Journal articles: 'Auditorium Acoustics'

1

Orlowski, Raf. "Auditorium Acoustics." Acoustics 1, no. 3 (August 28, 2019): 693. http://dx.doi.org/10.3390/acoustics1030040.

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Putra, Alnugraha Rachman, and Ryanty Derwentyana Nazhar. "Peranan Material Interior dalam Pengendalian Akustik Auditorium Bandung Creative Hub." Waca Cipta Ruang 6, no. 2 (November 27, 2020): 71–76. http://dx.doi.org/10.34010/wcr.v6i2.4123.

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Acoustics in an auditorium interior have a vital role in the continuity of activities in it. Activities in the auditorium are closely related to audio and visual, so designing an auditorium requires an acoustic control system, not only visual elements are considered, but also sound or acoustic control requires special attention. This study describes the role of interior materials in acoustic control in a multifunctional auditorium in the Bandung Creative Hub building, West Java. To determine the quality of the room acoustics under study, the research method used is descriptive analysis by processing data in the form of images, field notes, documentation, and supporting theories according to the principles of interior design science. This study concludes that the interior materials in the multifunctional auditorium in the Bandung Creative Hub Building have met the applicable standards in the acoustic control of the auditorium space. The benefit of this research is that it can be used as a benchmark for auditorium design and can be a reference for space design that requires special acoustic treatment in the future.

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3

Pereira, Andreia, Anna Gaspar, Luís Godinho, Paulo Amado Mendes, Diogo Mateus, Jesus Carbajo, Jaime Ramis, and Pedro Poveda. "On the Use of Perforated Sound Absorption Systems for Variable Acoustics Room Design." Buildings 11, no. 11 (November 15, 2021): 543. http://dx.doi.org/10.3390/buildings11110543.

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An important challenge for acoustic engineers in room acoustics design is related to the acoustic performance of multi-purpose auditoriums, which are typically designed to suit several performance requirements. With this intent, the analysis of several scenarios is usually performed individually, and then an acceptable solution, that may be adapted to several situations, is selected. One way of providing a more appropriate acoustic performance for each function of the auditorium is using variable sound absorption techniques to control reverberation and other relevant acoustic phenomena associated to sound perception. In this paper, the acoustic behavior of a perforated system that may be suitable for achieving a variable acoustic solution for room acoustic design is addressed. In the design of a cost-effective solution, the surface appearance is kept unchanged, while variable acoustic behavior is achieved either by closing the holes in the back face of the perforated panel or by placing a porous material in varying positions inside the backing cavity, thus accomplishing different acoustic requirements within a multipurpose auditorium. An analytical approach, based on the transfer matrix method is employed for preliminary acoustic sound absorption assessment provided by the system and to develop optimized solutions. Diffuse sound absorption is then computed and used to simulate, by the ray-tracing method, the acoustic behavior of a multipurpose auditorium to demonstrate efficient acoustic performance for different types of use.

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Wang, Ji-Qing. "Diffusion and Auditorium Acoustics." Building Acoustics 10, no. 3 (September 2003): 211–19. http://dx.doi.org/10.1260/135101003322662014.

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Kuttruff, H. "On the Acoustics of Auditoria." Building Acoustics 1, no. 1 (March 1994): 27–48. http://dx.doi.org/10.1177/1351010x9400100103.

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The paper presents a short introduction into auditorium acoustics and reports on a few new developments in this field, which are believed to be of great benefit both for the acoustical design of auditoria and for research in practical room acoustics. The first part describes in a rather elementary way the basic facts of sound propagation in enclosures, including the effects of reflections and the role of reverberation. Furthermore, some of the numerous objective parameters are discussed which have been introduced in order to characterize particular aspects of sound fields. In the second part, recently developed methods of sound field simulation are described by which such parameters can be predicted. Methods of “auralization” are briefly discussed by which aural impressions from non-existing halls can be created on the basis of digital sound field simulation.

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6

Templeton, Duncan. "Auditorium acoustics and architectural design." Applied Acoustics 49, no. 3 (November 1996): 283–85. http://dx.doi.org/10.1016/s0003-682x(97)88032-2.

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7

Borish, Jeffrey Glenn. "Electronic simulation of auditorium acoustics." Journal of the Acoustical Society of America 77, no. 2 (February 1985): 764. http://dx.doi.org/10.1121/1.392353.

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8

Barron, Michael, and Timothy J. Foulkes. "Auditorium Acoustics and Architectural Design." Journal of the Acoustical Society of America 96, no. 1 (July 1994): 612. http://dx.doi.org/10.1121/1.410457.

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9

Pinnington, R. J., and C. B. Nathanail. "Modelling auditorium acoustics with light." Applied Acoustics 40, no. 1 (1993): 21–46. http://dx.doi.org/10.1016/0003-682x(93)90019-3.

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10

Maishan, Kabiru, and Asst Prof Dr Halil Zafer Alibaba. "Auditorium Acoustics From Past to Present." International Journal of Engineering Research and Applications 07, no. 01 (January 2017): 15–23. http://dx.doi.org/10.9790/9622-0701011523.

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11

Krokstad, Asbjørn. "Electroacoustic means of controlling auditorium acoustics." Journal of the Acoustical Society of America 77, S1 (April 1985): S89. http://dx.doi.org/10.1121/1.2022571.

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12

Rieffel, Marc, and E. Carr Everbach. "Auditorium acoustics simulation for the Macintosh." Journal of the Acoustical Society of America 91, no. 4 (April 1992): 2373. http://dx.doi.org/10.1121/1.403340.

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13

Bradley, J. S. "Auditorium acoustics measures from pistol shots." Journal of the Acoustical Society of America 80, no. 1 (July 1986): 199–205. http://dx.doi.org/10.1121/1.394162.

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Krokstad, Asbjörn. "Electroacoustic means of controlling auditorium acoustics." Applied Acoustics 24, no. 4 (1988): 275–88. http://dx.doi.org/10.1016/0003-682x(88)90085-0.

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15

Fernández, Gonzalo. "Sodre auditorium." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2275. http://dx.doi.org/10.1121/1.3507959.

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16

Zhang, Richard J. "Analysis on the Acoustics of an Auditorium." Open Journal of Acoustics 10, no. 02 (2020): 19–40. http://dx.doi.org/10.4236/oja.2020.102002.

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17

Orlowski, Rafal, Arup Acoustics, St Giles Hall, and Pound Hill. "Book Review: Auditorium Acoustics and Architectural Design." Building Acoustics 1, no. 1 (March 1994): 89–90. http://dx.doi.org/10.1177/1351010x9400100106.

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18

Rosenberg, Carl J. "Auditorium acoustics newsletters, edited by Russell Johnson." Journal of the Acoustical Society of America 124, no. 4 (October 2008): 2504. http://dx.doi.org/10.1121/1.4782872.

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19

Siebein, Gary W., and Michael Barron. "Auditorium Acoustics and Architectural Design, 2nd Edition." Noise Control Engineering Journal 59, no. 2 (2011): 213. http://dx.doi.org/10.3397/1.3544301.

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20

Bradley, J. S., and R. E. Halliwell. "Assessing electroacoustic systems with auditorium acoustics measures." Journal of the Acoustical Society of America 85, S1 (May 1989): S16. http://dx.doi.org/10.1121/1.2026841.

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21

Bradley, J. S., and R. E. Halliwell. "Ten years of newer auditorium acoustics measurements." Journal of the Acoustical Society of America 89, no. 4B (April 1991): 1856. http://dx.doi.org/10.1121/1.2029261.

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22

Barron, Mike. "The Search for Excellence in Auditorium Acoustics." Acoustics Australia 43, no. 1 (April 2015): 25–31. http://dx.doi.org/10.1007/s40857-015-0012-9.

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23

Rubacha, Jarosław, Adam Pilch, and Marcin Zastawnik. "Measurements of the Sound Absorption Coefficient of Auditorium Seats for Various Geometries of the Samples." Archives of Acoustics 37, no. 4 (December 1, 2012): 483–88. http://dx.doi.org/10.2478/v10168-012-0060-1.

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Abstract This paper presents the results of measurements of the sound absorption coefficient of auditorium seats carried out in the laboratory using two methods. In the first one, small blocks of seats in various arrangements were studied in a reverberation chamber to determine the absorption coefficient of an auditorium of infinite dimensions. The results were compared to the values of the absorption coefficient measured using the second method, which involved samples enclosed within a frame screening the side surfaces of other auditorium blocks. The results of both methods allowed for the assessment of the sound absorption coefficient of an auditorium of any dimensions while taking into account the sound absorption by the side surfaces. The method developed by the authors will simplify the currently known measurement procedures.

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24

Connolly, Sean. "Willson Auditorium renovation." Journal of the Acoustical Society of America 146, no. 4 (October 2019): 2894. http://dx.doi.org/10.1121/1.5137041.

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25

Woszczyk, Wieslaw, Aybar Aydin, and Ying-Ying Zhang. "Virtual Acoustics, better than the real thing? Considering the creative side." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A181. http://dx.doi.org/10.1121/10.0015962.

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Once room acoustical reflections data are extracted from a physical space or a model, and are encapsulated in a 3D impulse response, they can be used to render immersive sound fields in real time. A range of possibilities then opens for creative use of acoustics in music. A skilled virtual acoustics designer-engineer may rebalance digital signals representing the room response to situate player and listener on the stage or at the back of the auditorium, may modify and arrange temporal segments to re-imagine the aural dimensions of the space, and apply gain and directional placement to shape the impression of immersive presence, adapting acoustics to musicians’ creative needs. In the process of building an idealized acoustical environment for the music, techniques of sound reinforcement and of rendering room acoustics are combined to balance presence with ambience and to deliver a sensation of acoustical power with lift-off. The means exist to move beyond acoustical realism into fictionalized acoustics.

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26

Medwin, Herman. "From auditorium ray acoustics to wave acoustics: The next giant step." Journal of the Acoustical Society of America 107, no. 5 (May 2000): 2891. http://dx.doi.org/10.1121/1.428748.

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27

Wu, Shuoxian, Hongwei Wang, and Yuezhe Zhao. "Auditorium acoustics evaluation based on simulated impulse response." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2476. http://dx.doi.org/10.1121/1.4782526.

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28

Chan, T. M., and W. M. To. "Modelling of Scattering from Balcony Fronts." Building Acoustics 9, no. 3 (September 2002): 219–31. http://dx.doi.org/10.1260/135101002320815684.

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Balconies are normally used in large auditoria such as concert halls or opera houses, to increase seating capacity or to give better view for a distinguished group of the audience. When ray-tracing based computer models are applied to study the acoustical quality of these auditoria, the alteration of the sound field due to balcony fronts is normally unobservable, because of the relative small size of the balcony fronts in the auditorium. Furthermore, most diffuse reflection ray-tracing methods are not based on direct wave acoustics but on an approximation of the scattering effect. In practice, experience shows that balcony fronts give additional warmth to music. This effect is more prominent when singers perform in traditional horseshoe shaped opera houses with multi-levels balconies. This paper describes modelling of scattering from balcony fronts using a theoretical wave approach, in which the incident wave front is not plane but spherical. A computer simulation illustrates the scattering of sound that takes place when the wavefront impinges on the surface of the balcony fronts.

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29

Büttner, Clemens, Mitsuru Yabushita, Antonio Sánchez Parejo, Yu Morishita, and Stefan Weinzierl. "The Acoustics of Kabuki Theaters." Acta Acustica united with Acustica 105, no. 6 (November 1, 2019): 1105–13. http://dx.doi.org/10.3813/aaa.919389.

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The study presents a room acoustical investigation of a representative sample of eight Kabuki theaters as the most important public performance venues of pre-modern Japan. Room acoustical parameters according to ISO 3382 were measured for the unoccupied and simulated for the occupied condition. In comparison with European proscenium stage theaters, they have lower room heights in the auditorium, with usually only one upper tier, and no high stage house for movable scenery. The lower volume per seat results in lower reverberation times, The wooden construction and the audience seating arrangement on wooden straw mats on the floor instead of upholstered seats leads to a mostly flat frequency response up to 4 kHz, resulting in an excellent speech intelligibility, as documented by values for definition (D50) and the speech intelligibility index (STI). The acoustical conditions support the dynamic acting space created by pathways extending the stage from the front through the audience to the rear of the auditorium. They allow great contrasts in the perceived acoustical proximity depending on the selected acting position, and support a high degree of immersion of the audience into the dramatic action.

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30

Davies, W. J., R. J. Orlowski, and Y. W. Lam. "Measuring auditorium seat absorption." Journal of the Acoustical Society of America 96, no. 2 (August 1994): 879–88. http://dx.doi.org/10.1121/1.410263.

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31

Poletti, M. A. "Active Acoustic Systems for the Control of Room Acoustics." Building Acoustics 18, no. 3-4 (December 2011): 237–58. http://dx.doi.org/10.1260/1351-010x.18.3-4.237.

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The acoustic design of auditoria involves the specification of the room geometry and boundary properties, and any additional acoustic elements such as reflectors or diffusers, to usefully direct sound to produce a desired subjective experience, quantified by measurable acoustic parameters. This design must take into account the reflection of sound within the stage area, the early reflections from the stage to the audience and the reverberant response of the room. The sound produced by the audience can also be an important consideration. Active acoustic systems provide an alternative approach to controlling subjective experience. They use microphones, electronic processors and loudspeakers to create reflections and reverberation in addition to those produced by the naturally-occurring sound field. The acoustic properties can be changed instantly, and the enhanced acoustic properties of the auditorium can typically be varied over a wider range than can be produced by variable passive techniques. The design of active acoustics follows that of passive approaches, but rather than the physical arrangement of the room surfaces, it commences with an existing passive space with some minimum acoustic condition, and requires the arrangement of microphones to detect relevant sound and the choice of processors and loudspeaker positions to direct it usefully back into the room to produce a desired set of acoustic parameters. While active systems have historically been developed with the goal of enhancing either the stage or audience sound, they must generally provide the same control of sound as passive acoustic design. This paper discusses the principles of active acoustic systems and how they are used to achieve the required range of control. A survey of current commercial systems is given and some implications for the future of live performance are explored.

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32

Ţopa, Marina Dana, Norbert Toma, Botond Sandor Kirei, Ioana Sărăcuţ, and Angelo Farina. "Experimental Acoustic Evaluation of an Auditorium." Advances in Acoustics and Vibration 2012 (September 23, 2012): 1–8. http://dx.doi.org/10.1155/2012/868247.

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The paper presents a case history: the acoustical analysis of a rectangular auditorium. The following acoustical parameters were evaluated: early decay time, reverberation time, clarity, definition, and center time. The excitation signal was linear sweep sine and additional analysis was carried out: peak-to-noise ratio, reverberation time for empty and occupied room, standard deviation of acoustical parameters, diffusion, and just noticeable differences analysis. Conclusions about room’s destination and modeling were drawn in the end.

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33

Tanen, Robert, and Alexander M. Aquila. "Big Acoustics in Small Spaces - Achieving HS Auditorium Design Goals with Space Constraints." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 4 (August 1, 2021): 2126–37. http://dx.doi.org/10.3397/in-2021-2058.

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When designing a high school auditorium there are several factors that determine the outcome of the final construction. Prior to establishing acoustical design goals, the restrictions outlined from the design team typically start at budget and may extend to the size of the box in which the auditorium is to fit. A fluent balance between design restrictions and internal acoustical goals is critical to create a successful end-product. This case study shows the actions taken to increase the volume, provide custom diffusion, and isolate an auditorium from mechanical sources directly above the space. Furthermore, critical acoustical metrics such as loudness, spaciousness, ITDG, intimacy, reverberation time, clarity, etc., were analyzed in design and measured post construction. Results, based on ISO 3382-1 testing are provided, as are the noise control measures implemented to achieve the established set of design criteria. The overall intent of this case study presentation is to exhibit how goals across each design team discipline can be met, through sometimes unwilling compromise, ultimately producing a rewarding end-result for acousticians, architects, engineers, and ownership.

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34

Rieffel, Marc, Geoffrey Noer, Jeremy Dilatush, Andrew Brown, and E. Carr Everbach. "Ray‐tracing analysis of auditorium acoustics for the Macintosh." Journal of the Acoustical Society of America 95, no. 5 (May 1994): 2887. http://dx.doi.org/10.1121/1.409357.

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35

Wettstein, Domonkos. "Az auditorium mint analóg hangszer : Az Opera felújításának építészeti kihívásai." Metszet 13, no. 5 (2022): 14–23. http://dx.doi.org/10.33268/met.2022.5.1.

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"The building is an analog instrument" - which can be interpreted not only in terms of acoustics, but also in connection of relationships between historical and contemporary layers. This instrument can be prepared during the restoration process but awaits fine tuning once performances return to the stage. In whole the main auditorium has been restored to its original form, yet innovative use of electrical and mechanical services has been applied to enhance the spectator's experiences. Not only has the auditorium been fine-tuned, but the same dedication also been applied to restoring this instrument throughout.

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36

Kolářová, Zuzana, Libor Šteffek, and František Vajkay. "Computer Simulations of Room Acoustics in Sporting Facilities." Advanced Materials Research 649 (January 2013): 57–60. http://dx.doi.org/10.4028/www.scientific.net/amr.649.57.

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The paper is focused on a solution with regards to acoustic problems inside of facilities for sporting activities. The evaluation of the acoustic parameters of the interior was done within a project called "Badminton Centre with Facilities", which was part of a master thesis at the Institute of Building Structures of the Faculty of Civil Engineering, BUT Brno. The given solution and design took into account not only the requirements given by the legislation dealing with building acoustics, but the aesthetical viewpoint of the individual acoustically absorbing surfaces also. The simulations were done in Odeon Auditorium software, which is specialized for the modelling of indoor spaces of buildings. The results of simulations are presented in octave bands with a frequency range of 250-2000 Hz, while the main emphasis is put onto the monitoring of the reverberation time.

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37

Markham, Benjamin. "Blodgett Hall Auditorium, Vassar College." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781931.

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38

Jurdy, Basel. "Flutter echo at Pigott Auditorium." Journal of the Acoustical Society of America 121, no. 5 (May 2007): 3151. http://dx.doi.org/10.1121/1.4782181.

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39

Foulkes, Timothy, and Christopher Storch. "Auditorium design for choral performance." Journal of the Acoustical Society of America 118, no. 3 (September 2005): 2008. http://dx.doi.org/10.1121/1.4785701.

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40

Sü Gül, Zühre, Merve Eşmebaşı, and Zeynep Bora Özyurt. "The effects of stage house coupling on multipurpose auditorium acoustics." Applied Acoustics 198 (September 2022): 108996. http://dx.doi.org/10.1016/j.apacoust.2022.108996.

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41

Cairoli, Maria. "Architectural customized design for variable acoustics in a Multipurpose Auditorium." Applied Acoustics 140 (November 2018): 167–77. http://dx.doi.org/10.1016/j.apacoust.2018.05.026.

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42

Yadav, Saurabh, Gaurav Sharma, Sarthak Nag, and Arpan Gupta. "Reverberation time improvement of lecture auditorium: A case study." Noise & Vibration Worldwide 49, no. 1 (January 2018): 14–19. http://dx.doi.org/10.1177/0957456517748448.

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In this study, reverberation time of a lecture auditorium has been analyzed experimentally and analytically. It is well-known fact that reverberation time affects the speech intelligibility and hence should be within the range of possible optimum values. Experiments were performed to calculate the reverberation time of a lecture auditorium constructed at Indian Institute of Technology Mandi (IIT Mandi), for different internal conditions such as furniture and curtains. Experimental results were compared with the theoretically calculated values of reverberation time. It is found that acoustic performance of the lecture auditorium has significantly improved using curtains on the windows and furniture. For further improvement, it has also been suggested to use the carpet on the floor of the auditorium. The theoretical value of reverberation time is also calculated to show the improvement which can be achieved using carpet. The effect of audience on reverberation time has also been studied theoretically.

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43

Vaupel, B. G. L. "The Best Remaining Seat: Evaluating Auditorium Plans for Desirability." Building Acoustics 5, no. 1 (March 1998): 1–16. http://dx.doi.org/10.1177/1351010x9800500101.

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It is important that an auditorium be designed to have as many good seats as possible. Not all seats in an auditorium are judged to be equally good. This is manifested in that the audience does not choose its seats randomly. The audience understands intuitively that, generally speaking, the closer a seat is to the performers, and the more straight on the better it is. Acoustics should be the most important consideration in selecting a seat, prior to a concert. However, the visual, comfort and economic factors are also important, along with others, not easy to isolate or define. Imagine an auditorium with open seating and the audience entering one at a time. People will in turn make a selection of what in their opinion is the best remaining seat. The order in which the seats are chosen is an indicator of the rank order of the desirability of the individual seats. As the audience makes its seat selection, a geometric pattern of the occupied seats unfolds, and reveals the boundary of the preferred seats. The perimeters describe the equal desirability curves and outlines the auditorium plan with as many good seats as possible. The audience choice of seat is recorded by time lapse photography. The data is analysed in a combined computer drawing and mathematics program. A mathematical model has been developed that evaluates the desirability of the seating in an auditorium from the audience point of view.

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44

Kamisiński, Tadeusz. "Correction of Acoustics in Historic Opera Theatres with the Use of Schroeder Diffuser." Archives of Acoustics 37, no. 3 (November 1, 2012): 349–54. http://dx.doi.org/10.2478/v10168-012-0044-1.

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Abstract The paper deals with the problem of acoustic correction in historic opera theatres with the auditorium layout in the form of a horseshoe with deep underbalcony cavities limited with a semicircular wall surface. Both geometry of the cavities and excessive sound absorption determine acoustic phenomena registered in this area of the hall. The problem has been observed in the Theatre of Opera and Ballet in Lviv, Ukraine, where acoustic tests were carried out, simulation calculations performed, and finally a diffusion panel worked out designed for the rear wall of the underbalcony space. Acoustic measurements carried out after installation of the diffusers revealed favourable changes in the sound strength factor G within the range of medium and high frequencies in the underbalcony and auditorium centre area. By replacing textile tapestry with diffusion panels, a significant reduction of sound absorption was achieved for the frequency range above 1 kHz and an increase of uniformity of acoustic parameters registered in the hall. The method presented in the paper can be applied in historic halls of the similar type as well as contemporary rooms where there is a need for correction of acoustic flaws related to sound focusing or the echo effect.

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45

Johnson, Russell. "Partially coupled chambers in auditorium design." Journal of the Acoustical Society of America 99, no. 4 (April 1996): 2459–500. http://dx.doi.org/10.1121/1.415485.

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46

Ryan, William W. "Auditorium characteristics and a cappella music." Journal of the Acoustical Society of America 96, no. 5 (November 1994): 3248. http://dx.doi.org/10.1121/1.411047.

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47

Britton, Deb, Kevin Hodsgon, and Gain Foster. "Sound reinforcement for a divisible auditorium." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 3712. http://dx.doi.org/10.1121/1.4988120.

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48

Woolworth, David S. "Case studies: Auditorium, gymnasium, and gymnatorium." Journal of the Acoustical Society of America 127, no. 3 (March 2010): 1892. http://dx.doi.org/10.1121/1.3384724.

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49

Kim, Jae Ho, Yong Hee Kim, and Jin Yong Jeon. "Diffuser design for both auditorium and stage acoustics in concert halls." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3198. http://dx.doi.org/10.1121/1.2933345.

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50

Echenagucia, Tomás Méndez, Mario Sassone, Arianna Astolfi, Louena Shtrepi, and Arthur van der Harten. "EDT, C80and G Driven Auditorium Design." Building Acoustics 21, no. 1 (March 2014): 43–54. http://dx.doi.org/10.1260/1351-010x.21.1.43.

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Journal articles on the topic 'Auditorium Acoustics'

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