation to the number of audience required to be seated. The floor
area of the hall including ,gangways (excluding the stage) should be calculated on the basis
of 0.6 to 0.9 sq mt per person.
q The height of the hall is determined by such considerations as ventilation, presence ( or
absence) of balcony and the type of performance.
q The average height may vary from 6 m for small halls to 7.5 m for large halls. Ceiling may
be flat but it is preferable to provide a slight increase in the height near the centre of hall.
q The volume per person required to be provided should normally range between 3·5 to 5.5 cu
mt.
q Suitable volumes for different types of auditoriums are given below but it is recommended that
higher values be adopted only in special cases:
q In the case of (c), the upper limit is suitable for musical performances while the lower limit
may be chosen in the case of small general purpose auditoriums.
General principle of Design
n Size and Shape
q Floor plans of various shapes are
used, but the one which is
considered to give satisfactory
results without introducing
complications in the acoustical!
treatment of the hall is the fan-
shaped plan.
q The proscenium may bear any
suitable ratio with the height of
the hall to suit stage requirements
and considerations of viability.
q The side walls should be
arranged to have an angle of not
more than 100 degrees with the
curtain line.
q In the case of talking pictures
synchronization of sound with lip
movement is most essential.
q Also, in the case of theatres a
person with normal vision should
be able to discern facial
expressions of the performers. In
order to satisfy these conditions,
it is recommended that the
distance of the farthest seat
from the curtain line should not
normally exceed 23 mts
General principle of Design
n Size and Shape
q Stage - The size of the stage depends upon the type of performance the hall is to cater for. It
would be large for theatres, while it would be comparatively small for cinema halls which
again depends on the size of the screen. The sound source should be raided so as to
maintain a free flow of direct sound.
q Rear Wall -The auditorium rear wall(s) should be either flat or convex in shape. This
should not be concave in shape, but where it cannot be avoided, the acoustical design shall
indicate either the surface to be splayed or convex corrugations given in order to avoid any
tendency for the sound to focus into the hall.
q Side wall -Where the side walls are non-parallel as in the case of a fan-shaped hall. the walls
may remain reflective and may be architecturally finished in any manner required, if sound
absorbing material is not required from other considerations. Where the side walls are
parallel they may be left untreated to a length of about 7.5 m from the proscenium end.
In addition, any of the surfaces. likely to cause a delayed echo or flutter echo should be
appropriately treated with a sound absorbing material. Difference between the direct path
and the path reflected from aide wall shall not exceed 15 m.
General principle of Design
n Path difference
General principle of Design
n Size and Shape
q Roof and Ceiling- The requirements pertaining to a roof are mainly governed by
architectural, engineering or economic considerations. In large halls a false ceiling is usually
provided below the trusses. The portion of the false ceiling near the proscenium is
constructed of reflective material ( usually plaster of Paris) and is suitably inclined to
help reflections from the stage to reach the rear seats of the hall. The remaining portion
of this ceiling is constructed to take acoustical treatment. Concave shaped ceilings (in the
form of dome or barrel) should be avoided. The rear portion of the ceiling may be treated with
sound absorbing material partly for control of reverberation and partly to prevent build-up of
audience noise.
q Floor - For good visibility as also for good listening conditions, the successive rows of seats
have to r be raised over the preceding ones with the result that the floor level rises towards
the rear. The elevation is based on the principle that each listener shall be elevated with
respect to the person immediately in front of him so that the listener's head is about 12 cm
above the path of sound which would pass over the head of the person in front of him.
It is possible to reduce this to 8 mt, if the seats are staggered .As an empirical rule the angle
of elevation of the inclined floor in an auditorium should not be less than 8 degrees.
n ANGLE NOT LES THAN 8 DEG
General principle of Design
n Size and Shape
q Balcony - Where a balcony is provided, its projection into the hall should not be more than
twice the free height of the opening of the balcony recess.
q Line of sight - The elevation of the balcony seat should be such that line of sight is not inclined
more than 30 degrees to the horizontal.
General principle of Design
n Size and Shape
q Foyer, crush halls, attached rooms - All the enclosed spaces, such as foyer, lounge,
flanking verandahs etc, adjacent to the auditorium should be isolated from the main hall by
suitable (well fitting) doors so that the acoustics of the hall are not influenced by these rooms;
heavy curtains may be used to aid absorption of external noise from foyer, verandahs, etc.
q The foyer area, number and size of entrances also depend on the size and seating capacity of
the auditorium. At least 20 percent of the seating area of the hall is recommended for
foyer.
q For lobby and lounge, area at least corresponding to 10 percent of the seating area in the
hall are recommended.
q Further, these spaces should be acoustically treated 10 that the noises originating there do
not cause any disturbance in the main hall. Incidentally, this will also reduce air-borne noises
coming from outside
q Doors and Window - Where the external noise level is high, properly fitted doors and
windows should be provided. Their rebates should preferably be lined with draught strip
rubber or felt. In the case of existing doors and windows where leakage of sound is observed.
it would be necessary to improve the fitting of the shutters and, at the same time, provide
draught strip rubber or felt on the rebates.
Seats
n The seats should be arranged in concentric arcs of circles drawn with the centre located as much
behind the centre of the curtain line as its ( curtain line) distance from the auditorium rear wall.
n The angle subtended with the horizontal at the front-most observer by the highest object
should not exceed 30 degrees. On this basis, the distance of the front row works to about 3-6
m for drama and it should be 4-5 or more for cinema purposes.
n Minimum distance of front seats should be determined by the highest point required to be seen on
the stage which is usually raised by about 75 cm or more.
n The width of a seat should be between 45 cm and 56 cm.
n The back to back distance of chairs in successive rows of seats shall be at least 85 cm. If
extra comfort is required higher spacing may be provided which shall vary between 85 cm and
106 cm.
n Seats should be staggered sideways in relation to those in front so that a listener in any row is not
looking directly over the head of the person in front of him.
n Upholstered seats shall be provided, wherever possible, so that the acoustic characteristics of the
hall are, not .appreciably affected by fluctuating audience occupancy.
n This is particularly important for halls where the audience provides the major part of the required
sound absorption.
Distribution of acoustical material
n Reflecting surfaces shall be so designed as to aid distribution of sound. Those areas which cause
objectionable sound reflection and need to be treated with sound absorbents should be earmarked for
treatment with sound absorbing material.
n These areas are (a) the rear wall, (b) the balcony parapet, (c) any areas which may reflect sound back to
the stage, (d) concave areas which have a tendency to focus sound in certain places, and (e) such other
areas as will contribute to indirect sound arriving at any point in the hall later than 50 milliseconds after
the direct sound.
n The rest of the sound absorbing material required to be introduced in the room should be distributed over
the various remaining surfaces.
Sound absorbing material
n The materials generally used may be broadly classified into the following categories:
n Acoustic plaster ( a plaster which includes granulated insulation material with cement).
n Compressed cane or wood fiberboard, imperforated and perforated.
n Wood particle board
n Compressed wood wool
n Mineral/glass wool quilts and mats
n Mineral/compressed glass wool tiles;
n Composite units of perforated hardboard backed by perforated fiberboard;
n Composite units of perforated board (hardboard, asbestos board or metal sheet) backed by
mineral or glass wool quilt or slab
n Special absorbers constructed of hardboard, teak ply, etc, backed by air.
Sound absorbing material
n In an average hall, most of the absorption is provided by the audience.
n This is relatively more in the high frequency range than in the middle or in the low frequency range.
It, therefore, becomes desirable to introduce special low frequency absorbers ( such as wooden
paneling used as wainscot or otherwise) on ceilings and walls which will provide the requisite
amount of absorption so as to achieve optimum reverberation- time over as wide a frequency range
as possible.
n The amount of the absorptive materials required should be calculated on the basis of the absorption
values at one or more frequencies in each of the low, middle and high frequency regions namely
125, 5oo and 2000 cIs.
Sound amplification system
n A loudness of speech level of about 60 to 70 dB is required for comfortable listening and good
intelligibility provided the ambient noise level is within the acceptable values.
n This level can be obtained in an acoustically well designed hall provided the volume does not
exceed I400 sq mt and the maximum distance from the speaker to listener is of the order of 23 m,
Where background noise is high or the hall is large, a sound amplification system becomes
necessary.
Additional requirements: Halls for speech
n The clarity of speech is most important in
this case. Optimum clarity depends on:
n correct reverberation time
n absence of echo
n correct loudness level at all parts
of the hall, and
n low background noise
n The path of direct sound waves should be
as short as possible to reduce sound
energy loss in air. This requires compact
room shape with short distance between
sound source and listeners.
n Sound path difference should be between
9-10.5 mts.
n The seats should be laid out in such a
pattern that they falls within an angle of
140 deg from position of speaker.
n Ideal RT value.
Additional requirements: Conference Halls
Basic difference between conference halls and auditoriums, like theatres and cinema halls, lies in the
possibility of sound originating, in the former case from any part of the hall. In a conference hall a
table or cluster of tables is generally placed in the centre of the hall, and persons who are listeners
as well as speakers sit around the table. Conference hall may have any shape to suit architectural
or any other special requirements. In designing, conference hall particular consideration should,
therefore, be given to the following requirements.
n Acoustics of the halls should be so designed as to ensure proper conditions for listening, assuming
that a person may speak or listen from anywhere in the hall.
n Optimum reverberation time should be chosen (speech). It may be noted that too long a
reverberation time muffles and confuses the speech intelligibility while too short a time prevents
build-up of proper level for good listening.
n Use of sound amplification system should be avoided as far as possible. But where necessitated,
because of size or other requirements, low level loudspeakers or head phones should be provided
for individual or a group of seats.
n Absorbent material should be distributed evenly over the waIl surfaces of the hall.
n Ceiling should not be domed and should not be 'higher than 6 meters. Acoustical treatment on the
ceiling should be confined to peripheral regions only. In the case of larger halls with considerable
n heights, more area of ceiling would need to be treated,
Additional requirements: OAT
n While the general considerations given in previous presentation would apply to open-air
auditoriums also, particular care should be taken in the case of open-air auditoriums al these are
not enclosed.
n The site should be carefully selected in view of effects of topographical and atmospherical
conditions and exterior noise sources.
n The basic shape, size and capacity of the seating area should be determined to ensure
satisfactory speech intelligibility throughout the entire audience area.
n Accommodate the maximum amount of reflective surface close to sound source.
n Platform should be well elevated and seating area steeply raked.
n Prevailing noise conditions should not exceed 45 dB on 'A' scale. Wind velocities naturally
experienced at site should not exceed 16 km/hr.
n Back stage wall should be made reflective and broken into convex shaped surface. Overall shape
should be flat in plan; however, if it is desired to be concave, it should be broken into convex
surfaces which in either case should be of at least 90 to 180 cm width.
n Depth of stage should be arranged to suit individual requirements; where it exceeds 6 m, it is
necessary to treat back stage wall acoustically.
Additional requirements: OAT
n A ceiling reflector should be provided for directing the sound to the rear seats. This reflector may
be a hard reflecting surface slanting at a suitable angle towards the audience and fixed over the
main sound originating area of the stage.
n If direction of wind generally remains the same, the auditorium should be so located that wind
direction is towards the audience from the stage.
n Even if reflectors are provided as recommended sound amplification should be resorted to in case
the number of audience exceeds 600 or back ground noise is more than 45 to 50 dB.
n The loudspeaker system should be so designed that it is capable of providing an average level up
to 80 dB over the entire listening area.
Additional requirements: Halls for Music
n Adequate reverberation is important to lend proper blending and fullness of music. The reverberation
time is required to be higher than for halls meant for speech only.
n Providing an adequate supply and distribution of bass tone over a large audience area.
n Achieve uniform sound quality in the audience area.
n Longer RT.
n Control of noises and vibration.
Additional requirements: Halls for Concert Halls
n In a good concert hall audience and musicians are contained within the same space with no
separating structure (proscenium wall) between them.
n Use of balcony in large concert halls is often advantageous as it brings audience closer to platform.
n The achievement of a highly desirable RT in large concert halls difficult It is therefore imperative that
use of sound abortive surface treatment along with rear wall.
n In designing the orchestra platform, the following are the main points to remember, .
n Floor area should be based on the space requirement of the musicians, their instrument,
conductor and soloist.
n Each musician would require 1.1 to 1.4 sq mt and member of chorus around 0.3 to 0.4 sq
mt.
n Close musician-listener relationship should be achieved with excellent horizontal and
vertical sight clearance from every part of the audience.
n Orchestra platform should neither be too deep (9 m max) nor too wide (18 m max)
n Surrounding enclosure should be reflective treatment and should laid out to enhance the
sound projection into audience area.
n Platform to be elevated.
n Structural. mechanical. and electrical requirements should be coordinated with acoustical
needs
Additional requirements: Motion Picture Theatre
n A motion-picture theater represents an exclusive single purpose auditorium.
n Rectangular floor shape with horizontal seating to be avoided.
n The volume-per-seat value should be kept within 2.5 cu mt to 4.3 cu mt preferably closer to the lower
figure.
n Overhead should reflectors should be used above the screen; the entire ceiling or at least its major
central portion shall be made reflective.
n The audience floor should be steeply ramped toward the rear to provide clear sight lines.
n The projection screen and the loudspeaker behind it should be high enough for the entire audience
to be covered by the sound beam.
n Vertical boundary surfaces. except those close to the screen should be generously treated with
sound absorbing finishes in order to achieve a short RT and to avoid acoustical defect particularly
noticeable in an acoustically dead rooms.
n Parallelism between reflective surfaces close to screen should be avoided.
n The wall behind the projection screen should be made absorptive if too long delayed reflections are
expected.
n Excessive room length ( more than 46 mts) should be avoided.
n Balconies should not be too deep.
n The correct distance between the screen and the first row of seats should be determined from the
aspect ratio (height to width ratio) dimensions of the projection screen.
n Heavily upholstered seats should be used to counteract room acoustical effect of widely fluctuating
attendance.
n The floor between the screen and first row of seats should be carpeted.
