Статті в журналах з теми "General sound absorption fund of the room"

The diffuse sound absorption was investigated theoretically and experimentally for a periodically arranged sound absorber composed of perforated plates with extended tubes (PPETs) and porous materials. The calculation formulae related to the boundary condition are derived for the periodic absorbers, and then the equations are solved numerically. The influences of the incidence and azimuthal angle, and the period of absorber arrangement are investigated on the sound absorption. The sound-absorption coefficients are tested in a standard reverberation room for a periodic absorber composed of units of three parallel-arranged PPETs and porous material. The measured 1/3-octave band sound-absorption coefficients agree well with the theoretical prediction. Both theoretical and measured results suggest that the periodic PPET absorbers have good sound-absorption performance in the low- to mid-frequency range in diffuse field.

The sound absorption of granular silica-aluminate molecular sieve pellets was investigated in this paper. The absorption coefficients of molecular sieve pellets with different pore sizes, pellet sizes, and layer thicknesses were measured through impedance tubes under room temperature and pressure conditions. The effects of pore size, pellet size, layer thickness were compared and explained. The comparisons show that at room temperature and pressure, the sound absorption of molecular sieve pellets is not a result of the crystalline structure, but rather it mainly changes with the pellet size and layer thickness. In addition, the five non-acoustical parameters of molecular sieve pellets were obtained by an inverse characterization method based on impedance tube measurements. The measurement by impedance tubes is in good agreement with the calculation of Johnson-Champoux-Allard (JCA) model, proving that the JCA model can be effectively used to predict the sound absorption of molecular sieve pellets.

In this paper we describe a method of calculation of the energy relations in halls where the existence of a non-uniform distribution of absorptive material in the room results in a non-diffuse sound field. The cases of halls used for concerts and speech have both been treated in order to derive new energy relations that yield known expressions when applied to a diffuse sound field. The importance of the initial reverberation time corresponding to the first portion of the decay has been verified showing that the main subjective parameters relating to the sound energy are influenced strongly by this portion, which is called the Early Decay Time if it is measured in the first 10 dB of the decay.

There has been increasing interest in new sustainable materials that can be used as construction materials. Among them, sound-absorbing materials have an important role in both acoustical room conditioning and in room insulation. As a proposal for recycling, one of the most common residues in the world, cigarette butts, is studied. Samples were prepared with used cigarette butts as acoustical absorbent materials. Several samples were prepared and grouped by similarity. Variability analyses of the samples prepared in each group were performed. Moreover, the analysis of some possible influences on absorption properties, such as the length of butts, presence of burnt regions, presence of wrapping paper, etc., were analyzed. The results show the potentiality of this residue to be used as an acoustical absorbent since the absorption coefficients found are greater than 0.8 for frequencies over 2000 Hz. The observed variability in the study group and samples can be considered low, as it was below 2% for the major part of frequencies. Influences on the absorption coefficient, for both the length and status of the butts, were statistically confirmed.

This study aimed to reveal the influence of sound absorption in general dwellings on the subjective evaluation of acoustics. First, a subjective experiment was conducted using a full-scale room model. The results indicate that the feelings of silence and serenity can be experienced at absorption coefficients above 0.17, particularly above 0.25. Additionally, we used the recorded binaural sounds for a subjective test instead of using a full-scale room model. This trial showed that the reverberance, feeling of silence, and feeling of serenity can also be evaluated using a headphone listening test. We also measured the reverberation times and recorded the sound environments in three bedrooms, three living and dining (LD) rooms, and three child rooms in modern Japanese dwellings. The average absorption coefficients of the LD and child rooms were lower than 0.17, in the range of 500 Hz to 4 kHz. Therefore, we analyzed the subjective effect of absorption through a psychological test using binaural recorded sounds. The bedrooms with absorption coefficients of 0.18–0.23 were significantly less reverberant, quieter, and more serene than the other rooms.

Porous materials hold great potential in the field of sound absorption, but the most abundantly used materials, such as Polyurethane (PU) foam and polyvinyl chloride (PVC) foam, would inevitably bring environmental harms during fabrication. In this study, the nontoxic addition-molded room temperature vulcanized silicone rubber is chosen as the matrix, and NaCl particles are chosen as the pore forming agent to prepare open cell foams via the dissolve-separating foaming method. The effect of different amounts of NaCl (0–100 phr) on the cell structure, mechanical and sound absorption properties is investigated and analyzed. The results indicate that the cell structure could be tailored via changing the addition amount of NaCl, and open cell silicon rubber foams could be achieved with more than 20 phr NaCl addition. Open cell silicon foams show the most effective sound absorption for sound waves in middle frequency (1000–2000 Hz), which should be attributed to the improved impedance matching caused by the open cell structures. Additionally, the mechanical properties, including hardness, tensile strength and corresponding elastic properties, gradually decay to a steady value with the increasing addition amount of NaCl. Therefore, open cell silicone rubber foams are capable of sound absorption in middle frequency.

This work deals with the improvement of the room acoustic quality of two medium sized meeting rooms through the investigation of the optimal placement of absorption and diffusive panels on the walls and ceiling. Acoustic measurements have been carried out in the existing untreated rooms with ODEON 13 room acoustics measurement and prediction software, and the Adobe Audition plugins Aurora. Simulations of different combinations of sound absorption and diffusion treatments have been carried out with the updated version of the software, ODEON 15. The panels were positioned in the meeting rooms following the guidelines of the DIN 18041 standard and the scientific literature. The results advise the application of absorptive materials on the ceiling or around the borders, creating a reflective middle area, and on the upper part of one the lateral walls, including the rear wall. Configurations with diffusers do not generally bring significant improvements. The Speech Transmission Index (STI) is a less sensitive parameter for the different acoustic scenarios, compared to Reverberation Time (T) and Clarity (C50). The research also outlined a design workflow, useful to successfully design meeting rooms and rooms for speech in general, which allows to determine the optimal number and location of acoustic panels and to minimize the costs.

Sound insulation auralization can be used as valuable tool to study the perceptual aspects of sound transmission in built environments for assessment of noise effects on people. It may help to further develop guidelines for building constructions. One advanced goal of real-time sound insulation auralization is to appropriately reproduce the condition of noise effects on the human perception and cognitive performance in dynamic and interactive situations. These effects depend on the kind of noise signal (i.e. speech, music, traffic noise, etc.) and on the context. This paper introduces a sound insulation auralization model. The sound insulation filters are constructed for virtual buildings with respect to complex sound propagation effects for indoor and outdoor sound sources. The approach considers the source room sound field with direct and diffuse components along with source directivity and position. The transfer functions are subdivided into patches from the source room to the receiver room, which also covers composite building elements, thus providing more detail to the actual building situations. Furthermore, the receiving room acoustics includes the reverberation of the room based on its mean free path, absorption and binaural transfer functions between its radiating walls elements and the listener. This more exact approach of sound insulation model agrees reasonably well with the ISO standard (i.e. diffuse field theory) under standard settings. It is also shown that the sound field significantly influences the transmitted energies via building elements depending on the directivity and position of the source. The proposed method is validated as a general scheme and includes more details for real-time auralization in specific situations especially in the cases where the simplified diffuse sound field approach fails. It is capable to be used in interactive Virtual Reality (VR) systems, which opens new opportunities for psychoacoustics research in noise effects on human.

The most common acoustical treatment of public rooms, such as schools, offices, and healthcare premises, is a suspended absorbent ceiling. The non-uniform distribution of the absorbent material, as well as the influence of sound-scattering objects such as furniture or other interior equipment, has to be taken into account when calculating room acoustic parameters. This requires additional information than what is already inherent in the statistical absorption coefficients and equivalent absorption areas provided by the reverberation chamber method ISO 354. Furthermore, the classical diffuse field assumption cannot be expected to be valid in these types of rooms. The non-isotropic sound field has to be considered. In this paper, a statistical energy analysis (SEA) model is derived. The sound field is subdivided into a grazing and non-grazing part where the grazing part refers to waves propagating almost parallel to the suspended ceiling. For estimation of all the inherent parameters in the model, the surface impedance of the suspended ceiling has to be known. A method for estimating the scattering and absorbing effects of furniture and objects is suggested in this paper. The room acoustical parameters reverberation time T20, speech clarity C50, and sound strength G were calculated with the model and compared with calculations according to the classical diffuse field model. Comparison with measurements were performed for a classroom configuration. With regard to all cases, the new model agrees better with measurements than the classical one.

This paper describes a special mathematical images model to determine the sound level inside a close-fitting sound enclosure. Such an enclosure is defined as the internal air volume defined by a machine vibration noise source at one wall and a parallel reflecting wall located very close to it and acts as the outside radiating wall of the enclosure. Four smaller surfaces define a parallelepiped for the volume. The main reverberation group is between the two large parallel planes. Viewed as a discrete line-type source, the main group is extended as additional discrete line-type source image groups due to reflections from the four smaller surfaces. The images group approach provides a convergent solution for the case where hard reflective surfaces are modeled with absorption coefficients equal to zero. Numerical examples are used to calculate the sound pressure level incident on the outside wall and the effect of adding high absorption to the front wall. This is compared to the result from the general large room diffuse reverberant field enclosure formula for several hard wall absorption coefficients and distances between machine and front wall. The images group method is shown to have low sensitivity to hard wall absorption coefficient value and presents a method where zero sound absorption for hard surfaces can be used rather than an initial hard surface sound absorption estimate or measurement to predict the internal sound levels the effect of adding absorption.

The study gives the results of the measurements of the reverberation time in 11,687 rooms, of which 11,457 are furnished (8,246 bedrooms, 3,211 living rooms), and 230 unfurnished. All the rooms have thick walls and ceilings, and a heavy floor covering. The reverberation times measured are quite similar in bedrooms and living rooms within the same size range, and decrease fairly uniformly as the frequency increases. Moreover, in each frequency band the greater the volume of the room, the greater the reverberation time. The results of this extensive fieldwork allow us to predict accurately the reverberation time in these kinds of spaces as a function of their size and the frequency. These data may be useful for improving the accuracy of calculation models to estimate the reverberation time of enclosed spaces. The equivalent sound absorption area of these rooms was also calculated.

This paper presents experimental results regarding the efficiency of using acoustic panels made with fiber-reinforced alkali-activated slag foam concrete containing lightweight recycled aggregates produced by using Petrit-T (tunnel kiln slag). In the first stage, 72 acoustic panels with dimension 500 × 500 × 35 mm were cast and prepared. The mechanical properties of the panels were then assessed in terms of their compressive and flexural strengths. Moreover, the durability properties of acoustic panels were studied using harsh conditions (freeze/thaw and carbonation tests). The efficiency of the lightweight panels was also assessed in terms of thermal properties. In the second stage, 50 acoustic panels were used to cover the floor area in a reverberation room. The acoustic absorption in diffuse field conditions was measured, and the interrupted random noise source method was used to record the sound pressure decay rate over time. Moreover, the acoustic properties of the panels were separately assessed by impedance tubes and airflow resistivity measurements. The recorded results from these two sound absorption evaluations were compared. Additionally, a comparative study was presented on the results of impedance tube measurements to compare the influence of casting volumes (large and small scales) on the sound absorption of the acoustic panels. In the last stage, a comparative study was implemented to clarify the effects of harsh conditions on the sound absorption of the acoustic panels. The results showed that casting scale had great impacts on the mechanical and physical properties. Additionally, it was revealed that harsh conditions improved the sound properties of acoustic panels due to their effects on the porous structure of materials.

ABSTRACT Cork is a sustainable material and at the end of its useful life it can be disposed of into the environment without causing damage. This paper analyzes an acoustic correction system made of cork sheets mounted at an opportune distance from the walls inside a room. The cork sheets have a thickness equal to 1.5 mm. The sound absorption coefficients of the cork sheets were initially evaluated by mounting samples inside an impedance tube, then creating a back cavity at a suitable distance from a rigid wall. The distances considered were: 3, 5, 10 and 15 cm. A room used as an office with a volume of about 90 m3 and plastered walls was considered as a case-study. In this type of environment, suitable acoustic comfort conditions are required. The acoustic characteristics were analyzed through a virtual model with an architectural acoustics software in an empty room and then with the introduction of sound-absorbing cork sheets. Measurements of the acoustic characteristics of the empty room were taken and subsequently with the walls lined with cork panels mounted at a distance of 3.0 cm from the rigid rear wall. A configuration was analyzed, in line with what was carried out in the numerical model, covering a surface of 5m2 of the room. The results of the numerical simulations as well as the experimental measurements are discussed.

Acoustical insulation and absorption properties of nonwoven fabrics depend on fiber geometry and fiber arrangement within the fabric structure. The different structures of the fibers result in different total surface areas of nonwoven fabrics. Nonwoven fabrics such as vertically lapped fabrics are ideal materials for use as acoustical insulation products, because they have high total surface. Vertically lapped nonwoven technology consists of carding, perpendicular layering of the carded webs, and through-air bonding using synthetic binder fibers. The surface area of the fabric is directly related to the denier and cross-sectional shape of the fibers in the fabric. Smaller deniers yield more fibers per unit weight of the material, higher total fiber surface area, and greater possibilities for a sound wave to interact with the fibers in the fabric structure. The research in the literature uses two methods for measuring acoustical properties of fabric materials: the impedance tube and reverberation room method. Small test samples are in the impedance tube method and sound absorption coefficient is determined at each frequency. Large reverberation rooms and large test samples are used for the reverberation room method. A direct comparative acoustical properties measurement device that was designed and fabricated at Clemson University School of Materials Science & Engineering was used to measure acoustical insulation in this research. This paper provides a description of the measurement devices and acoustical measurement data for vertically lapped nonwoven fabrics made from three different polyester fiber shape and two denier levels.

Although fly ash is commonly used as an additive to cement, large amounts of this material are disposed in landfills. To mitigate, it would be interesting to develop new products in which fly ash can be easily used and required in large quantities. In this work, fly ash is added to manufacture eco-friendly materials with acceptable acoustic and non-acoustic properties and a low cost. We built a barrier composed of fly ash (60 wt.%), type II Portland cement (25 wt.%), vermiculite (14.5 wt.%) and polypropylene fibers (0.5 wt.%). The barrier complied with the mechanical requirements of European standards. The sound absorption coefficient and the airborne sound insulation were determined in a reverberation room, and the barrier was classified as A2 and B3. No leaching problems were observed.

ISO 3382-3 is globally used to determine the room acoustic conditions of open-plan offices using in situ measurements. The key outcomes of the standard are three single-number quantities: distraction distance, rD, A-weighted sound pressure level of speech, Lp,A,S,4m, and spatial decay rate of speech, D2,S. Quantities Lp,A,S,4m and D2,S describe the attenuation properties of the office due to room and furniture absorption and geometry. Our purpose is to introduce a new single-number quantity, comfort distance rC, which integrates the quantities Lp,A,S,4m and D2,S. It describes the distance from an omnidirectional loudspeaker where the A-weighted sound pressure level of normal speech falls below 45 dB. The study explains why the comfort criterion level is set to 45 dB, explores the comfort distances in 185 offices reported in previous studies. Based on published data, the rC values lie typically within 3 m (strong attenuation) and 30 m (weak attenuation). Based on this data, a classification scheme was proposed. The new quantity could benefit the revised version of ISO 3382-3.

This paper presents a crossed rib diffuser (CRD) as an effective tool for room acoustic control. We performed an experimental investigation of its effectiveness using a specimen manufactured for this trial. The CRD is constructed by overlapping two one-dimensional (1D) periodic rib diffusers with different specifications so that they are crossed at non-right angles. The CRD achieves a higher scattering coefficient than 1D periodic rib diffusers in a wide band while maintaining the simple and friendly design of 1D periodic rib diffusers applicable to various architectural spaces. Moreover, inserting an absorbing layer between upper and lower ribs of the CRD, (CRD-A) yields a high broadband absorption coefficient. We first evaluated the random-incidence scattering coefficient of CRD using a 1/5 scaled model in comparison with those of 1D periodic diffusers assessed with a numerical method. Then, absorption coefficients for the CRD and the CRD-A were measured using a reverberation room. Subsequently, an experiment on a small meeting room with a 1D periodic rib diffuser, the CRD and the CRD-A was conducted to present performance of the CRD in room acoustic control. Impulse response measurements and evaluations of reverberation parameters (T20 and EDT) and speech clarity (D50) were conducted. Additionally, we present differences in structure of reflected sounds found for the flat wall, the CRD and the CRD-A visually using a four-channel sound field microphone.

Context: Measuring the directivity characteristics and the frequency response of acoustic sources is a difficult process, as the dimensions and boundary conditions of the testing rooms used could constrain the measurement procedure. The testing room should guarantee a free-field condition, which is usually satisfied by using big acoustic absorbers with fibrous materials with high absorption coefficients. However, standing wave patterns can be easily developed due to the frequency range exciting the testing room. Method: The sound field separation method can isolate the radiated field of an acoustic source by sampling the sound field around it over two holographic spheres. The coordinates of the sampling points are used in a set of equations, whose solution can estimate the radiated field. In this paper, the effect of the variability on the actual positions of these sampling points is investigated. Results: Two numerical simulations with and without external sources outside the holographic spheres were performed. In all simulations, variations in the radial position of the sampling points were induced, and the relative reconstruction error, the directivity index, and the frequency response were studied. The results indicate that, for the estimation of the directivity of low-frequency acoustic sources, regardless of the presence of external sources, radial positioning of the sensors does not have to be exact to obtain an accurate reconstruction. Conclusions: This study suggests that, in the experimental characterization in conventional testing rooms of the radiated field from acoustic sources whose main frequency region corresponds to low frequencies, e.g. subwoofers, the SFS method could be used, thus obtaining high accuracy in the estimation of the directivity of the source.

The anechoic chamber is closely related as a device for precisely measuring various acoustic characteristics. Anechoic chambers room conditions controlled to produce a sound field-free space. This study focused on testing various commercial wedges such as Eckel, diamond, pyramidal, and oblique pyramidal. The test was done by varying the elevation of an incident angle at 0°-85° with a stepping distance is 5°. This study is analyzed at 1-3 GHz frequency. This research was conducted based on a computational analysis using the finite element method on electromagnetic wave physics interfaces using COMSOL Multiphysics. The results show that, in general, pyramidal has the best performance. These results are assessed from the stability of absorption performance, the Eckel model obtains -66.6 dB at 1 GHz frequency but on another frequency tests with drastic performance fluctuations. In general, a pyramidal model can be an ideal absorber for anechoic applications because it provides good absorption performance for near normal and normal incidence angles. The results of the design and testing of the wedges model for anechoic are expected to be references in designing the optimal anechoic chamber room. Furthermore, it can contribute positively to tuning acoustic instruments such as microphones or reducing the antenna measurement error.

Changes in the engineering technologies of concert halls and the choice of finishing materials are discussed in this article. The latest developments and technologies help to enhance the acoustic properties and create a creative, contemporary interior. The acoustics of the hall need to be regulated by the degree of diffuse reflection. Finishing materials are one of the main aspects of the formation of the interior space of a concert hall. In order to ensure optimal sound conditions, special attention should be paid to the decoration of the ceiling space and sidewalls of the room. Various types of mid-to-high frequency, low frequency and wide frequency absorbers are used for this purpose. This paper deals with the physical, mechanical and aesthetic characteristics of sound-absorbing materials and trademark designs that are presented in the Ukrainian market. The quality of sound and light equipment and its correct placement will ensure the maximum service life of the concert hall. Depending on the three-dimensional planning solution, as well as the technical and economic characteristics of the room, you can choose the scheme of air distribution: "bottom-up", "top-down" or multi-zone scheme. It is determined that it is advisable to use infrared heaters to heat the auditoriums. When choosing the furniture of concert halls, it is necessary to take into account the general style of the building and the color scheme of the selected finishing materials. For concert halls, it is advisable to select seats made using modern technologies: triplexing, fire barrier, options, mobility systems, sound absorption and more. The main artistic and aesthetic means of shaping the environment of the concert halls are soft and hard decorations, as well as small stuff. The use of innovative technologies and the use of modern finishing materials increases the attendance rate of these objects and provides comfort to the viewers. Keywords: concert hall, decoration materials, interior design, acoustics.

The interest in the use of resistant acoustic materials has put further attention on the use of porous concrete in the building industry. This work investigates the acoustic properties of four different mix designs of porous concrete obtained with two types of aggregates, that is, normal weight and lightweight aggregates. The assessment of the sound-absorbing performances has been conducted in the small-scale reverberation room (SSRR) at Politecnico di Torino (Italy), in agreement with the procedure indicated in the ISO 354 Standard. For each concrete type, three panel thicknesses, i.e., 20 mm, 40 mm, and 60 mm, were tested. Moreover, different mounting conditions were investigated, considering the combination of single panels in multiple layers, adding an air gap between the panel and the backing, and inserting a layer of rock wool in the air gap itself. The results show weighted absorption coefficients (αw) in the range of 0.30 to 0.75 depending on the thickness and mounting conditions. These encouraging values make these materials useful for efficient practical applications in indoor and outdoor environments.

An optical system for gaseous chloroform (CHCl3) detection based on wavelength modulation photoacoustic spectroscopy (WMPAS) is proposed for the first time by using a distributed feedback (DFB) laser with a center wavelength of 1683 nm where chloroform has strong and complex absorption peaks. The WMPAS sensor developed possesses the advantages of having a simple structure, high-sensitivity, and direct measurement. A resonant cavity made of stainless steel with a resonant frequency of 6390 Hz was utilized, and eight microphones were located at the middle of the resonator at uniform intervals to collect the sound signal. All of the devices were integrated into an instrument box for practical applications. The performance of the WMPAS sensor was experimentally demonstrated with the measurement of different concentrations of chloroform from 63 to 625 ppm. A linear coefficient R2 of 0.999 and a detection sensitivity of 0.28 ppm with a time period of 20 s were achieved at room temperature (around 20 °C) and atmosphere pressure. Long-time continuous monitoring for a fixed concentration of chloroform gas was carried out to demonstrate the excellent stability of the system. The performance of the system shows great practical value for the detection of chloroform gas in industrial applications.

This research work focused on the development of banana fiber reinforced epoxy resin composites for dielectric and sound absorption applications. The dielectric and sound absorption properties of the composites were studied with respect to the fiber loading and treatment. The fibers were treated using 5wt % of sodium hydroxide at room temperature. The properties of the composites were measured using HP Impedance Analyzer E4980A and two-microphone transfer function impedance tube method according to the American Society for Testing Materials (ASTM D150-11 and ASTM E1050-12) standards. In general, the composites displayed higher dielectric constant and sound absorption coefficients at the higher fiber loading. In extend, the treated fibers reinforced composites showed higher sound absorption coefficients, but lower dielectric constant values

Nowadays, sound control has been regarded as one of the important requirements for human comfort. For an instance, control of room acoustic enables the room to achieve a good auditive environment for effective speech deliverance and presentations. Synthetic fibers such as glass wool fiber are commonly used for sound absorption. Over the years, it was discovered that synthetic fibers are expensive and possess potential hazard to environment and human health. Therefore, growing attention has been turned to natural fibers as an alternative to synthetic fibers. This paper demonstrates the feasibility of spent tea leaf (STL) fiber as an eco-friendly sound absorbing material. STL fiber is a by-product which was extracted from tea plant. It is unique with fresh aroma and rich in phenolic extractive content. Three different grades of STL fiber were studied and the acoustic property was analyzed in terms of sound absorption coefficient (SAC). Results showed that all the samples obtained maximum SAC above 0.70 at frequency range of 1993-3861 Hz. Furthermore, it was found that finest STL fiber grade exhibits better acoustic performance among others with a maximum SAC of 0.88 at 1993 Hz. Besides, the effect of latex binder on the acoustic property of STL fiber was also analyzed. Results suggest that the types of latex binder did not influence the acoustic performance of STL fiber. The overall results indicate that STL fiber can be a promising environment-friendly sound absorbing material.

We report the numerical and experimental realization of a type of ultrathin planar wall with low-frequency dual-band sound absorption. The proposed planar wall is constructed by a periodic subwavelength unit cell (with a thickness of λ/19) which consists of two different multiple-cavity resonators embedded into a plate structure with a groove. The sound absorption of the wall exists in two working bands (IandII) below 600 Hz which are created by two different mechanisms. In addition to the band I created by a conventional resonance coupling of the two multiple-cavity resonators, it is worth noting that the band II is realized by a mutual resonance coupling between the resonators and groove structure. The fractional bandwidths of the bands I and II can reach about 34.1 and 10.4%, respectively. Furthermore, the application of the proposed ultrathin planar wall in the design of a barrier-free anechoic room with omnidirectional low-frequency dual-band sound absorption is further discussed in detail. The proposed planar wall has the advantages of ultrathin planar structure and omnidirectional low-frequency dual-band sound absorption, which provides diverse routes to design advanced sound-absorption structures in noise control and architectural acoustics.

This research evaluates the physical and mechanical properties of particulate composites, produced from geopolymer paste with the incorporation of different organic type wastes as expanded polystyrene (EP), corkwood (CK), tire rubber (RB); in percentages by volume of 2, 4, and 6%. Metakaolin was used as a precursor of the geopolymer produced by alkali activation from NaOH and sodium silicate. The geopolymer composites were cured at room temperature. Properties as density, porosity, absorption, compressive strength, thermal conductivity, and acoustic behavior were evaluated. As complementary techniques, light and scanning electron microscopy were used. It was observed that the high alkalinity of the geopolymer mixture causes deterioration of the CK particles. Composites with the incorporation of 4% of the EP and RB particles reported compressive strength of 32 and 45 MPa at 28 days, and apparent density of 1853 and 1922 kg/m3, respectively, which represents a reduction of 6.08% and 2.58% in comparison to the GP reference. The thermal conductivity for composites with 4% of EP and RB was 0.316 and 0.344 W/m.K and the sound absorption coefficient was evaluated at frequencies of 500 Hz, 0.70, and 0.50 respectively. The evaluated performance properties show the feasibility of using 4% of EP and RB for the manufacture of geopolymer composites for applications in thermal and sound insulating panels.

Kajian ini dilakukan untuk menentukan sifat akustik panel penyerap bunyi yang di rekabentuk menggunakan bahan gentian sabut kelapa melalui ujikaji dan simulasi. Perbandingan nilai pekali penyerapan bunyi antara bahan gentian sabut kelapa asli dan sabut kelapa yang dimasukkan kedalam panel komposit berlubang telah dibuat. Lapisan luar panel difabrikasi menggunakan panel komposit gentian asli/poliester manakala sabut kelapa terawat digunakan sebagai bahan penyerap bunyi. Panel diuji menggunakan piawaian ISO 354 bagi ujikaji pekali penyerapan bunyi manakala simulasi dijalankan menggunakan perisian WinFLAGTM. Ujian indek kehilangan penghantaran bagi panel penyerap bunyi menggunakan sabut kelapa telah dijalankan dan perbandingan dengan gentian kelapa sawit telah dibuat. Bagi ujikaji pengukuran indek kehilangan penghantaran, Piawaian ISO 717–1 telah digunakan sebagai piawaian. Bagi pekali penyerapan bunyi, hasil eksperimen memberikan nilai penyerapan di antara 0.70 dan 0.80 untuk julat frekuensi dari 1000 Hz sehingga 1800 Hz manakala nilai pekali yang diperoleh dari simulasi pula adalah 0.7 sehingga 0.85 bagi frekuensi berjulat 500 Hz sehingga 2500 Hz. Untuk ujian kehilangan penghantaran, purata indeks kehilangan penghantaran yang dicatatkan adalah 20 dB untuk panel yang mengandungi sabut kelapa dan 17 db untuk panel yang mengandungi gentian kelapa sawit. Hasil keputusan menunjukkan pekali penyerapan bunyi yang diperoleh melalui kaedah eksperimen dan simulasi memberikan nilai yang boleh dianggap baik dan setanding dengan bahan penyerap komersial di pasaran seperti gentian sintetik dan tatal batuan. Indeks kehilangan penghantaran bagi panel yang gentian sabut kelapa pula adalah lebih baik berbanding panel yang mengandungi gentian kelapa sawit. Kata kunci: Bahan akustik; sabut kelapa; pekali penyerapan bunyi; indek kehilangan penghantaran; bilik gema This study was carried out to determine the acoustic properties of a noise absorption panel that was designed to use a coir fibre as noise absorption materials through experimental test and simulation. Comparison of noise absorption coefficient between natural coir fibre and coir fibre inserted inside a perforated panel have been carried out. The outer layer of the panel was fabricated using a coir fibre/polyester composites and treated coir fibre was used as absorption materials. The panel has been tested using ISO 354 standard for noise absorption coefficient while the simulation was carried out using WinFLAGTM software. The transmission loss index test for panel using coir fibre has been carried out and the results was compared with panel using an oil palm fibre. For the transmission loss index, ISO standard 717–1 was used. Experimental results for the noise absorption coefficient give coefficient values between 0.70 and 0.80 for frequency range of 1000 Hz to 1800 Hz while the results from simulation give a coefficient between 0.7 to 0.85 for frequency range of 500 Hz to 2500 Hz. For the transmission loss test, average transmission loss recorded was 20 dB for the panel using coir fibre and 17 dB for panel using an oil palm fibre. Results obtained shows that sound absorption coefficient obtained through experimental test and simulation were very good and comparable with the commercial noise absorption material such as synthetic fibre and rock wool. Transmission loss index for the panel using coir fibre gives a better results compared to panel using oil palm fibre. Key words: Acoustic materials; coir fibre; sound absorption coefficient; tranmission loss index; reverberation room

IntroductionBallarat’s Theatre Royal was the first permanent theatre built in inland Australia. Upon opening in 1858, it was acclaimed as having “the handsomest theatrical exterior in the colony” (Star, “Editorial” 7 Dec. 1889) and later acknowledged as “the grandest playhouse in all Australia” (Spielvogel, Papers Vol. 1 160). Born of Gold Rush optimism, the Royal was loved by many, yet the over-arching story of its ill-fated existence has failed to surface, in any coherent fashion, in official history. This article takes some first steps toward retrieving lost knowledge from fragmented archival records, and piecing together the story of why this purpose-built theatre ceased operation within a twenty-year period. A short history of the venue will be provided, to develop context. It will be argued that while a combination of factors, most of which were symptomatic of unfortunate timing, destroyed the longevity of the Royal, the principal problem was one of stigmatisation. This was an era in which the societal pressure to visibly conform to conservative values was intense and competition in the pursuit of profits was fierce.The cultural silence that befell the story of the Royal, after its demise, is explicable in relation to history being written by the victors and a loss of spokespeople since that time. As theatre arts historiographer McConachie (131) highlights, “Theatres, like places for worship and spectator sports, hold memories of the past in addition to providing a practical and cognitive framework for performance events in the present.” When that place, “a bounded area denoted by human agency and memory” (131), is lost in time, so too may be the socio-cultural lessons from the period, if not actively recalled and reconsidered. The purpose of this article is to present the beginning of an investigation into the disjointed narrative of Ballarat’s Theatre Royal. Its ultimate failure demonstrates how dominant community based entertainment became in Ballarat from the 1860s onwards, effectively crushing prospects for mid-range professional theatre. There is value in considering the evolution of the theatre’s lifespan and its possible legacy effects. The connection between historical consciousness and the performing arts culture of by-gone days offers potential to reveal specks of cross-relevance for regional Australian theatrical offerings today.In the BeginningThe proliferation of entertainment venues in Ballarat East during the 1850s was a consequence of the initial discovery of surface alluvial gold and the ongoing success of deep-lead mining activities in the immediate area. This attracted extraordinary numbers of people from all over the world who hoped to strike it rich. Given the tough nature of life on the early gold diggings, most disposable income was spent on evening entertainment. As a result, numerous venues sprang into operation to cater for demand. All were either canvas tents or makeshift wooden structures: vibrant in socio-cultural activity, however humble the presentation values. It is widely agreed (Withers, Bate and Brereton) that noteworthy improvements occurred from 1856 onwards in the artistry of the performers, audience tastes, the quality of theatrical structures and living standards in general. Residents began to make their exit from flood and fire prone Ballarat East, moving to Ballarat West. The Royal was the first substantial entertainment venture to be established in this new, affluent, government surveyed township area. Although the initial idea was to draw in some of the patronage which had flourished in Ballarat East, Brereton (14) believed “There can be no doubt that it was [primarily] intended to attract those with good taste and culture”. This article will contend that how society defined ‘good taste’ turned out to be problematic for the Royal.The tumultuous mid-1850s have attracted extensive academic and popular attention, primarily because they were colourful and politically significant times. The period thereafter has attracted little scholarly interest, unless tied to the history of surviving organisations. Four significant structures designed to incorporate theatrical entertainment were erected and opened in Ballarat from 1858 onwards: The Royal was swiftly followed by the Mechanics Institute 1859, Alfred Hall 1867 and Academy of Music 1874-75. As philosopher Albert Borgmann (41) highlighted, the erection of “magnificent settings in which the public could gather and enjoy itself” was the dominant urban aspiration for cultural consumption in the nineteenth century. Men of influence in Victorian cities believed strongly in progress and grand investments as a conscious demonstration of power, combined with Puritan vales, teetotalism and aggressive self-assertiveness (Briggs 287-88). At the ceremonial laying of the foundation stone for the Royal on 20 January 1858, eminent tragedian, Gustavos Brooke, announced “… may there be raised a superstructure perfect in all its parts, and honourable to the builder.” He proclaimed the memorial bottle to be “a lasting memento of the greatness of Ballarat in erecting such a theatre” and philosophised that “the stage not only refines the manners, but it is the best teacher of morals, for it is the truest and most intelligible picture of life. It stamps the image of virtue on the mind …” (Star, “Laying” 21 Jan. 1858). These initial aspirations seem somewhat ambitious when viewed with the benefit of hindsight. Ballarat’s Theatre Royal opened in December 1858, ironically with Jerrold’s comedy ‘Time Works Wonders’. The large auditorium holding around 1500 people “was crowded to overflowing and was considered altogether brilliant in its newness and beauty” by all in attendance (Star, “Local and General” 30 Dec. 1858). Generous descriptions abound of how splendid it was, in architectural terms, but also in relation to scenery, decorations and all appointments. Underneath the theatre were two shops, four bars, elegant dining rooms, a kitchen and 24 bedrooms. A large saloon was planned to be attached soon-after. The overall cost of the build was estimated at a substantial 10,000 pounds.The First Act: 1858-1864In the early years, the Royal was deemed a success. The pleasure-seeking public of Ballarat came en masse and the glory days seemed like they might continue unabated. By the early 1860s, Ballarat was known as a great theatrical centre for performing arts, its population was famous both nationally and internationally for an appreciation of good acting, and the Royal was considered the home of the best dramatic art in Ballarat (Withers 260). Like other theatres of the 1850s diggings, it had its own resident company of actors, musicians, scenic artists and backstage crew. Numerous acclaimed performers came to visit and these were prosperous and happy times for the Royal’s lively theatrical community. As early as 1859, however, there was evident rivalry between the Royal and the Mechanics Institute, as suggested on numerous occasions in the Ballarat Star. As a multi-purpose venue for education and the betterment of the working classes, the latter venue had the distinct advantage of holding the moral high ground. Over time this competition increased as audiences decreased. As people shifted to family-focussed entertainments, these absorbed their time and attention. The transformation of a transient population into a township of families ultimately suffocated prospects for professional entertainment in Ballarat. Consumer interest turned to the growth of strong amateur societies with the establishment of the Welsh Eisteddfod 1863; Harmonic Society 1864; Bell Ringers’ Club 1866 and Glee and Madrigal Union 1867 (Brereton 38). By 1863, the Royal was reported to have “scanty patronage” and Proprietor Symonds was in financial trouble (Star, “News and Notes” 15 Sep. 1864). It was announced that the theatre would open for the last time on Saturday, 29 October 1864 (Australasian). On that same date, the Royal was purchased by Rowlands & Lewis, the cordial makers. They promptly on-sold it to the Ballarat Temperance League, who soon discovered that there was a contract in place with Bouchier, the previous owner, who still held the hotel next door, stating that “all proprietors … were bound to keep it open as a theatre” (Withers 260-61). Having invested immense energy into the quest to purchase it, the Temperance League backed out of the deal. Prominent Hotelier Walter Craig bought it for less than 3,000 pounds. It is possible that this stymied effort to quell the distribution of liquor in the heart of the city evoked the ire of the Protestant community, who were on a dedicated mission “to attack widespread drunkenness, profligacy, licentiousness and agnosticism,” and forming an interdenominational Bible and Tract Society in 1866 (Bate 176). This caused a segment of the population to consider the Royal a ‘lost cause’ and steer clear of it, advising ‘respectable’ families to do the same, and so the stigma grew. Social solidarity of this type had significant impact in an era in which people openly demonstrated their morality by way of unified public actions.The Second Act: 1865-1868The Royal closed for renovations until May 1865. Of the various alterations made to the interior and its fittings, the most telling was the effort to separate the ladies from the ‘town women’, presumably to reassure ‘respectable’ female patrons. To this end, a ladies’ retiring room was added, in a position convenient to the dress circle. The architectural rejuvenation of the Royal was cited as an illustration of great progress in Sturt Street (Ballarat Star, “News and Notes” 27 May 1865). Soon after, the Royal hosted the Italian Opera Company.However, by 1866 there was speculation that the Royal may be converted into a dry goods store. References to what sort of impression the failing of theatre would convey to the “old folks at home” in relation to “progress in civilisation'' and "social habits" indicated the distress of loyal theatre-goers. Impassioned pleas were written to the press to help preserve the “Temple of Thespus” for the legitimate use for which it was intended (Ballarat Star, “Messenger” and “Letters to the Editor” 30 Aug. 1866). By late 1867, a third venue materialised. The Alfred Hall was built for the reception of Ballarat’s first Royal visitor, the Duke of Edinburgh. On the night prior to the grand day at the Alfred, following a private dinner at Craig’s Hotel, Prince Alfred was led by an escorted torchlight procession to a gala performance at Craig’s very own Theatre Royal. The Prince’s arrival caused a sensation that completely disrupted the show (Spielvogel, Papers Vol. 1 165). While visiting Ballarat, the Prince laid the stone for the new Temperance Hall (Bate 159). This would not have been required had the League secured the Royal for their use three years earlier.Thereafter, the Royal was unable to reach the heights of what Brereton (15) calls the “Golden Age of Ballarat Theatre” from 1855 to 1865. Notably, the Mechanics Institute also experienced financial constraints during the 1860s and these challenges were magnified during the 1870s (Hazelwood 89). The late sixties saw the Royal reduced to the ‘ordinary’ in terms of the calibre of productions (Brereton 15). Having done his best to improve the physical attributes and prestige of the venue, Craig may have realised he was up against a growing stigma and considerable competition. He sold the Royal to R.S. Mitchell for 5,500 pounds in 1868.Another New Owner: 1869-1873For the Saturday performance of Richard III in 1869, under the new Proprietor, it was reported that “From pit to gallery every seat was full” and for many it was standing room only (Ballarat Star, “Theatre Royal” 1 Feb. 1869). Later that year, Othello attracted people with “a critical appreciation of histrionic matters” (Ballarat Star, “News and Notes” 19 July 1869). The situation appeared briefly promising. Unfortunately, larger economic factors were soon at play. During 1869, Ballarat went ‘mad’ with mine share gambling. In 1870 the economic bubble burst, and hundreds of people in Ballarat were financially ruined. Over the next ten years the population fell from 60,000 to less than 40,000 (Spielvogel, Papers Vol. 3 39). The last surviving theatre in Ballarat East, the much-loved Charles Napier, put on its final show in September 1869 (Brereton 15). By 1870 the Royal was referred to as a “second-class theatre” and was said to be such bad repute that “it would be most difficult to draw respectable classes” (Ballarat Star, “News and Notes” 17 Jan. 1870). It seems the remaining theatre patrons from the East swung over to support the Royal, which wasn’t necessarily in the best interests of its reputation. During this same period, family-oriented crowds of “the pleasure-seeking public of Ballarat” were attending events at the newly fashionable Alfred Hall (Ballarat Courier, “Theatre Royal” June 1870). There were occasional high points still to come for the Royal. In 1872, opera drew a crowded house “even to the last night of the season” which according to the press, “gave proof, if proof were wanting, that the people of Ballarat not only appreciate, but are willing to patronise to the full any high-class entertainment” (Ballarat Courier, “Theatre Royal” 26 Aug. 1872). The difficulty, however, lay in the deterioration of the Royal’s reputation. It had developed negative connotations among local temperance and morality movements, along with their extensive family, friendship and business networks. Regarding collective consumption, sociologist John Urry wrote “for those engaged in the collective tourist gaze … congregation is paramount” (140). Applying this socio-cultural principle to the behaviour of Victorian theatre-going audiences of the 1870s, it was compelling for audiences to move with the masses and support popular events at the fresh Alfred Hall rather than the fading Royal. Large crowds jostling for elbow room was perceived as the hallmark of a successful event back then, as is most often the case now.The Third Act: 1874-1878An additional complication faced by the Royal was the long-term effect of the application of straw across the ceiling. Acoustics were initially poor, and straw was intended to rectify the problem. This caused the venue to develop a reputation for being stuffy and led to the further indignity of the Royal suffering an infestation of fleas (Jenkins 22); a misfortune which caused some to label it “The Royal Bug House” (Reid 117). Considering how much food was thrown at the stage in this era, it is not surprising that rotten debris attracted insects. In 1873, the Royal closed for another round of renovations. The interior was redesigned, and the front demolished and rebuilt. This was primarily to create retail store frontage to supplement income (Reid 117). It was reported that the best theatrical frontage in Australasia was lost, and in its place was “a modestly handsome elevation” for which all play-goers of Ballarat should be thankful, as the miracle required of the rebuild was that of “exorcising the foul smells from the old theatre and making it bright and pretty and sweet” (Ballarat Star, “News and Notes” 26 Jan. 1874). The effort at rejuvenation seemed effective for a period. A “large and respectable audience” turned out to see the Fakir of Oolu, master of the weird, mystical, and strange. The magician’s show “was received with cheers from all parts of the house, and is certainly a very attractive novelty” (Ballarat Courier, “Theatre Royal” 29 Mar. 1875). That same day, the Combination Star Company gave a concert at the Mechanics Institute. Indicating the competitive tussle, the press stated: “The attendance, however, doubtless owing to attractions elsewhere, was only moderately large” (Courier, “Concert at the Mechanics’” 29 Mar. 1875). In the early 1870s, there had been calls from sectors of society for a new venue to be built in Ballarat, consistent with its status. The developer and proprietor, Sir William Clarke, intended to offer a “higher class” of entertainment for up to 1700 people, superior to the “broad farces” at the Royal (Freund n.p.) In 1875, the Academy of Music opened, at a cost of twelve thousand pounds, just one block away from the Royal.As the decade of decreasing population wore on, it is intriguing to consider an unprecedented “riotous” incident in 1877. Levity's Original Royal Marionettes opened at the Royal with ‘Beauty and the Beast’ to calamitous response. The Company Managers, Wittington & Lovell made clear that the performance had scarcely commenced when the “storm” arose and they believed “the assault to be premeditated” (Wittington and Lovell in Argus, “The Riot” 6 Apr. 1877). Paid thuggery, with the intent of spooking regular patrons, was the implication. They pointed out that “It is evident that the ringleaders of the riot came into the theatre ready armed with every variety of missiles calculated to get a good hit at the figures and scenery, and thereby create a disturbance.” The mob assaulted the stage with “head-breaking” lemonade bottles, causing costly damage, then chased the frightened puppeteers down Sturt Street (Mount Alexander Mail, “Items of News” 4 Apr. 1877). The following night’s performance, by contrast, was perfectly calm (Ballarat Star, “News and Notes” 7 Apr. 1877). Just three months later, Webb’s Royal Marionette pantomimes appeared at the Mechanics’ Institute. The press wrote “this is not to be confounded, with the exhibition which created something like a riot at the Theatre Royal last Easter” (Ballarat Star, “News and Notes” 5 July 1877).The final performance at the Royal was the American Rockerfellers’ Minstrel Company. The last newspaper references to the Royal were placed in the context of other “treats in store” at The Academy of Music, and forthcoming offerings at the Mechanics Institute (Star, “Advertising” 3 July 1878). The Royal had experienced three re-openings and a series of short-term managements, often ending in loss or even bankruptcy. When it wound up, investors were left to cover the losses, while the owner was forced to find more profitable uses for the building (Freund n.p.). At face value, it seemed that four performing arts venues was one too many for Ballarat audiences to support. By August 1878 the Royal’s two shop fronts were up for lease. Thereafter, the building was given over entirely to retail drapery sales (Withers 260). ReflectionsThe Royal was erected, at enormous expense, in a moment of unbridled optimism, after several popular theatres in Ballarat East had burned to the ground. Ultimately the timing for such a lavish investment was poor. It suffered an inflexible old-fashioned structure, high overheads, ongoing staffing costs, changing demographics, economic crisis, increased competition, decreased population, the growth of local community-based theatre, temperance agitation and the impact of negative rumour and hear-say.The struggles endured by the various owners and managers of, and investors in, the Royal reflected broader changes within the larger community. The tension between the fixed nature of the place and the fluid needs of the public was problematic. Shifting demographics meant the Royal was negatively affected by conservative values, altered tastes and competing entertainment options. Built in the 1850s, it was sound, but structurally rigid, dated and polluted with the bacterial irritations of the times. “Resident professional companies could not compete with those touring from Melbourne” by whom it was considered “… hard to use and did not satisfy the needs of touring companies who required facilities equivalent to those in the metropolitan theatres” (Freund n.p.). Meanwhile, the prevalence of fund-raising concerts, created by charitable groups and member based community organisations, detracted from people’s interest in supporting professional performances. After-all, amateur concerts enabled families to “embrace the values of British middle class morality” (Doggett 295) at a safe distance from grog shops and saloons. Children aged 5-14 constituted only ten percent of the Ballarat population in 1857, but by 1871 settler families had created a population in which school aged children comprised twenty-five of the whole (Bate 146). This had significant ramifications for the type of theatrical entertainments required. By the late sixties, as many as 2000 children would perform at a time, and therefore entrance fees were able to be kept at affordable levels for extended family members. Just one year after the demise of the Royal, a new secular improvement society became active, holding amateur events and expanding over time to become what we now know as the Royal South Street Society. This showed that the appetite for home-grown entertainment was indeed sizeable. It was a function that the Royal was unable to service, despite several ardent attempts. Conclusion The greatest misfortune of the Royal was that it became stigmatised, from the mid 1860s onwards. In an era when people were either attempting to be pure of manners or were considered socially undesirable, it was hard for a cultural venue to survive which occupied the commercial middle ground, as the Royal did. It is also conceivable that the Royal was ‘framed’, by one or two of its competitor venues, or their allies, just one year before its closure. The Theatre Royal’s negative stigma as a venue for rough and intemperate human remnants of early Ballarat East had proven insurmountable. The Royal’s awkward position between high-class entrepreneurial culture and wholesome family-based community values, both of which were considered tasteful, left it out-of-step with the times and vulnerable to the judgement of those with either vested interests or social commitments elsewhere. This had long-term resonance for the subsequent development of entertainment options within Ballarat, placing the pendulum of favour either on elite theatre or accessible community based entertainments. The cultural middle-ground was sparse. The eventual loss of the building, the physical place of so much dramatic energy and emotion, as fondly recalled by Withers (260), inevitably contributed to the Royal fading from intergenerational memory. The telling of the ‘real story’ behind the rise and fall of the Ballarat Theatre Royal requires further exploration. If contemporary cultural industries are genuinely concerned “with the re-presentation of the supposed history and culture of a place”, as Urry believed (154), then untold stories such as that of Ballarat’s Theatre Royal require scholarly attention. This article represents the first attempt to examine its troubled history in a holistic fashion and locate it within a context ripe for cultural analysis.ReferencesBate, Weston. Lucky City: The First Generation at Ballarat 1851–1901. Carlton South: Melbourne UP, 1978.Brereton, Roslyn. Entertainment and Recreation on the Victorian Goldfields in the 1850s. BA (Honours) Thesis. Melbourne: University of Melbourne, 1967.Borgmann, Albert. Crossing the Postmodern Divide. Chicago: University of Chicago Press, 1992. Briggs, Asa. Victorian Cities: Manchester, Leeds, Birmingham, Middlesbrough, Melbourne. London: Penguin, 1968.Doggett, Anne. “And for Harmony Most Ardently We Long”: Musical Life in Ballarat, 1851-187. PhD Thesis. Ballarat: Ballarat University, 2006.Freund, Peter. Her Maj: A History of Her Majesty's Theatre. Ballarat: Currency Press, 2007.Hazelwood, Jennifer. A Public Want and a Public Duty: The Role of the Mechanics Institute in the Cultural, Social and Educational Development of Ballarat from 1851 to 1880. PhD Thesis. Ballarat: University of Ballarat 2007.Jenkins, Lloyd. Another Five Ballarat Cameos. Ballarat: Lloyd Jenkins, 1989.McConachie, Bruce. Engaging Audiences: A Cognitive Approach to Spectating in the Theatre. New York: Palgrave MacMillan, 2008.Reide, John, and John Chisholm. Ballarat Golden City: A Pictorial History. Bacchus Marsh: Joval Publications, 1989.Spielvogel, Nathan. Spielvogel Papers, Volume 1. 4th ed. Bakery Hill: Ballarat Historical Society, 2016.Spielvogel, Nathan. Spielvogel Papers, Volume 3. 4th ed. Bakery Hill: Ballarat Historical Society, 2016.Urry, John. Consuming Places. London: Routledge, 1995.Withers, William. History of Ballarat (1870) and some Ballarat Reminiscences (1895/96). Ballarat: Ballarat Heritage Services, 1999.NewspapersThe Age.The Argus (Melbourne).The Australasian.The Ballarat Courier.The Ballarat Star.Coolgardie Miner.The Malcolm Chronicle and Leonora Advertiser.Mount Alexander Mail.The Star (Ballarat).