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  1. 1. Acoustical considerations in the Architectural Design of Musical Auditoriums Presented by Ar.Jaikumar Ranganathan Lecturer Dept of Architecture,HCE Chennai,India
  2. 2. Acoustical considerations <ul><li>Since no music hall is built for one specific type </li></ul><ul><li>or style of music, the RT must be a meticulously </li></ul><ul><li>established compromise. A carefully controlled </li></ul><ul><li>RT will increase fullness of tone and will help </li></ul><ul><li>loudness, definition, and diffusion.However,the </li></ul><ul><li>establishing of an ideal RT alone is no guarantee </li></ul><ul><li>that a hall will be acoustically excellent for the </li></ul><ul><li>performance of music; it is a contributing factor </li></ul><ul><li>only. </li></ul>
  3. 3. Acoustical considerations <ul><li>Definition will be satisfactory if the initial </li></ul><ul><li>time-Delay gap does not exceed 20 msec; if </li></ul><ul><li>the direct sound is loud enough relative to </li></ul><ul><li>the reverberant sound, that is, listeners are </li></ul><ul><li>are reasonably close to the sound source; and </li></ul><ul><li>if there is no echo. </li></ul><ul><li>Providing an adequate supply and distribution </li></ul><ul><li>of bass tones over a large audience area( above </li></ul><ul><li>2500 seats) is a serious acoustical problem, in </li></ul><ul><li>part because the fundamentals of several musical </li></ul><ul><li>instruments are relatively week and most of the </li></ul><ul><li>time only their harmonics are heard. </li></ul>
  4. 4. Acoustical considerations <ul><li>To achieve uniform quality of sound over the </li></ul><ul><li>entire seating area balconies should not protrude </li></ul><ul><li>too deeply into the air space of the room; listeners </li></ul><ul><li>should have unobstructed sight lines so that they </li></ul><ul><li>receive ample direct sound, the should be of </li></ul><ul><li>reasonable size and proportion, and concave </li></ul><ul><li>enclosures should be avoided. </li></ul>
  5. 5. Acoustical considerations <ul><li>Echo will be particularly noticeable if the RT is </li></ul><ul><li>short and diffusion is inadequate. The longer the </li></ul><ul><li>RT in a room, the less trouble can be expected </li></ul><ul><li>from echo. The longer RT will cover up the single </li></ul><ul><li>intrusions of an echo. In checking echo-producing </li></ul><ul><li>spots, it should always be borne in mind that the </li></ul><ul><li>acoustical design of rooms is a three dimensional </li></ul><ul><li>problem. </li></ul>
  6. 6. Acoustical considerations <ul><li>The frequencies of sounds involved in </li></ul><ul><li>the acoustics of music halls extend over a </li></ul><ul><li>considerable wide range than those for </li></ul><ul><li>speech, from about 30 Hz for certain musical </li></ul><ul><li>instruments to about 12,000 Hz, including </li></ul><ul><li>those high-frequency components of musical </li></ul><ul><li>sounds which characterize some musical </li></ul><ul><li>instruments. </li></ul>
  7. 7. Acoustical considerations <ul><li>Particular attention is required to control </li></ul><ul><li>noises and vibrations originating from the </li></ul><ul><li>heating, ventilation and air –conditioning </li></ul><ul><li>system; from nearby spaces; mechanical </li></ul><ul><li>and electrical rooms; and from surface, </li></ul><ul><li>underground, and air transportation. </li></ul>
  8. 8. Thank you