Preface |
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xiii | |
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1 Introduction to Room Acoustics |
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1 | (12) |
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Importance of Room Acoustics |
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2 | (1) |
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3 | (1) |
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4 | (1) |
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Direct Sound and Indirect Sound |
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4 | (1) |
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4 | (1) |
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5 | (1) |
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6 | (1) |
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Human Perception of Sound |
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7 | (1) |
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8 | (1) |
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Acoustical Design Procedure |
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9 | (2) |
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A Note on the Room Design Examples |
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11 | (2) |
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2 Sound-Reflecting Materials |
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13 | (10) |
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Sound Wavelength and Reflections |
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14 | (1) |
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Reflection and Room Geometry |
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15 | (1) |
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16 | (2) |
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18 | (1) |
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Reverberation-Time Equation |
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19 | (1) |
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Reverberation-Time Measurements |
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20 | (3) |
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3 Sound-Absorbing Materials and Structures |
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23 | (30) |
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24 | (1) |
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Room Geometry and Treatment |
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24 | (1) |
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Sound Absorption Coefficient |
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25 | (2) |
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Noise Reduction Coefficient |
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27 | (1) |
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Standard Mounting Terminology |
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27 | (1) |
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28 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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Space behind Absorbent and Thickness of Absorbent |
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30 | (2) |
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32 | (1) |
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Ceiling-Mounted Absorption |
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33 | (1) |
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33 | (1) |
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Glass-Fiber Absorber Panels |
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33 | (2) |
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35 | (1) |
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35 | (4) |
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Polycylindrical Absorbers |
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39 | (1) |
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Absorption of Drywall Construction |
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39 | (1) |
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40 | (1) |
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Perforated Panel Absorbers |
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40 | (5) |
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45 | (2) |
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47 | (1) |
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Prefabricated Sound Absorbers |
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47 | (1) |
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48 | (1) |
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48 | (1) |
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Are Glass Fibers Dangerous to Health? |
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48 | (5) |
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4 Diffusing Materials and Structures |
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53 | (20) |
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53 | (1) |
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54 | (1) |
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Role of Diffusers in Room Design |
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55 | (2) |
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Diffusion by Geometric Shapes |
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57 | (1) |
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The Polycylindrical Diffuser |
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57 | (2) |
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Reflection Phase Gratings |
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59 | (1) |
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Specular Reflection Theory |
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60 | (1) |
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Reflection Phase Grating Theory |
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61 | (3) |
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The Quadratic-Residue Diffuser |
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64 | (1) |
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The Primitive-Root Diffuser |
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64 | (1) |
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64 | (3) |
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The Diffusion Coefficient |
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67 | (1) |
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Commercially Available Reflection Phase Grating Diffusers |
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67 | (1) |
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The QRD-734 Quadratic-Residue Diffuser |
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67 | (1) |
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68 | (1) |
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68 | (2) |
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70 | (3) |
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5 Room Modes and Room Geometry |
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73 | (22) |
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73 | (2) |
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75 | (3) |
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78 | (2) |
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Axial, Tangential, and Oblique Modes |
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80 | (1) |
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81 | (4) |
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85 | (4) |
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89 | (1) |
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Modal Distribution in Nonrectangular Rooms |
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89 | (1) |
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90 | (2) |
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"Optimal" Room Proportions |
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92 | (2) |
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94 | (1) |
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6 Sound Isolation and Site Selection |
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95 | (16) |
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95 | (2) |
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97 | (1) |
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Insulation versus Isolation |
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98 | (1) |
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Sound Transmission Class (STC) |
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98 | (2) |
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100 | (1) |
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100 | (1) |
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101 | (1) |
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102 | (1) |
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102 | (2) |
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104 | (1) |
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Checklist of Building Materials |
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104 | (2) |
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106 | (3) |
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Floor Plan Considerations |
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109 | (1) |
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Locating a Space within a Frame Structure |
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109 | (1) |
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Locating a Space within a Concrete Structure |
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110 | (1) |
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7 Wall Construction and Performance |
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111 | (16) |
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Walls as Effective Noise Barriers |
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112 | (1) |
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The Mass Law and Wall Design |
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112 | (4) |
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Wall Designs for Efficient Insulation |
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116 | (2) |
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Improving an Existing Wall |
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118 | (2) |
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120 | (1) |
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Gypsum Board Walls as Sound Barriers |
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120 | (1) |
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Masonry Walls as Sound Barriers |
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121 | (3) |
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124 | (1) |
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125 | (2) |
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8 Floor/Ceiling Construction and Performance |
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127 | (12) |
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Data on the Footfall Noise Problem |
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127 | (2) |
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Floor/Ceiling Structures and Their IIC Performance |
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129 | (1) |
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130 | (1) |
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131 | (2) |
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133 | (1) |
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Attenuation by Concrete Layers |
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134 | (1) |
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Plywood Web versus Solid Wood Joists |
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135 | (4) |
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9 Window and Door Construction and Performance |
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139 | (18) |
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140 | (1) |
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140 | (1) |
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141 | (1) |
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142 | (3) |
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Acoustical Holes: Coincidence Resonance |
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145 | (1) |
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Acoustical Holes: Standing Waves in the Cavity |
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146 | (1) |
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Effect of Glass Mass and Spacing |
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147 | (1) |
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Effect of Dissimilar Panes |
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148 | (1) |
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Effect of Laminated Glass |
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148 | (1) |
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149 | (1) |
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Effect of Slanting the Glass |
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149 | (1) |
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149 | (1) |
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Effect of Cavity Absorbent |
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149 | (1) |
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150 | (1) |
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Weak Windows (or Doors) in a Strong Wall |
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150 | (1) |
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Example of an Optimized Double-Pane Window |
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151 | (1) |
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Construction of an Observation Window |
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152 | (1) |
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Proprietary Observation Windows |
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153 | (1) |
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153 | (3) |
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156 | (1) |
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10 Noise Control in HVAC Systems |
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157 | (18) |
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Selection of Noise Criteria |
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157 | (2) |
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159 | (1) |
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160 | (1) |
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161 | (1) |
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Air Velocity and Aerodynamic Noise |
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162 | (1) |
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163 | (1) |
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164 | (2) |
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Lined Duct with Blocked Line-of-Sight |
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166 | (1) |
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Lined Duct and Length Effect |
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166 | (1) |
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167 | (1) |
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168 | (1) |
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168 | (1) |
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Reactive Expansion Chamber |
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168 | (2) |
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170 | (1) |
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171 | (1) |
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Active Noise Cancellation |
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171 | (1) |
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Natural System Attenuation |
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171 | (1) |
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172 | (3) |
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11 Room Performance and Evaluation |
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175 | (24) |
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175 | (3) |
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178 | (2) |
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180 | (2) |
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Environmental Noise Assessments |
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182 | (2) |
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Measurement and Testing Standards |
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184 | (1) |
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184 | (1) |
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185 | (2) |
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Relating Noise Measurements to Construction |
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187 | (3) |
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Evaluation of Room Acoustics: Objective Methods |
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190 | (1) |
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Evaluation of Room Acoustics: Subjective Methods |
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191 | (2) |
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Articulation Index and the Spoken Word |
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193 | (4) |
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Room Reflections and Psychoacoustics |
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197 | (1) |
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198 | (1) |
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12 Recording Studio for Pop Music |
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199 | (14) |
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200 | (1) |
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200 | (1) |
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200 | (1) |
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200 | (3) |
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203 | (1) |
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203 | (1) |
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204 | (1) |
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205 | (2) |
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Studio Treatment: North Wall |
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207 | (1) |
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Studio Treatment: South Wall |
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207 | (1) |
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Studio Treatment: East Wall |
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208 | (1) |
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Studio Treatment: West Wall |
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209 | (1) |
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Studio Treatment: Floor and Ceiling |
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209 | (1) |
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209 | (1) |
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209 | (2) |
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211 | (2) |
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13 Recording Studio for Classical Music |
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213 | (12) |
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213 | (1) |
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213 | (1) |
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Diffusion in the Recording Studio |
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214 | (1) |
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215 | (2) |
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217 | (1) |
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218 | (1) |
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218 | (1) |
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Reverberation-Time Calculations |
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219 | (2) |
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221 | (1) |
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222 | (1) |
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223 | (2) |
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225 | (12) |
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Design Criteria: Isolation |
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225 | (1) |
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Design Criteria: Room Size |
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226 | (1) |
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Design Criteria: Room Shape |
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226 | (1) |
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Axial-Mode Study of Selected Room |
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226 | (2) |
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228 | (1) |
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228 | (1) |
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The Soft Option and Hard Option |
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229 | (1) |
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230 | (1) |
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230 | (1) |
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Studio Design: Soft Option |
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230 | (2) |
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Studio Design: Hard Option |
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232 | (1) |
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Reverberation-Time Calculations |
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233 | (1) |
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Reverberation Time: Soft Option |
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233 | (1) |
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Reverberation Time: Hard Option |
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233 | (2) |
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235 | (1) |
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236 | (1) |
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237 | (12) |
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237 | (1) |
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Combing of Early Reflections |
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238 | (1) |
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Examples of Comb Filtering |
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238 | (2) |
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240 | (1) |
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241 | (1) |
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241 | (1) |
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241 | (8) |
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Design Example A Control Room with Rectangular Walls |
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242 | (1) |
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Design Example B Double-Shell Control Room with Splayed Walls |
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243 | (3) |
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Design Example C Single-Shell Control Room with Splayed Walls |
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246 | (3) |
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249 | (18) |
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Design Criteria: Isolation |
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249 | (1) |
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250 | (15) |
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Design Example A Traditional Announce Booth |
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252 | (1) |
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Design Example A Axial Modes |
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252 | (1) |
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Design Example A Reverberation Time |
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253 | (2) |
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Design Example B Announce Booth with TubeTraps |
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255 | (3) |
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Design Example B Techron TEF Measurements |
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258 | (1) |
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Design Example B Reverberation Time |
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258 | (2) |
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Design Example C Announce Booth with Diffusers |
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260 | (2) |
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Design Example C Reverberation Time |
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262 | (3) |
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Design Example C Evaluation |
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265 | (1) |
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Comparison of Design Examples A, B, and C |
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265 | (2) |
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17 Audio/Video/Film Workroom |
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267 | (12) |
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Audio Fidelity and Near-Field Monitoring |
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267 | (1) |
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Axial-Mode Considerations |
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268 | (1) |
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Monitor Loudspeakers and Early Sound |
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268 | (2) |
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270 | (3) |
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273 | (1) |
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273 | (3) |
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Mixing Engineer's Workstation |
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276 | (1) |
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277 | (1) |
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277 | (1) |
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277 | (2) |
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279 | (8) |
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279 | (1) |
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Shape and Size of the Room |
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279 | (1) |
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280 | (1) |
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281 | (1) |
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281 | (1) |
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282 | (5) |
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287 | (12) |
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287 | (1) |
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Home Acoustics: Reverberation |
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288 | (1) |
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Home Acoustics: Noise Control |
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288 | (1) |
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289 | (1) |
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289 | (3) |
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Studio Design: Initial Treatment |
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292 | (1) |
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Studio Design: Intermediate Treatment |
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293 | (1) |
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Studio Design: Comprehensive Treatment |
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294 | (1) |
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295 | (1) |
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295 | (4) |
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20 Home Listening and Media Room |
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299 | (12) |
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299 | (1) |
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300 | (1) |
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301 | (1) |
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Low-Frequency Peaks and Nulls |
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301 | (3) |
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304 | (1) |
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305 | (1) |
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Acoustical Treatment for the Listening Room |
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305 | (1) |
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Identification of Early Reflections |
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306 | (1) |
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Psychoacoustical Effects of Reflections |
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307 | (1) |
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Examples of Listening Room Treatment |
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307 | (1) |
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Listening Room Design: Initial Treatment |
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307 | (1) |
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Listening Room Design: Intermediate Treatment |
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308 | (1) |
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Listening Room Design: Comprehensive Treatment |
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309 | (1) |
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309 | (2) |
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311 | (12) |
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Locating the Home Theater |
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311 | (1) |
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312 | (2) |
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Early Reflections and Their Effects |
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314 | (1) |
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Controlling Early Reflections |
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315 | (1) |
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316 | (2) |
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The Listening Environment |
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318 | (2) |
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320 | (3) |
Appendix: Selected Absorption Coefficients |
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323 | (2) |
Glossary |
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325 | (12) |
References and Resources |
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337 | (8) |
Index |
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