Music in Heritage

MARTIJN VAN DEN BERG | 4183541
MUSIC IN HERITAGE
A RESEARCH INTO NEW WAYS FOR THE DESIGN OF
ROOM ACOUSTICS IN HERITAGE

2 | Music in Heritage - Martijn van den Berg
June 2015
Research paper
Architectural mentor: Ir. A. Snijders
Acoustic mentor: Dr. Ir. M. J. Tenpierik
martijn.johannes@gmail.com
0636136515
Van Lynden van Sandenburgstraat 3
2613CJ Delft

| 3
MUSIC IN HERITAGE
Music in Heritage involves my research on how to
approach unsuitable room acoustics in existing
buildings. This paper is part of my graduation at
the TU Delft Faculty of Architecture, at the studio
Architectural Engineering.
If you have any question at the end of the paper,
do not hesitate to contact me.

| 5
CONTENTS
Abstract 7
1. Acoustic quality in heritage 9
Objective 9
2. Research Methodology 11
Literature study 11
Case study 11
Research by design 11
Simulation 11
3. Van Gendthallen 13
Objective parameters 14
The current room acoustics 16
Hypothetical design 17
4. Case Study 21
Nieuwe Kerk Den Haag 22
Beurs van Berlage 22
Rijksmuseum 23
Casa da Musica 23
5. Modelling 25
Geometry 25
Materials 25
Existing situation 25
Audience and podium 26
Program 26
Solutions models 27
6. Simulation 37
Algorithms 37
Amount of rays 38
Air absorption 38
Simulation roadmap 38
Simulation section one 39
Simulation section two 40
Section three 40
Section four 40
Section five 44
7. Conclusion 47
Bibliography 49
Appendices 51

| 7
ABSTRACT
A lot of heritage suffer from bad acoustics, because
of the non-absorptive materialisation and big
dimensions or high ceilings. In this paper, the
possibilities of altering these acoustics with non
conventional solutions are researched, so these can
be used in buildings where conventional methods do
not fit the aesthetics.
The non-conventional solutions are tested inside the
last two halls of the Van Gendthallen in Amsterdam,
which are very suitable for this research, because
of the bad acoustics, the space and the fact that is
heritage.
The research started with a literature study to
discover the best ways to quantify the solutions.
This is done by simulation with CATT acoustic, which
simulates the sound in buildings, the building is
modelled as geometry with its acoustic properties.
The objective parameters which are used, calculated
by CATT acoustic, are the reverberation time of the
first 30 decibel (RT30), the G-strength (G), clarity (C80)
and the early decay time (EDT).
A case study has been done on buildings with
unconventional solutions to change the acoustics.
The Rijksmuseum and its acoustic chandelier, the
Beurs van Berlage and its glass box, the Laurenskerk
with its glass curtains and the Casa da Musica with its
corrugated glass are researched.
Based on these predecessors several solution models
are created, and later on some other solutions are
designed, like the reflectors, heavy curtains attached
to the overhead cranes and roof adjustments. With
the results of the 31 models, new models have
been made which consists of combinations of the
solutions.
The solutions all impacted the acoustics in a very
different way. For example; the reflectors increased
the clarity, the glass box increased the G-strength and
decreased the early decay time and the absorption
roof decreased the reverberation time.
Especially the combinations proved to have
significant impact on the acoustics. It seems unlikely
that there will be any case like the Van Gendthallen,
where one fine-tuned solution would be sufficient,
but with using multiple solutions at once, good
acoustics can be achieved.

| 9
1. ACOUSTIC QUALITY IN HERITAGE
Redevelopment of existing buildings is a growing
trend. Former government architect Frits van Dongen
believes we entered‘the century of redevelopment’
(klimaatverbond.nl, 2012) and the Technical
University of Delft even has its own studio specialized
in the field of redevelopment and heritage.
In many of the redeveloped buildings, the acoustic
quality is very poor. The reverberation times are very
high due to the little amount of absorbing surfaces
and some frequencies gain a higher sound pressure
level then other frequencies.
This is for a part due to the dimensions of the spaces.
For example; churches with very high ceilings gain
high reverberation times, because of the distances
the reflected sounds have to travel before arriving at
the listener.
The other part is caused by the materialization of the
buildings. The materials are mainly chosen because
of their constructive or aesthetic properties. The
masonry and concrete hardly absorb any mid to low
frequencies, which causes a high reverberation time.
However, some buildings can be very suitable for
theatres and arts centres because of their central
location in cities, their aesthetic qualities and
sometimes spatial qualities. But due to the poor
acoustic quality this is a big design challenge. In the
design question, two important demands conflict
with each other. The cultural value of the existing
building needs to display itself through the existing
material and geometry, while at the same time a
specific combination of geometry and materials is
needed to achieve a certain acoustic quality. The
cultural value needs to be seen by the users, but
sound needs to be absorbed and reflected in a
complex way.
OBJECTIVE
The main objective is to discover how the room
acoustics of heritage with bad acoustics can be
altered in an unconventional way, so architects and
acoustician’s can design a tailor-made solution for
the entire building, especially for heritage, without
having the need to turn to existing acoustic‘furniture’.
The results of the research form a rough toolbox for
both the architect and the acoustician. This objective
is guided by some research questions:
• What objective parameters which describe the
acoustics are relevant for a pop and rock venue?
• What are preferred values for the objective
parameters?
• How is dealt with unsuitable acoustics in heritage
in general?
• How can you test or compare what the influence
is of the tools or solutions?

| 11
2. RESEARCH METHODOLOGY
Four research methods will be applied in order find
the answer to the main question. The main research
method is research by design, combined with
simulation. Prior to this main part, a small literature
study and case studies will be done.
LITERATURE STUDY
A literature study will be done, in order to research
how music venues are designed and what the ideal
acoustic properties are for pop and rock venues. This
part will be covered in chapter 3.
CASE STUDY
Several case studies will be done, searching for ways
to deal with bad acoustics. What kind of solutions
are used and how can they be applied to a different
situation. This part will be covered in chapter 4.
RESEARCH BY DESIGN
Using the information of the case studies, several
solutions will be designed for an existing building,
the Van Gendthallen. These halls will form the
backbone of all the tested configurations, using
different solutions, program implementation and the
modification of the existing structure.
SIMULATION
In order to be able to compare solutions among each-
other and with the existing situation, the solutions
need to be quantified. To quantify the solutions, they
are simulated with the acoustic simulation software
CATT Acoustic. This software is used by a lot of
companies which are active in the built environment
like ARUP (CATT, 2015). The simulating engine returns
both the acoustic properties measured in a digital
microphone and it offers auralization. Auralization
is the application of the acoustic properties on a
dry sound. It simulates how a sound sounds when it
would be played in the simulated case (CATT, 2015).

| 13
3. VAN GENDTHALLEN
The Van Gendthallen are located in Amsterdam,
relatively close to the centre. They date back to 1827,
functioning as a factory for the repair of steam-
machines and other machines (Werkspoor, 1952).
Since that time, basically the entire building has
been replaced by refurbishments and a fire. Hall one
to three are dating back to 1898, while hall four and
five date back to 1923 (De Bruin, M., Lindeman, F., &
Stolwijk, H., 2014).
Van Gendt is already used for some small
performances, which take place in this currently
vacant building. In the new hypothetical case, the
Van Gendthallen will accommodate all kinds of
functions that have something to do with music.
Imagine rehearsal rooms, studios, a music store and
classrooms under one roof, as a city dedicated to
the art of music. There will be at least two venues for
contemporary music, one for amplified pop and rock
music and one for acoustic music. The venues will be
part of the halls, so the acoustics of the entire halls are
relevant. All simulations are tested inside hall 4 and 5,
with the acoustic music venue.
Figure 1 - Birdsview of the Van Gendthallen, © Braaksma & Roos
Figure 2 - The Van Gendthallen, © Apus Apus

OBJECTIVE PARAMETERS
To map the room acoustics of the hall, it is important
to determine what objective parameters are relevant
for music venues. The rough design, consisting of the
volume and dimensions, is often based on the decay
time of the first 60 decibel and the G-strength (Nijs,
2008).
The decay time describes the reverberation time,
which influences the 'dryness', 'liveness' and the
'warmth' of the space. When the reverberation lacks,
the room is perceived as dry or dead. When the
reverberation of frequencies above 350 Hz is high,
the space is perceived as lively while the space is
perceived as warm when the reverberation of the
frequencies between 75 Hz and 350 Hz increases
(Adelman-Larsen, 2014). The reverberation time of the
existing halls will be calculated for the 500 Hz octave-
band with Sabine's equation, see equation 1, which
will be compared with the simulations executed by
CATT Acoustic.
The G-strength of the reverberant field will be
measured, which is expressed in decibel. The strength
of the reverberant field can be determined by the
volume, the surface and the absorption, what shows
that this is a parameter which depends on the
properties of the building.
G-strength in general is independent of the power
of the source, in opposition to the calculation of the
sound pressure level. The reverberation time plays
a big role in the G-strength of a room, because the
reflections create the reverberant field. Generally,
the G-strength is calculated by equation 2. The first
term between the brackets is related to the direct
sound, while the second term between the brackets
is related to the reverberant sound. This is why the
Figure 3 - Interior of the Van Gendt interior, © Casper Graaf
RT60 = Reverberation time based on first 60 dB
V = Volume
S = Surface
α = Absorption coefficient
RT60 =
0,161*V
S*α
(1)

| 15
first term will be removed. The results of this equation
relates to the G-strength well beyond the reverberant
radius, where the direct sound is negligible compared
to the reverberant sound. This creates equation
3, which is independent of both the directional
coefficient of the source and the distance between
the source and the receiver (Nijs, 2008).
G-strength is especially relevant for acoustic
performances, because it determines how loud
the sound of the acoustic performance will be
in the ears of the audience. It is less relevant for
amplified performances, because the amplification
can be increased when G-strength is to low. Like all
parameters, G-strength will be simulated, but the
existing halls will also be calculated for the 500 Hz
octave-band and this will be compared with the
simulation.
Rarely will a decay of 30 decibel occur in
contemporary music. The decay of the first 10 decibel,
called the early decay time or EDT, is often accounted
as a more reliable objective parameter for the
perception of reverberation (Adelman-Larsen, 2014).
This is why the early decay time will also be consulted
during the simulations.
The fourth major objective parameter used in
this research is 'C80', which is called clarity by the
Figure 4 - An event in the Van Gendthallen © Arthur de Smidt (www.
thehospages.com)
( )
G = Strength in decibel
S = Surface
α = Percentage absorbing surface
1 - α = Percentage reflecting and diffusing surface
G = 31+10*LOG10
4*(1-α)
S*α
(3)
( )
G = Strength in decibel
S = Surface
α = Percentage absorbing surface
1 - α = Percentage reflecting and diffusing surface
Q = Directional coeefficient of the source
r = distance between the source and the receiver
G = 31+10*LOG10 +
Q
4πr2
4*(1-α)
S*α
(2)

acoustician Beranek, and shows the ratio between
sounds in the first 80 milliseconds (early reflections
and direct sound) and impulses after 80 milliseconds
(late reflections) (Nijs, 2008). This parameter will be
simulated using CATT Acoustic.
THE CURRENT ROOM ACOUSTICS
The halls have combined dimensions of 156.7 by 82
meters and 14 meters high on average. Each hall is
156,7 meters long and on average 16 meters wide.
The façades mainly exist out of masonry, the first
floor out of concrete and the roof out of glass.
The dimensions, the form and the dense materials
together are good ingredients for bad acoustics, and
are therefore a suitable case for this research.
The large dimensions of the hall gives sound the
chance to travel long distances with a relatively low
amount of collisions with solid material.
At the same time, the form of the hall could allow
for flutter echo’s, because all the walls are parallel
and perpendicular to each-other and the materials
barely absorb any low frequencies (Blok, 2006). This
results in unbalanced
room acoustics. The higher
tones, from 4kHz to 16 kHz
are partially absorbed by
air (Long, 2006), while the
low frequencies are barely
absorbed by both the air
and the material.
Because of the minimal absorption of low tones, it is
expected that the reverberation time is high around
the 125Hz to 500 Hz octave band. Sabine’s equation
for the reverberation time of 60 decibel gives the
following result for the 500 Hz octave band:
α for 500 HZ S [m2] S*α
Masonry 0.03 6842 205.3
Concrete 0.02 5484.5 109.2
Steel 0.03 1134.9 34.0
Glass 0.03 7472.9 224.2
RT60 [s] (0.161*71,533) / Σ(Sn
*αn
) 20.11 s
However, Sabine's equation is not very suitable for
spaces with dimensions that differ to much from a
Figure 5 - Impression of an atmosphere of a certain area of the building. Different moods with different acoustics will be present in the city of music.
© author
Figure 6 - Scheme showing the
principle of flutter, © author

| 17
typical cube (Nijs, 2008), which is why the results
will be compared to a simulation of a model of the
existing halls with CATT acoustic.
The simulation returns a reverberation time of 11.34
seconds for the first 60 decibel, which is derived from
a 30 decibel decay, from -5 to -35 (Adelman-Larsen,
2014). This shows that Sabine's equation is indeed
unsuitable, or that the decay is not linear but instead
has a longer decay tail.
The calculation of G-strength returns 9.32 decibel for
the 500 Hz octave-band, while the same simulation as
the previous returns a G-strength of 12.4 decibel. This
is a big difference, since a difference of 3 dB is twice
the intensity, expressed in watt per square meter.
α for 500 HZ S [m2] S*α
Masonry 0.03 6842 205.3
Concrete 0.02 5484.5 109.2
Steel 0.03 1134.9 34.0
Glass 0.03 7472.9 224.2
G [dB] 31+10*LOG((4*(1-α )/Σ(Sn
*αn
)) 9.32 dB
A reverberation time of 11.34 seconds is still to much
and a G-strength of 8.3 to 12.4 decibel is to high.
The EDT differs between 0.71 seconds(16 kHz) and
14.28 seconds (250kHz). The clarity of the hall is the
lowest on 1kHz band with -7.2 decibel, which means
it is almost impossible to distinguish the tones. To
HYPOTHETICAL DESIGN
The surface the audience covers in the performance
place for acoustic music, is based on the amount of
people. To be able to provide enough space for 250
people, the surface of the venue should be around
250 square meters (Nijs, 2008). This includes the
podium and circulation.
Although a definitive design will not be made before
the finishing of the research paper, it can be helpful
to know what the target values will be for this typical
venue. The venue should according to the author, feel
intimate and warm since it receives a low amount of
visitors. The reverberation time of such a small venue
should be compared to chamber music halls, which
is the smallest type of acoustic hall in literature. This

asks for a reverberation time of 1.4 to 1.7 seconds,
while the low frequencies should be boosted a
little bit. The EDT should be around the same value.
The ensembles which plays in chamber music halls
often scale down with the size of the hall, which
asks for a higher G-strength, which increases when
a hall becomes smaller. A hall for 250 persons would
generally have a G-strength of 10 to 12 decibel (Nijs,
2008). To feel enveloped, a high amount of early
lateral reflections are needed which would generally
ask for a higher C80. Based on several pop and rock
stages, a C80 of 6 to 10 decibel would be preferable
(Adelman-Larsen, 2014). This is higher than most
concert halls, because of the type of music; pop and
rock music is a more fast-paced music type.
To next table gives a clear overview of the demanded
values:
RT30
<350 Hz
RT30
>350 Hz
G C80 EDT
Hall 1.7-2.0 1.4-1.7 10-12 6-10 1.3-1.6
Drama
(Barron, 1993)
Chamber
(Long, 2005)
Baroque
(Long, 2005)
Opera
(Barron, 1993)
Early classical
(Barron, 1993)
Romantic classical
(Barron, 1993)
Organ & mediaval chant
(Long, 2005)
1,6 - 1,9s
1,5 - 1,7s
1,3 - 1,8s
1,4 - 1,7s
0,7 - 1,0s
1,8 - 2,2s
2,5 - 3,5s
Figure 7 - Reverberation times, based on literature, © author

| 21
4. CASE STUDY
Before the research by design starts, other buildings
were analysed which dealt with unwanted acoustics
because of the existing state or because of the design,
but where they managed to alter the acoustics using
unconventional techniques.
Four of them have been analysed; The Nieuwe Kerk
Den Haag, The Beurs van Berlage, The Rijksmuseum
and Casa di Musica. The first three cases have in
common that a new function is realized inside
an existing building, which room acoustics lack
suitability for this new function. In Casa di Musica,
the design is a totally new building, and is the only
building which is not heritage. Three of the cases
are intended for music performances, only the
Rijksmuseum serves a different purpose. The case
studies are covered on the next page.

The Nieuwe Kerk (church) Den Haag, is a church
which is redeveloped as a congress centre, a place
for marriages and music performances. The church
is mostly made out of stone covered with plaster
and has large dimensions and a high ceiling, with
probably a high reverberation time. This is common
for most churches, which is suitable for organ music
(Long, 2006).
To alter the room acoustics, a curtain of glass is hung
from the ceiling. This basically closes the side aisles to
a certain extend, reducing the hall dimensions. The
glass creates new early lateral reflections, necessary
for the distinguishing of tones (Long, 2006). The
acoustic parameter C80 will therefore rise. Besides
the improved clarity, the reverberation time could
decrease because the room could behave as it is was
smaller, due to the partially closing of the side aisles.
However, the simulated models with class curtains
did not confirm this preconception, and the results
will be covered in chapter five.
The Beurs (Stock market) van Berlage is the Stock
market of Amsterdam, which also rents spaces for
congresses or other activities.
Inside the main hall, which has masonry walls
surrounding it and a high ceiling, a place for acoustic
music was made. Although the hall itself is pretty
unsuitable for music, like the church and the Van
Gendthallen, the space is beautiful. To make it
suitable for small ensembles, a glass box was made
which encloses the venue.
The glass box creates early reflections, like the
previous case, improving the clarity of the venue.
Because the volume is decreased, the reverberation
time will be lower. Inside the hall several 4 millimetre
thick polyester sheets have been strained, to diffuse
the sound, because the back-wall is somewhat
convex. There are also several triangles made of
perforated aluminium filled with mineral wool. The
triangles and sheets also give a certain size to hall,
which makes the hall feel less big. This was important,
because the acoustics are designed to let the hall feel
intimate and small (Beemster, 2003).
NIEUWE KERK
DEN HAAG
BEURS VAN
BERLAGE
Figure 8 - Nieuwe Kerk Den Haag, © Nieuwe Kerk Den Haag Figure 9 - Glazen Zaal (Glass hall) in Beurs van Berlage, © Octacube

| 23
Two roofed courtyards form the center of the
Rijksmuseum, one of the most famous galleries
mainly designed for paintings. The courtyards, which
function as foyer and place to drink a cup of coffee in
the cafe, have very bad acoustics. This is the only case
for which the new purpose is not a music venue.
A giant chandelier is used to alter the room acoustics,
which consists basically out of a lot of very thin
lamellae. This chandelier probably does two things;
it scatters sound waves of frequencies from 1000 Hz
and above, which have a wavelength of 0.34m and
lower. The lower frequencies maintain their form
when bouncing/penetrating (Long, 2006). Second,
the chandelier will reduce the reverberation time, at
least because the surface -to-volume ratio of the hall
becomes higher, but also because the 630 baffles are
made out of acoustic board material (architectenweb.
nl, 2011).
Casa da Musica is the only case which is a totally
new building, designed for concerts. The building is
located in Porto and is designed by the firm OMA.
There is a paper about the acoustics of Casa da
Musica, which shows a part of the acoustic research
done on the design. The design is both simulated in
CATT acoustic and built as a scale model. Although
the hall has the conventional form of a shoebox, the
walls at the front and end of the hall are made out of
corrugated glass. The corrugated glass functions as
diffuser and it lowers the reverberation by 50 to 20
milliseconds (Van Luxemburg ET AL, 2002).
RIJKSMUSEUM CASA DA
MUSICA
Figure 10 - Courtyard in the Rijksmuseum, © Pedro Pegenaute Figure 11 - Casa Da Musica, © Francisco Restivo

| 25
5. MODELLING
The model itself consists out of two parts, the
geometry and the acoustic properties of the used
materials. The models consist of the existing situation,
the podium and audience and the solutions. Some
solutions are based on the case studies and some on
literature or inspiration from the building.
GEOMETRY
The geometry determines how long the sound waves
travel and at what angle the waves are reflected.
However, the geometry will never be as detailed as
in real life. The relief of the material causes a certain
scattering of the waves. Details of around 300
millimetres can be drawn, which scatters waves of
1000Hz and higher, but according to the software
developer the results will be better when this
scattering is processed in the scatter coefficients of
the geometry. This is why the out of many different
profiles existing columns are drawn as simple two-
dimensional planes, with the width of the composite
columns, while the expected scattering is applied in
the material properties in the CATT-geo file.
The geometry has been drawn with Cinema 4d,
because it offers a lot of ways to easily create copies
of objects and because node-based scripting is
possible. Node-based scripting was used for the
creation of reflectors and to make it easy to alter
dimensions of objects as well as altering the amount
of baffles for example.
MATERIALS
Assigning absorption and scattering coefficients is
a combination of finding exact measurements and
using the right insight about physics.
All the absorption coefficients are derived from
literature, the exact references can be found in the
appendix. There are not many scatter coefficients
available, which is why they have to be estimated
combined with known scatter coefficients.
The geometry of the glass suspended curtain was
hard to combine with acoustic properties. The
dimensions of the suspended curtain and the fixing
is not common, and the existing measurements
are based on glass in a façade. This means that the
amount of absorption measured consists of absorbed
sound in the material and of sound penetrating
panel, vanishing in outside. The last part, the sound
penetrating the glass is in case of the suspended
curtain, still in the same hall.
EXISTING SITUATION
The model of the existing situation is the template
which will accommodate all the solutions. Hall four
and five have been modelled with the four main

materials; masonry, concrete, steel and glass. The
used absorption coefficients in percent are:
Masonry (Blok, 2007), Concrete (Peterson, 1984), Steel
(estimation by author), Glass (Blok, 2007)
125 HZ 250 HZ 500 HZ 1 kHZ 2 KHZ 4 kHz
Masonry 2 3 3 4 5 7
Concrete 1 1 2 2 2 5
Steel 4 3 3 3 2 1
Glass 10 4 3 2 2 2
According to CATT acoustic, the geometry has to
remain simple. This is why the windows are modelled
as rectangles in the same plane as the masonry and
this is why for example the columns are planes, while
they actually exist out of multiple columns attached
to each other. To compensate for the scattering effect
of the small details, a specific scatter coefficient
is used. The other materials have default scatter
coefficients of 10 percent.
Glass (Blok, 2007)
Columns 10 10 10 30 50 70
AUDIENCE AND PODIUM
The modelling of the audience is important, because
the size determines partially the total absorption.
The size of the venue has been based on the chart
of Nijs, while the amount of space that is covered by
people has been estimated. The absorption of the
podium is important, because it is very close to the
omnidirectional source, which means that a large
amount of the sound is reflected from the stage. The
stage floor has to be very solid to prevent the stage
from vibration in case a subwoofer is needed. The
stage will consist of a concrete floor, with on top a
wooden floor on joists (Adelman-Larsen, 2014). The
actual surface covered by the audience is 15 by 10
meters.
Audience (Peterson, 1984), Podium (Lawrence, 1970)
Audience 60 74 88 96 93 85
Podium 11 11 12 11 10 8
The audience scatters a lot of the sound waves due to
the complex geometry. The used scatter coefficients
are estimated and derived from the wavelength in
proportion to the detail of the audience.
Audience (Peterson, 1984)
Audience 30 40 50 60 70 70
PROGRAM
Before the solutions will be tested, the effect of
adding program is tested. This is done by the creation
of two layers of program. The program is a rough
sketch, with walls which are zigzagged to prevent
eventual flutter and to scatter the lower waves a bit.
The program is finished with plasterboard, 100mm
from construction, with holes of 8, 15 and 30mm.
In the 100mm cavity, 30mm of mineral wool added
unto the plasterboard. This functions like a Helmholtz
resonator.
Glass Masonry Steel Concrete
Figure 12 - Model of the existing situation, © author
Locations of audience and stage floors
123
Figure 13 - Three different locations of the venue, © author
100mm
9.5mm
30mm
Figure 14 - Detail of the program materialising,
© author

| 27
Plasterboard with holes (Blok, 2007)
Program 30 70 70 40 20 10
SOLUTIONS MODELS
On the next page, the solution models start, with
the information about the models and the different
variants. The reflectors are unique in the sense that
they are calculated. The detailed information about
the reflectors is in the appendix.
PROGRAM V0
PROGRAM V0+V1
Figure 15 - above, one layer of program, below two layers of program,
© author

This is based on the Beurs van Berlage. Six different
glass boxes have been modelled, three closed and
three partially open boxes. The closed glass boxes
are four, six and eight meters high. The boxes are 24
meters long and 12 meters wide. When simulating,
the sound which is transmitted through the glass is
also calculated, as well as the returning sound (CATT,
2015).
The three partially open boxes are 16.7, 33,3 and 66,7
percent open, which creates a semi enclosed space.
This is to compare the results with the closed glass
boxes and to research the behaviour of the simulation
program.
Glass (Blok, 2007)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
10 4 3 2 2 2
GLASS BOX
4 METERS HIGH
6 METERS HIGH
8 METERS HIGH
16.7%
OPEN
33.3%
OPEN
66.7%
OPEN
Figure 16 - ‘Glassbox’models, © author

| 29
GLASS CURTAIN
The glass curtain is based on the Nieuwe Kerk Den
Haag. The glass curtains create a semi enclosed space
around the venue, by starting at a certain height
above standard level and ending at the ceiling.
One of the five curtains is a little bit tilted. Two of the
four are medium sized and two are bigger. Of both,
one curtain starts from three meters above standard
level, and one from six meters above standard level.
The absorption coefficients are the same as the glass
boxes.
Glass (Blok, 2007)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
10 4 3 2 2 2
TILTED
MEDIUM, FROM THREE METERS
MEDIUM, FROM
SIX METERS
LARGE, FROM THREE METERS
LARGE FROM
SIX METERS
Figure 17 - ‘Glass curtain’models, © author

Reflectors are used in concert halls were the
ensemble requires early lateral reflections, increasing
C80. Although it won’t have much effects on the
reverberation time, because reflectors will not absorb
to much sound energy since it is meant to reflect.
The variants differ in the size of the reflectors as well
as the set-up. Different configurations have been
made, see appendices for more information.
The material, and absorption coefficients of the
reflectors is based on the reflectors of Kinetic Noise, a
company specialized in reflectors and other acoustic
solutions.
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
15 0 3 4 5 14
The reflectors are designed with a self made script
in Cinema 4D. The script starts by determining the
compensatory angle which is needed to establish
that the angle of incidence is equal to the angle of
reflection (Law of reflection) based on three given
points by the designer, source, reflector and target.
The sum of S1 and S2 should preferably be not much
larger than 27 meters, because this is the distance
sound can travel in 80ms. This means it increases
clarity and the objective parameter C80.
REFLECTORS
REFLECTOR BASED ON INTUITION
FIVE PANELS
THREE PANELS
THREE PANELS IN ONE ROW
TWO REFLECTORS
FOUR REFLECTORS IN A CURVE
Figure 18 - ‘Reflector set-up’models, © author
dY2 dY1
S1
S2
Compensatory
angle
dX1
dX2
α2 α1
Figure 19 - Scheme of the basic principle of reflector set-ups, ©
author

| 31
ROOF ADJUSTMENTS
The glass roof is one of the biggest surfaces of the
hall. It therefore has a lot of influence on at least the
absorption and the scattering. This is why a model
with a scattering roof and a model with an absorption
roof are tested.
The absorption coefficients of the scatter roof are the
same as the glass boxes, the scatter coefficients are
given in the second row. The scatter coefficients are
based on the measurements of an optimized curved
surface of 3.6 meters wide, with 3 periods of 0.3
meters deep (Cox, D’Antonio, 2009).
Scatter roof, absorption (Blok, 2007), scattering (Cox,
D’Antonio, 2009).
125 HZ 250 HZ 500 HZ 1 kHZ 2 kHZ 4 kHZ
10 4 3 2 2 2
30 74 94 91 94 97
A unique product has been covered in the book
absorbers and diffusers, namely an absorbing
transparent sheet. The sheet is 1mm thick, with 0.5
mm holes in it and it is tensioned 200mm in front of
the glass of the roof (Cox, D’Antonio, 2009). The sheet
performs as a Helmholtz resonator, which is basically
a mass-spring system. The air in the holes, or which
are pushed through the holes are the mass, while
the air between the sheet and the glass is the spring,
which is compressed each time a sound-wave pushes
air through the hole (Long, 2006)
Absorption sheet (Cox, D’Antonio, 2009)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
30 70 70 40 20 10
SCATTER ROOF
ABSORPTION ROOF
Figure 20 - ‘Roof adjustment’models, © author

The existing overhead cranes inside the building can
again serve the new function like it did once. In this
test, a heavy curtain is hung from the overhead crane,
where the overhead crane creates the possibility to
alter the height and the distance of the curtain(s).
The first test is 8 meters behind the source, the
second test is 24 meters in front of the source and the
last test is 36 meters in front of the source, to test the
effect of distance and of behind versus in front.
To maximize the effect of the curtains, an extra
curtain was hung between two overhead cranes.
This fourth model is slightly different, but is suitable
because it can easily be modified by moving the
overhead cranes.
Curtain (Peterson, 1984)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
30 45 65 56 59 71
OVERHEAD CRANE
8 METERS BEHIND SOURCE
24 METERS IN FRONT OF SOURCE
36 METERS IN FRONT OF SOURCE
24 METERS + HORIZONTAL CURTAIN
Figure 21 - ‘Overhead cranes with curtain’- models, © author

| 33
BAFFLES
The baffle set-ups are based on the chandelier of
the Rijksmuseum. The first two models consist of
respectively 75 and 50 baffles, located between
the columns. The last three models are designed
as a surrounding forest of baffles, creating a semi-
enclosed space. The first surround set-up consists of
baffles in clear rows, in the second the baffles have a
slightly random location, and in the third the baffles
also have a random rotation parallel to the ground
plane.
All the baffles are 0.4 meters wide and 9 meters
high and consist of mineral-wool in an aluminium
frame. The absorbs all frequencies, with increasing
performance in the higher tones.
Mineral wool (Blok, 2007)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
30 45 65 56 59 71
Glass (Blok, 2007)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
10 4 3 2 2 2
75 BAFFLES
50 BAFFLES
SURROUNDING BAFFLES
BAFFLES WITH RANDOM
LOCATION
RANDOM
LOCATION, RANDOM
ANGLE
GLASS, RANDOM
Figure 22 - ‘Lameallae’models, © author

The backside of reflectors has normally no function,
because the backside can not reflect sound towards
the audience. However, as later on seen with the glass
box, the glass transmits a lot of sound in two ways,
sound from the hall goes through the glass to the
audience, but the late reflections are not preferred.
This is why their is a new solution developed:
reflectors which provide helpful early reflections
on the inside, while the outside ensures significant
absorption. However, to be able to compare the
results with the existing reflectors, the same set-ups
have been used, the two set-ups which cover the
venue the most. The absorption side of the reflectors
has been covered with the sheet used with the
roof adjustments, because this absorbs the lower
frequencies the most.
Reflector side (Kinetic Noise, 2015), Absorption sheet
(Cox, D’Antonio, 2009)
125 HZ 250 HZ 500 HZ 1000 HZ 2000 HZ 4000 HZ
15 0 3 4 5 14
30 70 70 40 20 10
Although a standard reflector material is used, the
reflection part could be made of glass, which creates
an entire transparent solution, see the sketch for the
principle.
REFLECTORS WITH
ABSORPTION
FIVE PANELS
THREE PANELS IN ONE ROW
Figure 23 - Reflector principle, © author
Figure 24 - ‘Reflectors with absorption’models, © author

| 35
Based on the results of the tests of section
three, several combinations have been made to
complement. While the roof absorption deals
with the excessive reverberation in the low and
mid frequencies, the reflectors ensure early lateral
reflections to increase the clarity.
The combination of curtain with the absorption roof
and with and without reflectors have been tested,
the absorption roof with lamellae with and without
reflectors have been tested as well as the absorption
roof with reflectors alone. The last model consists of
the absorption roof with reflectors and the mutable
curtains attached to overhead cranes.
COMBINATIONS
GLASS CURTAIN AND ABS ROOF
REFLECTORS AND ABS ROOF
ROOF REFLECTORS GLASS CURTAIN
ABS ROOF AND LAMELLAE
ABS ROOF, LAMELLAE AND REFLECTORS
ABS ROOF, CURTAINS AND REFLECTORS
Figure 25 - ‘Combinations’models, © author

| 37
6. SIMULATION
Before the actual simulation of the models is
discussed, some simulation settings are covered;
the different algorithms, the amount of rays and air
absorption. These settings are important because
they have big impact on the reliability of the
outcomes. After this, the simulation roadmap will
be covered and the results form the last part of this
chapter.
The simulation software uses a ray-tracing method.
This means that the sound produced by the source, is
simplified to a custom amount of rays. Each starting
direction of the ray is randomly chosen (CATT, 2015).
The algorithm calculates the absorption of air and
upon reflection what amount is absorbed, of the
remaining energy what is transmitted and what is
reflected and of the reflected energy what part is
specular reflected and what part is diffuse reflected
(CATT, 2015). It then measures at what time, and
with what energy the microphone is reached by
the ray. This information of all the rays, results in an
echogram. The information of the echogram is used
to measure several acoustic properties, reverberation
time and loudness for example. The higher the
amount of rays, the more accurate the echogram will
be.
ALGORITHMS
CATT acoustic offers three different algorithms to
calculate the rays, algorithm one is the most basic
algorithm, which requires the least render time, while
algorithm two offers a more detailed auralization
(CATT Acoustic, 2015). To determine which kind of
algorithm suites the best, a comparison had been
made. The first two algorithms return similar results
when looking at RT-30. However, when looking at
G-strength, the results are similar for frequencies
up to 4 kHz. Since absorption coefficients are only
0
5
10
15
125 250 500 1k 2k 4k 8k 16k
T30[s]
Frequency [Hz]
Influence of different algorithms
Algorithm 1, with air absorbtion
Algorithm 3, with air absorbtion 500 rays
Figure 26 - Graph displaying the reverberation time of the first 30 decibel
of the same model with three different algorithms, © author

AIR ABSORPTION
The large dimensions lead to some complexities for
the simulations. Because the large dimensions of the
hall, the absorption of the air is important for the
resulting reverberation time. Especially high tones are
easily absorbed, which is confirmed by the results of
a simulation. In all the simulations of the models, 8
to 16 kHz basically decreased towards low values for
the reverberation. This can be compared to sound in
an open field, were almost no reflections are present
and there is almost no reverberation. This, however,
results in a very high clarity, which makes the higher
tones easy to distinguish, if the sound pressure level
is high enough.
SIMULATION ROADMAP
The order in which all the models have been
simulated, are displayed in the simulation roadmap.
This is divided into five sections.
First, different models have been made for the
empty existing hall. Between hall four and five, a
separation wall which partially separates the hall
exists. Two parts are made out of masonry and one
out of steel. Tests have been done with different parts
demolished, to compare the effects.
Second, the effect of the location of the source and
the microphone together with the podium and the
audience inside the hall have been tested. The model
with the empty halls without the steel separation wall
is the baseline for this test and is used as underlying
template for all the simulations.
Third, the effect of the implementation of new
program is tested. The model with location one for
defined up to 4 kHz, it seems that the extrapolation
to 8 kHz and 16 kHz is executed differently, but the
last two octave bands will not be used in this paper.
The last algorithm takes a lot more time and this has
been done with 500 rays, which is basically to low to
draw conclusions from. Algorithm one is used for all
simulations, because it shows almost no difference
with algorithm two, while algorithm three is only
used in unusually open cases (CATT, 2015).
AMOUNT OF RAYS
As explained in the research methodology, the
higher the amount of rays, the more complex and
realistic the echogram will be. This is because the rays
represent all a different part of the sound emitted by
the source.
Since the objective parameters are derived from the
echogram, this improves the reliability of the results.
As a comparison, a simulation with 1000 and with
100,000 rays has been done with the exact same
model and during the same time. The graph shows
the echogram of this single second of recording
of the 1000 Hz octave band. The differences are
significant. All the simulations with the models that
are done with at least 100,000 rays, and in some more
complex cases the amount has been increased to
400,000.
0
5
10
15
125 250 500 1k 2k 4k 8k 16k
T30[s]
Frequency [Hz]
Influence of air absorption
Algorithm 1, without air absorbtion
Figure 27 - Graph showing the influence of air absorption on the
reverberation time, © author
Figure 28 - Two echo-grams, showing the difference between a simulation
with 1000 rays (top) and with 100,000 rays (bottom), © author

| 39
walls are removed, the clarity does change. In all
three of the cases, C80 rises with roughly 2.5 dB on all
frequencies.
This section gives important information about
the properties of Van Gendt, but also what kind of
solutions are needed to alter the acoustics. There is
less absorption needed in the frequencies above 2000
kHz,
the audience and the podium is used as baseline for
this test. The first model has one floor of implemented
program, the second model has two layers of
implemented program.
Fourth, the solutions which are designed for this
hall and contemporary music venue, partially
based on the case studies, are tested. The baseline
for these tests is the Existing situation without the
steel separation wall, with the podium, audience,
microphone and omnidirectional source on location
one and with two floors of implemented program.
Fifth, the combinations of solutions which
complement each-other are tested with the same
baseline as the fourth period of simulating.
Not all graphs will be shown in this chapter, while
almost all will be covered. The reason not all graphs
are shown, is because the readability would suffer.
All the simulation results and graphs are available in
appendices.
SIMULATION SECTION ONE
The simulation of the existing situation showed the
acoustic properties of hall four and five.
The reverberation time of the halls is extremely high.
It takes around ten to twelve seconds before the
sound pressure has decreased by 60 dB. However,
reverberation drops after 1kHz, which is due to the
high air absorption and the fact that the absorption
coefficients of masonry and concrete are higher in
these frequencies.
Although RT30 does not change when separation
Simulation roadmap
Existing
Empty
Empty without steel
seperation wall
Empty without
masonry seperation
walls
Empty without
seperation walls
Baseline
Podium + Adience
location 1
Podium + audience
location 2
Podium + Audience
location 3
Performance
location
Podium + Adience
location 1
Podium + Audcience
+ program floor 0
Program + Audience
+ program floor 0
and floor 1
Relevance program
Baseline
Glass box
(s1 - s6)
Glass curtain
(s7- s11)
Reflectors
(s12 - s17)
Roof
(s18 - s19)
Overheadcrane with
curtain.
(s20-s22)
Lamellae
(s23 - s28)
Testing solutions
Baseline
Glass curtain +
absorption sheet.
(s7 + s19)
Reflectors +
absorption sheet
(s14 + s19)
Glass curtain +
Reflectors +
absorption sheet
(s10 + s15 + s19)
Lamellae +
absorption sheet
(s28 + s19)
Lamellae +
Reflectors +
absorption sheet
(s28 + s13 + s19)
Testing
combinations
Figure 29 - Simulation roadmap, © author
-8
-7
-6
-5
-4
-3
-2
-1
0
1
2
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz
C80[dB]
Frequency [Hz]
Existing situation - C80
Empty
Empty - steel sep. wall
Empty - masonry sep. walls
Empty - steel sep. wall - masonry sep. walls
Figure 30 - Graph showing the very low clarity of the existing situation of
each of the four configurations. © author

SIMULATION SECTION TWO
The three different locations as mentioned in chapter
five, do not have very different acoustics. All three
locations provides around the same clarity, which is
much higher than the clarity of the empty hall.
The locations with the audience and stage are also
compared to the existing empty halls, measured on
the same spot as location one. Figure 29 shows how
the location has more influence on the reverberation
time than whether a stage with audience is placed or
not.
SECTION THREE
The effect of the program is significant. This is
because of the materialization of the program, which
is described in chapter five.
Apart from the effect of the acoustic material, the
non-orthogonal walls prevent eventual flutter
echoes between the existing parallel walls. The form
and material together form a breakwater for the
sound waves. The graphs show how the addition
of program increases the clarity. The reverberation
time is decreased by 7 seconds in the 250 Hz and 500
Hz octave band, but also significantly in the other
frequencies (see figure 32). A variation of materials
could be used to tune the acoustics in the entire hall.
SECTION FOUR
The glass boxes showed only a minor differences
when looking at T30. However, EDT is a better
objective parameter describing how the audience
perceives reverberation (Adelman-Larsen, 2014). The
EDT shows improvement but the height of the box
seems to not make any difference (see figure 33). C80,
rises when the ceiling gets lower (see appendix).
When looking at the echo-gram, several pulses after
3 seconds are received, which must have travelled
about 1000 meters after the initial pulse. The echo
gram of the first two seconds shows at the first 300
to 400 milliseconds a decay that fits the glassbox
itself, which would lead to a reverberation time of 1.4
seconds. However, after the first 400 milliseconds, the
main sound energy comes from the hall (pulses of 50
to 40 decibel), which than seem to re-verb inside the
box for 100 milliseconds, increase the reverberation
0
2
4
6
8
10
12
14
16
18
RT30[s]
Frequency [Hz]
Effect of location - RT30
Existing 2
Location 1
Location 2
Location 3
Figure 31 - The RT30 differs the most between the locations. This graph
shows how the location does. © author
0
2
4
6
8
10
12
14
RT30[s]
Frequency [Hz]
Effect of program - RT30
Existing 2
Pod + Aud
Pod + Aud + Prog v0
Pod + Aud + Prog v0 + Prog v1
-6
-5
-4
-3
-2
-1
0
1
2
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHzC80[dB]
Frequency [Hz]
Effect of program - C80
Existing 2
Pod + Aud
Pod + Aud + Prog v0
Figure 32 - Graph showing the increased clarity by the addition of
program. © author

| 41
time to. This is why the early decay time returns lower
values than the reverberation time of 30 decibel.
The partially open boxes have less effect on
RT30, while the clarity is much higher in the mid
frequencies. However, the results of C80 and EDT
seem inconsistent. The box which is 33.3% percent
open, has a higher clarity than the models which
are 16.7% and 66.7% open, and while the box which
is 66.7% open has almost no effect on the EDT, the
boxes which are 16.7% and 33.3% open, have a much
lower early decay time (figure 35).
The glass curtains did not improve the acoustics, since
it made the clarity worse: it generally decreased C80
by about 5 dB. On the other hand, RT30 decreased
in favour of the acoustics by around two seconds
and the early decay time by 2.5 seconds(figure 37). It
could be due to the form of the glass curtain.
The clarity decreased more in the models where the
curtain starts from 3m above standard level, and it
decreased more when the large version of the curtain
was used. However, the glass curtain is in the current
form not an advantage. In section five, there will be
looked at what happens when the glass curtain is
combined with other solutions which greatly increase
C80, like the reflectors.
The reflector set-ups improved the clarity of the
music performance. The C80 increases when the
amount of panels, focused on the entire audience
increases(figure 36). Set-up two, with five reflectors,
causes a C80 twice as high as with two reflectors
(set-up five). None of the set-ups has any effect on the
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
125 250 500 1k 2k 4k
EDT[s]
Frequency [Hz]
Glass box closed - EDT
Glass box 4m high
Glass box 6m high
Glass box 8m high
Figure 33 - Graph showing the decreased EDT by the glass boxes. © author
Figure 34 - Graph showing the echo gram of the glassbox simulation. ©
author
-2
-1
0
1
2
3
4
5
6
7
8
C80[dB]
Frequency [Hz]
Glass box open - C80
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
EDT[s]
Frequency [Hz]
Glass box open - EDT
Glass box 6m high, 16,6% open
Glass box 6m high, 33% open
Figure 35 - Graphs showing the C80 and the EDT, © author

time it takes to lose 30 dB. The Early decay time does
improve, but not on the 1kHz octave band. However,
this could be an error, although it is consistent. In
general, the reflectors have a big impact and are easy
to combine with other solutions and the reflectors
set-ups are also good to tune; each added reflector
gives some extra early reflections and therefore an
increased clarity.
The two adjustments to the roof returned very
different results. The corrugated roof, meant to scatter
the sound waves, did not really change the objective
parameters of the halls, measured from location one.
Since the amount of absorption is exactly the same,
T30 does not really change. The only change was
visible in EDT, which dropped by one second on the
mid octave bands.
The absorption sheet performed very well, the overall
reverberation decreased, in RT30 by two seconds (see
appendix). Clarity improved by 7 decibel on the 250
Hz band to 2 decibel on the 2 kHz band. However,
since the overall reverberation decreased to two
to three seconds on all frequencies, this could be
combined with other solutions which improve the
clarity.
The overhead crane with large heavy curtains
attached to it, returned minimal effect on the original
acoustics. RT30 did not change. C80 did improve,
when the curtain would be 8 meters behind the
source or 24 meters in front of the source (figure
-2
-1
0
1
2
3
4
5
6
7
8
9
125 250 500 1k 2k 4k
C80[dB]
Frequency [Hz]
Reflectors - C80
Reflector 1
Reflector 2
Reflector 3
Reflector 4
Reflector 5
Reflector 6
Figure 36 - Showing the increased clarity by the reflectors. © author
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
EDT[s]
Frequency [Hz]
Glass curtain - EDT
Glass curtain tilted
Glass curtain M, from 3m
Glass curtain L, from 3m
Figure 37 - Graphs showing the EDT and RT30 of the glass curtains. ©
author
0
1
2
3
4
5
6
RT30[s]
Frequency [Hz]
Glass Curtain - RT30

| 43
audience and the stage. At all, T30 increased and the
early decay time is a little bit higher than the same
model with mineral wool (figure 38).
The surrounding set-ups can be combined to create a
certain effect on the architecture.
The reflector models with absorption sheets on the
top side did not show any big differences, it seems
39). At 36 meters from the source, the effect was
barely visible. To increase the effect, the model with
the curtain at a distance of 24 meter was extended
horizontally between twee overhead cranes. This
did not result in a changed T30 or EDT, but C80 was
much improved (see the graph above). Because of the
flexibility of curtains attached to the overhead cranes,
it is suitable for a combination with reflectors or other
solutions.
The models with the baffles or lamellae performed
well in terms of clarity. RT30 did not change, since
all the results were equal to the baseline. All the
models received an increased clarity. The models
with the lamellae between the columns received
an C80 between zero and one decibel, while the
surround models performed much better (figure 38).
The surrounding set-up with a random location and
rotation performed the best; the C80 reached three
to four decibel in the higher frequencies and the
early decay time decreased to three to two seconds.
When the mineral wool in this last model would be
exchanged by glass, it performed a little bit less than
the lamellae with mineral wool. The C80 score of the
glass baffles was in between the model with mineral
wool and the model with only the program, the
0
1
2
3
4
5
125 250 500 1k 2k 4k
EDT[s]
Frequency [Hz]
Lamellae - EDT
75 Lamellae (w 0,5m, h.o.h. 2m) between
columns
columns
Lamellae surround
Lamellae surround, random location
Lamellae surround, random location,
random rotation
Lamellae surroun glass, random location,
random rotation
Figure 38 - Graph showing the effect of lamellae on the clarity and the
early decay time, © author
-2
-1
0
1
2
3
4
C80[dB]
Frequency [Hz]
Lamellae - C80
columns
columns
Lamellae surround
random rotation
random rotation
-2
-1
0
1
2
3
4
5
125 250 500 1k 2k 4k
C80[dB]
Frequency [Hz]
Curtains - C80
Overhead crane with curtain -8m of mic
Overhead crane with curtain 24m of mic
Figure 39 - Graph showing the increased clarity by the curtains hung from
the overhead cranes. © author

that only the early decay time is improved a little
(see the graph on the next page), but the simulations
in general seem to inaccurate to draw any precise
conclusions. In general it shows the relevance of
the proportion of absorptive material to the entire
surface; in all the results it seems that absorptive
materials only make a difference when it covers a big
surface of the building, no matter where it is placed.
SECTION FIVE
In total 31 different solutions have been tested,
divided in 7 types. Based on the results of all the
previous simulations, some combinations have
been made, to see how the effects would stack and
complement each other (figure 40).
The absorption sheet is present in all the
combinations, because it balances the overall
reverberation time. This is because they function as
Helmholtz resonator, which absorption focuses on
the low to mid frequencies and the Van Gendthallen
suffer from excessive reverberation times in these
frequencies.
The results of all combinations were balanced over all
the octave bands, except for 125 Hz and 4kHz. While
the early decay time and the reverberation time are
decreased in all results, the clarity showed significant
differences.
The glass curtain with the absorption roof received
improved reverberation times and early decay time,
but about the same C80 as the baseline, except for
octave bands 250 Hz to 1 kHz. This could be due to
the glass curtain which did not perform well in the
initial tests.
The reflector in combination with the absorption
sheet showed the results of complementation; the
reverberation time was decreased one to two seconds
due to the sheet, while the clarity was increased six
to ten decibel due to the reflectors. The early decay
time decreased with three seconds and the loudness
became 6 dB, which is about the preferred loudness
for acoustic chamber music.
The combination of the last two models received a
0
1
2
3
4
5
6
125 250 500 1k 2k 4k
T30[s]
Frequency [Hz]
Combinations - T30
Glass curtain tilted (Sol 7) + Roof with
Absorption sheet (Sol 19)
Reflector 3 (Sol 14) + Roof with Absorption sheet
(Sol 19)
Glass curtain L, from 3m (10) Reflector 4 (Sol 15)
+ Roof with Absorption sheet (Sol 19)
Lamellae surround ran.(Sol 28) + Roof with
Lamellae sur. ran.(Sol 28) Refl. (Sol13) + Roof
with Abs. sheet (Sol 19)
Overhead cranes with reflectors and
Figure 40 - Three graphs showing the influence the
combinations on reverberation, early decay time and clarity, ©
author
0
1
2
3
4
5
EDT[s]
Frequency [Hz]
Reflectors - EDT
Reflector 2
Reflector 4
Reflector 2 + absorption
Figure 41 - Three graphs showing the influence absorptive material
on the top of reflectors on the early decay time, © author
-2
0
2
4
6
8
10
12
14
C80[dB]
Frequency [Hz]
Combinations - C-80
Glass curtain tilted (Sol 7) + Roof with Absorption
sheet (Sol 19)
(Sol 19)
Glass curtain L, from 3m (10) Reflector 4 (Sol 15) +
Roof with Absorption sheet (Sol 19)
Lamellae sur. ran.(Sol 28) Refl. (Sol13) + Roof with
Abs. sheet (Sol 19)
Overhead cranes with reflectors and absorptive
roof

| 45
0
1
2
3
4
5
125 250 500 1k 2k 4k
EDT[s]
Frequency [Hz]
Combinations - EDT
C80 right between the results of the previous models.
While the reverberation time was about the same
as the first model, this is due to the fact that the
reflectors have almost no effect on the reverberation
time. The loudness was a little bit higher compared to
the last model, which is favourable for performances
which are very soft.
The combination of lamellae and absorption
sheet shows significant differences in all objective
parameters. The early decay time is decreased by 2.5
seconds, the reverberation time by three seconds,
and since the early decay time and the reverberation
time are almost the same, the decay of the echo gram
is very linear, which means that the diffuseness of the
venue is very good (Adelman-Larsen, 2014). However,
loudness has decreased to about one to two decibel,
which is to low for an acoustic performance, but it can
be suitable for the venue with amplified music.
The previous model, with the absorption sheet and
lamellae, combined with reflectors is not different
in terms of the decay time of the first 30 decibel,
but has a loudness which is much more suitable
for acoustic performances. The C80 is increased in
comparison to the previous model as well as the early
decay time.
The last model, which consists of the absorption
sheet, reflectors and the curtain hung from the
overhead crane and tensioned between two
overhead cranes, has results similar to the previous
model. The acoustics are further altered, and this
combination provides the most extreme change
compared to the original acoustics of the hall. The
early decay time is beneath one second, while
RT30 is about two to one second, which indicates a
non-linear decay. When the echo-gram of the total
empty hall and the hall of the latest combination are
compared, the huge difference becomes visible.
Preferred values of the venue
RT30
<350 Hz
RT30
>350 Hz
G C80 EDT
Hall 1.7-2.0 1.4-1.7 10-12 6-10 1.3-1.6
In When looking back at the preferred values for
the music venue, for every objective parameter
one or more of the combinations comes close to
the preferred values. For example, the G-strength
and reverberation time of the combination with
curtains hung from overhead cranes, reflectors and
adjusted roof, comes close. The early decay time of all
combinations come close to the preferred values. In
general it shows that the preferred values are possible
to acquire, if a lot of fine-tuning will be done.
Figure 42 - Two echo-grams, showing the difference between the
empty existing building and the model with the last combinations
applied, © author
0
2
4
6
8
10
G[dB]
Frequency [Hz]
Combinations - G

Figure 43 - Link to the auralized sound of the an acoustic
guitar in the empty hall.
Use a QR scanner on a mobile phone to scan the code. If the
download does not start, use a different browser.
Figure 44 - Link to the auralized sound of the an acoustic
guitar in the hall with the combination of curtains hung
from the overhead cranes, reflectors and the absorption
roof.
Use a QR scanner on a mobile phone to scan the code. If the
download does not start, use a different browser.

| 47
7. CONCLUSION
It becomes clear that the acoustics of a huge hall
can be altered very well, without having the need to
clad all the masonry with acoustic material. Many of
the solutions tested had a significant effect on the
acoustics, which can be scaled down or up.
The results provide some general information about
the effect of each solution and combination.
Because of the combinations, it becomes clear that
the different solutions can be combined very well,
the positive effects stacks. For instance, when the
lamellae and absorption sheet altered the acoustics
in a certain way, adding the reflectors gave the same
additive clarity as when the reflectors would be
added to the empty hall.
Against the preconceptions, the effect on the
acoustics by the program was underestimated.
Knowing the exact program and materialisation is
important, because the effects have such a significant
influence on the acoustics. The solutions for the
venue can be tuned very well, but the effect of
the program on the acoustics in the venue are so
significant, that it can easily ruin it when the venue is
tuned before the program and its materialisation was
known.
This research can be extended in many ways, by
testing with different materials, locations, solutions
and buildings, or by testing in different ways, like with
scale models, different algorithms or in the existing
building itself. The unconventional solutions can also
be compared to some existing solutions, like huge
baffles hung unto the ceiling or‘bass-traps’ in the
corners of rooms.
The research shows what the solutions do in a general
way, and is therefore quite rough. For instance, the
effect on the reverberation time of less then one
second, would barely be called an effect at all in
this research, because of the relatively low accuracy.
When designing a room with specific dimensions,
the required objective parameters values will be
determined onto an accuracy of one decimal place,
which requires a lot of fine-tuning of acoustic design.
This research now forms a basic toolbox for the
architect or acoustician; some general effects of
all the solutions are known, as well as how some
variations perform. Altering the acoustics of buildings
becomes more accessible, now it is clear how these
unconventional solutions perform in a general way.

| 49
BIBLIOGRAPHY
Adelman-Larsen, N. W.(2014), Rock and Pop Venues,
Acoustic and Architectural Design, Springer, Berlin
Beemster, S. (2003), akoestiek, verstaanbaarheid of
privacy, BNI Intern, #1, february 2003
Blok, R. (2006), Tabellen voor Bouwkunde en
Waterbouwkunde, ThiemeMeulenhoff
CATT-Acoustic v8.0a manual, available on the
installation CD
Cox T. J., D’Antonio P. (2009), Acoustic Absorbers and
Diffusers, Taylor and Francis,
Lawrence, A. (1970), Architectural Acoustics, Elsevier,
Barking, UK.
Long, M. (2006), Architectural Acoustics, Elsevier,
Oxford
Peterson, J. (1984), Rumakustik, Statens
Byggeforskningsinstitut, Hørsholm
Websites
Architectenweb.nl (2011), Kroonluchters voor
atria Rijksmuseum, retrieved from: http://www.
architectenweb.nl/aweb/redactie/redactie_detail.
asp?iNID=27617
Catt (2015), www.catt.se
Klimaatverbond.nl (2012), Rijksbouwmeester Van
Dongen: Eeuw van herbestemmen is aangebroken,
nieuwbouw niet meer van deze tijd, retrieved
from: http://www.klimaatverbond.nl/nieuws/
rijksbouwmeester-van-dongen-eeuw-van-
herbestemmen-is-aangebroken-nieuwbouw
Lau Nijs et al (2006), Ruimteakoestiek, retrieved from
bk.nijsnet.com

| 51
APPENDICES
The simulations resulted in a lot of data, which
is covered for a small part in the chapter about
simulation. The data which is addressed is present as
appendices.
The first appendix contains all the results of the
simulations.
The second appendix contains the details of the
reflector set-ups. Reflector set-up 1 will not be
covered because this set-up was not accurately
calculated.

125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz 16 kHz
Existing 1 Empty tu_3
T30 9.8 11.08 10.65 10.09 8.45 3.95 1.35 0.43
G 11.3 12.6 12.4 12 11 8.3 5.5 2.1
C-80 -5.5 -6.9 -6.6 -7.2 -5.2 -2.3 3.3 12.4
EDT 9.95 14.28 12.9 11.19 7.72 3.47 1.16 0.71
Existing 2 Empty - steel sep. wall tu_4
T30 10.55 11.66 11.34 10.6 8.81 4.03 1.32 0.42
G 9.37 10.44 10.22 9.54 8.82 6.38 4.24 1.75
C-80 -3.24 -4.81 -4.5 -4.67 -2.57 0.89 6.32 17.2
EDT 11.48 16.01 14.33 12.37 8.08 3.3 1.08 0.53
Existing 3 Empty - masonry sep. walls tu_7
T30 10.76 12.31 11.76 11.1 9.07 3.91 1.28 0.41
G 10.5 11.57 11.24 10.86 10.39 7.94 4.9 2.24
C-80 -4.38 -6.2 -5.3 -5.19 -4.21 -2.14 3.05 13.39
EDT 8.93 14.4 12.65 10.62 6.43 2.94 1.21 0.67
Existing 4 Empty - steel sep. wall - masonry sep. walls tu_5
T30 10.67 11.72 11.67 10.99 9.23 4.23 1.33 0.39
G 8.94 10.42 10.15 9.71 8.88 6.36 4.19 1.91
C-80 -4.17 -5.02 -4.77 -4.49 -2.85 -0.08 5.54 15.57
EDT 12.85 17.87 15.91 13.73 8.7 3.31 0.94 0.55
EXISTING SITUATION

| 53
0
2
4
6
8
10
12
14
RT30[s]
Frequency [Hz]
Existing situation - RT30
Empty
-8
-7
-6
-5
-4
-3
-2
-1
0
1
2
C80[dB]
Frequency [Hz]
Existing situation - C80
Empty
0
2
4
6
8
10
12
14
16
18
20
EDT[s] Frequency [Hz]
Existing situation - EDT
Empty
0
2
4
6
8
10
12
14
16
18
20
G[dB]
Frequency [Hz]
Existing situation - G
Empty

Existing 2 Empty - steel sep. Wall - loc 1 tu_4
T30 10.55 11.66 11.34 10.6 8.81 4.03 1.32 0.42
G 9.37 10.44 10.22 9.54 8.82 6.38 4.24 1.75
C-80 -3.24 -4.81 -4.5 -4.67 -2.57 0.89 6.32 17.2
EDT 11.48 16.01 14.33 12.37 8.08 3.3 1.08 0.53
Location 1 Pod + Aud loc 1 tu_9
T30 12.5 10.67 10.18 10.14 8.37 3.54 1.27 0.39
G 7.13 7.25 6.23 5.74 4.82 3.76 2 0.16
C-80 -3.11 -4.13 -3.06 -1.8 -1.13 1.12 5.91 18.43
EDT 10.87 13.54 10.17 9.05 7.29 3.23 1.06 0.75
T30 11.35 14.46 15.51 13.87 7.55 3.19 1.24 0.42
G 8.13 8.11 7.71 6.58 6.36 4.93 3.25 0.46
C-80 -3.36 -4.23 -2.84 -2.73 -1.66 0.09 4.85 12.61
EDT 7.04 8.69 7.24 9.1 4.2 2.88 0.98 0.56
T30 15.5 14.37 16.47 16.01 9.31 3.45 1.18 0.43
G 7.93 8.1 7.46 6.51 5.61 4.39 2.8 0.37
C-80 -3.29 -3.74 -3.36 -3.05 -0.98 0.67 5.39 14.71
EDT 8.86 10.24 9.07 7.69 5.94 2.91 1.03 1.48
EFFECT OF LOCATION

| 55
0
2
4
6
8
10
12
14
16
18
RT30[s]
Frequency [Hz]
Effect of location - RT30
Existing 2
Location 1
Location 2
Location 3
-6
-5
-4
-3
-2
-1
0
1
2
C80[dB]
Frequency [Hz]
Effect of location - C80
Existing 2
Location 1
Location 2
Location 3
0
2
4
6
8
10
12
14
16
18
Effect of location - EDT
Existing 2
Location 1
Location 2
Location 3
0
2
4
6
8
10
12
G[dB]
Frequency [Hz]
Effect of location - G
Existing 2
Location 1
Location 2
Location 3

Existing 2 Empty - steel sep. wall tu_4
T30 10.55 11.66 11.34 10.6 8.81 4.03 1.32 0.42
G 9.37 10.44 10.22 9.54 8.82 6.38 4.24 1.75
C-80 -3.24 -4.81 -4.5 -4.67 -2.57 0.89 6.32 17.2
EDT 11.48 16.01 14.33 12.37 8.08 3.3 1.08 0.53
Prog 1 Pod + Aud tu_9
T30 12.5 10.67 10.18 10.14 8.37 3.54 1.27 0.39
G 7.13 7.25 6.23 5.74 4.82 3.76 2 0.16
C-80 -3.11 -4.13 -3.06 -1.8 -1.13 1.12 5.91 18.43
EDT 10.87 13.54 10.17 9.05 7.29 3.23 1.06 0.75
Prog 2 Pod + Aud + Prog v0 tu_10
T30 7.57 7.15 7.18 6.94 6.27 3.37 1.3 0.4
G 6.18 5.43 4.84 4.89 4.49 3.42 2.08 0.2
C-80 -0.53 -1.27 -0.44 -1.37 -1.56 1.39 5.9 15.8
EDT 5.56 4.98 5.33 5.62 4.87 2.79 1.07 0.79
Prog 3 Pod + Aud + Prog v0 + Prog v1 tu_11
T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
EFFECT OF PROGRAM

| 57
0
2
4
6
8
10
12
G[s]
Frequency [Hz]
Effect of program - G
Existing 2
Pod + Aud
Pod + Aud + Prog v0
0
2
4
6
8
10
12
14
16
18
EDT[s]
Frequency [Hz]
Effect of program - EDT
Existing 2
Pod + Aud
Pod + Aud + Prog v0
-6
-5
-4
-3
-2
-1
0
1
2
C80[dB]
Frequency [Hz]
Effect of program - C80
Existing 2
Pod + Aud
Pod + Aud + Prog v0
0
2
4
6
8
10
12
14
RT30[s]
Frequency [Hz]
Effect of program - RT30
Existing 2
Pod + Aud
Pod + Aud + Prog v0

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 1 Glass box 4m high tu_12
T30 4.15 3.55 3.65 4.4 3.58 1.93 0.93 0.35
G 11.15 11.17 10.3 10.67 10.84 10.61 9.01 6.25
C-80 3.36 1.68 1.62 0.92 2.32 4 6.89 14.8
EDT 1.33 1.8 2.13 2.79 1.95 1.22 0.61 0.32
Sol 2 Glass box 6m high tu_13b
T30 3.84 4.32 3.26 3.64 3.42 2.28 1.02 0.49
G 10.84 11.43 10.63 10.79 10.4 10.22 8.99 6.21
C-80 2.24 0.99 0.54 1.55 1.49 2.3 5.89 13.58
EDT 1.44 2.16 2.26 2.41 2.06 1.42 0.66 0.37
Sol 3 Glass box 8m high tu_14
T30 2.33 3.63 3.65 4.34 3.12 2.21 0.98 0.37
G 11.09 11.68 11.07 10.86 11.04 10.29 8.75 5.48
C-80 1.36 -0.19 0.34 0.61 0.63 2.12 4.72 12.52
EDT 1.52 1.96 2.43 2.1 2.23 1.47 0.76 0.36
GLASS BOX - CLOSED

| 59
0
1
2
3
4
5
6
RT30[s]
Frequency [Hz]
Glass box closed - RT30
Glass box 4m high
Glass box 6m high
Glass box 8m high
-1
0
1
2
3
4
5
C80[dB]
Frequency [Hz]
Glass box closed - C80
Glass box 4m high
Glass box 6m high
Glass box 8m high
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
EDT[s]
Frequency [Hz]
Glass box closed - EDT
Glass box 4m high
Glass box 6m high
Glass box 8m high
0
2
4
6
8
10
12
14
G[dB]
Frequency [Hz]
Glass box closed - G
Glass box 4m high
Glass box 6m high
Glass box 8m high

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 4 Glass box 6m high, 16,6% open tu_15b
T30 4.51 3.84 4.23 4.41 4.91 2.24 0.97 0.34
G 9.46 9.76 9.31 9.26 8.73 8.95 7.42 4.85
C-80 3.65 3.11 2.43 3.08 2.94 4.2 6.57 15.5
EDT 1.18 1.41 1.38 1.85 1.29 1.02 0.56 0.34
Sol 5 Glass box 6m high, 33% open tu_16
T30 5.3 5.08 4.13 4.87 4.98 2.87 1.02 0.33
G 8.4 8.22 8.1 7.5 6.56 7.02 6.29 3.64
C-80 4.18 4.22 5.5 4.88 3.91 7.38 9.27 17.27
EDT 1.65 1.14 0.93 2.01 2.05 0.71 0.5 0.33
Sol 6 Glass box 6m high, 66% open tu_17
T30 4.92 4.26 5.26 5.24 5.23 2.85 1.19 0.37
G 7.39 6.61 6.01 5.45 5.88 5.42 4.44 2.43
C-80 2.04 2.13 2.75 2.14 1.66 3.41 8.32 16.98
EDT 3.68 2.91 3.44 3.85 3.5 2.14 0.73 0.26
GLASS BOX - OPEN

| 61
0
1
2
3
4
5
6
1 2 3 4 5 6
RT30[s]
Frequency [Hz]
Glass box open - RT30
-2
-1
0
1
2
3
4
5
6
7
8
C80[dB]
Frequency [Hz]
Glass box open - C80
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
EDT[s]
Frequency [Hz]
Glass box open - EDT
0
2
4
6
8
10
12
G[dB]
Frequency [Hz]
Glass box open - G

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 7 Glass curtain tilted tu_18
T30 3.36 2.72 3.1 4.5 3.67 1.81 1.01 0.6
G 9.26 9.91 8.76 9.22 9.32 8.68 6 2.51
C-80 -1.48 -2.24 -1.14 -2.15 -0.7 -0.91 2.01 10.18
EDT 1.68 1.82 1.85 1.79 1.59 1.4 1.04 0.66
Sol 8 Glass curtain M, from 3m tu_19b
T30 3.99 3.1 4.4 3.92 4.12 2.2 0.98 0.44
G 9.13 9.54 8.77 8.41 8.4 7.66 5.21 0.83
C-80 -3.11 -2.89 -3.04 -3.11 -2.61 -2.73 -0.01 8.65
EDT 1.84 1.85 1.79 1.82 1.76 1.58 1.04 0.98
Sol 9 Glass curtain M, from 6m tu_20b
T30 5.12 4.62 3.86 5.09 4.99 2.82 1.14 0.39
G 7.1 6.73 5.95 6.35 6.24 5.34 4.08 0.65
C-80 -0.98 -1.03 -1.46 -1.52 0.07 0.24 3.2 10.97
EDT 2.71 2.17 2.68 2.31 2.75 1.75 0.81 0.98
Sol 10 Glass curtain L, from 3m tu_21b
T30 3.81 3.22 4.07 4.1 3.82 2.28 1.01 0.43
G 8.53 9.28 8.15 7.34 8.46 7.33 4.46 0.89
C-80 -3.53 -4.28 -4.7 -3.66 -2.96 -2.81 0.06 10.84
EDT 2.3 2.19 2.23 2.26 2.12 1.82 1.25 0.81
Sol 11 Glass curtain L, from 6m tu_22
T30 4.49 4 4.32 4.95 4.89 2.69 0.99 0.41
G 6.94 6.92 6.5 6.27 5.92 5.57 3.18 0.54
C-80 -2.51 -2.2 -2.17 -2.21 -1.44 -0.15 2.65 13.05
EDT 2.56 2.3 1.74 2.72 2.72 1.67 1.11 1.01
GLASS CURTAIN

| 63
0
1
2
3
4
5
6
RT30[s]
Frequency [Hz]
Glass Curtain - RT30
-6
-5
-4
-3
-2
-1
0
1
2
C80[dB]
Frequency [Hz]
Glass curtain - C80
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
EDT[s]
Frequency [Hz]
Glass curtain - EDT
0
2
4
6
8
10
12
G[dB]
Frequency [Hz]
Glass curtain - G

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 12 Reflectors 1 tu_23
T30 6.76 4.33 4.44 5.03 5.49 2.91 1.16 0.36
G 7.95 7.87 7.33 7.49 7.17 6.43 5.01 2.87
C-80 3.93 5.46 5.71 5.18 5.57 7.27 10.05 20.61
EDT 3.61 3.27 3.03 3.04 3.19 1.27 0.41 0.21
T30 5.16 3.6 4.14 5.21 5.23 3.13 1.11 0.36
G 8.11 7.64 7.15 6.47 6.77 6.4 5.9 4.1
C-80 5.97 7.82 7.28 6.47 7.69 8.28 12.83 23.31
EDT 3.01 1.53 2.08 3.34 2.63 1.08 0.25 0.15
T30 5.08 4.74 4.4 5.39 5.04 2.9 1.23 0.4
G 7.13 7.12 6.58 6.64 6.47 6.53 4.7 3.11
C-80 3.72 4.52 4.54 4.96 3.5 5.59 10.38 18.93
EDT 4.53 3.56 2.95 3.46 3.7 1.9 0.39 0.22
T30 5.55 4.06 4.62 5.4 5.36 2.99 1.16 0.36
G 7.11 7.02 7.05 5.71 7.11 5.57 4.45 3.09
C-80 3.88 6.73 6.22 5.5 6.8 6.84 11.87 20.32
EDT 4.3 2.76 2.27 4.09 2.22 1.53 0.32 0.17
T30 5.21 4 4.21 5.38 5.15 3.07 1.27 0.39
G 6.96 6.19 5.91 5.9 5.77 5.21 4.61 2.49
C-80 2.83 4.51 2.85 2.37 2.7 5.72 10.09 18.73
EDT 4.36 3.87 3.1 3.54 3.79 2.48 0.45 0.16
T30 5.22 4.19 4.47 5.12 4.71 2.73 1.29 0.33
G 7.05 7.2 6.97 6.42 6.54 5.62 4.09 3.34
C-80 3.58 4.88 5.62 5.04 3.56 5.04 11.23 19.06
EDT 3.81 3.56 1.83 3.93 3.6 1.92 0.37 0.21
REFLECTORS

| 65
0
1
2
3
4
5
6
7
8
RT30[s]
Frequency [Hz]
Reflectors - RT30
Reflector 1
Reflector 2
Reflector 3
Reflector 4
Reflector 5
Reflector 6
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
EDT[s]
Frequency [Hz]
Reflectors - EDT
Reflector 1
Reflector 2
Reflector 3
Reflector 4
Reflector 5
Reflector 6
-2
-1
0
1
2
3
4
5
6
7
8
9
C80[dB]
Frequency [Hz]
Reflectors - C80
Reflector 1
Reflector 2
Reflector 3
Reflector 4
Reflector 5
Reflector 6
0
1
2
3
4
5
6
7
8
9
G[dB]
Frequency [Hz]
Reflectors - G
Reflector 1
Reflector 2
Reflector 3
Reflector 4
Reflector 5
Reflector 6

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 18 Roof replacement scatter tu_29
T30 5.24 4.25 4.16 4.61 5.23 3.11 1.26 0.42
G 6.03 5.3 4.97 4.23 4.95 4.41 2.51 -0.03
C-80 -1.48 -1.17 0.54 -0.38 -0.62 1.1 6.1 16.18
EDT 4.57 3.51 3.52 3.69 4.05 2.27 0.91 1.68
Sol 19 Roof with absorption sheet tu_34c
T30 2.9 2.52 2.17 2.06 3.39 2.82 1.23 0.41
G 4.49 2.09 1.8 2.3 3.04 3.03 1.95 0.28
C-80 1.26 6.85 5.6 3.79 2.07 3.07 6.07 17.48
EDT 3.6 1.39 1.96 2.85 3.11 2.5 1.08 0.86
ROOF ADJUSTMENTS

| 67
0
1
2
3
4
5
6
RT30[s]
Frequency [Hz]
Roof adjustments - RT30
Roof replacement scatter
Roof with absorption sheet
-2
-1
0
1
2
3
4
5
6
7
8
C80[dB]
Frequency [Hz]
Roof adjustments - C80
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHzEDT[s]
Frequency [Hz]
Roof adjustments - EDT
0
1
2
3
4
5
6
7
G[dB]
Frequency [Hz]
Roof adjustments - G

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 20 Overhead crane with curtain -8m of mic tu_31
T30 5.8 4.08 3.97 4.93 5.2 2.77 1.14 0.37
G 5.88 5.35 4.16 4.39 3.79 3.7 2.1 0.18
C-80 -0.34 0.16 0.34 0.78 1.43 2.99 6.52 18.31
EDT 4.51 3.6 3.98 3.63 3.87 1.97 0.97 0.73
Sol 21 Overhead crane with curtain 24m of mic tu_32
T30 5.19 3.96 3.96 5.3 5.03 2.65 1.24 0.4
G 6.05 5.31 4.65 4.69 4.65 3.85 2.02 0.23
C-80 1.55 0.4 0.79 0.97 1.28 1.19 1.23 0.47
EDT 4.24 3.661 3.43 3.61 3.37 2.42 0.91 0.76
Sol 22 Overhead crane with curtain 36m of mic tu_33
T30 5.51 3.81 4.72 4.86 4.9 2.99 1.2 0.38
G 5.93 4.88 4.32 4.71 4.54 4.19 1.81 0.18
C-80 -1.17 -0.24 -0.25 -1.13 -0.46 1.77 6.89 15.55
EDT 4.45 3.83 3.8 3.92 3.84 2.18 1.17 0.85
Sol 23 Overhead crane with vertical and horizontal curtain tu_54b
T30 5.43 4.95 4.17 3.93 3.95 2.45 1.14 0.41
G 4.89 4.04 3.08 2.64 3.18 2.49 1.36 -0.2
C-80 0.28 3 2.75 2.05 2.43 4.09 8.43 16.37
EDT 4.18 3.64 3.82 4 3.48 2.59 0.73 1.18
OVERHEAD CRANES WITH CURTAINS

| 69
0
1
2
3
4
5
6
7
T30[s]
Frequency [Hz]
Curtains - T30
Overhead crane with vertical and horizontal
curtain
-2
-1
0
1
2
3
4
5
C80[dB]
Frequency [Hz]
Curtains - C80
Overhead crane with vertical and
horizontal curtain
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
Curtains - EDT
horizontal curtain
0
1
2
3
4
5
6
7
G[dB]
Frequency [Hz]
Curtains - G
horizontal curtain

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 24 75 Lamellae (w 0,5m, h.o.h. 2m) between columns tu_38
T30 4.93 4.11 3.39 3.86 2.61 1.06 0.39 0.4
G 5.82 4.35 3.62 4.13 3.77 2.94 1.69 0.07
C-80 -0.64 -0.19 -0.04 -1.15 0.76 1.53 6.65 18.02
EDT 4.25 3.66 3.02 3.05 2.81 2.23 1.01 2.29
Sol 25 50 Lamellae (w 0,5m, h.o.h. 3m) between columns tu_39
T30 5.06 3.81 3.67 4.9 4.57 2.67 1.13 0.4
G 5.68 4.87 3.91 3.96 4.22 3.59 2.23 0.18
C-80 -0.67 0.52 1.1 0.92 0.8 1.83 7.26 15.22
EDT 4.24 3.38 3.75 3.33 3.76 1.96 0.93 0.74
Sol 26 Lamellae
surround
tu_40
T30 5 4.12 4.87 3.82 4.76 2.62 1.14 0.39
G 5.44 4.16 3.94 3.7 3.24 3.42 1.91 0.01
C-80 -0.39 1.34 2.94 0.74 2.5 2.68 7.12 16.72
EDT 4.65 3.21 3.25 3.25 3.25 2.92 1.78 0.83
Sol 27 Lamellae surround, random location tu_42
T30 5.06 4.73 3.56 4.31 4.37 2.33 1.07 0.36
G 5.65 4.94 4.25 4.01 4.26 3.52 1.7 0.12
C-80 -0.45 0.8 2.11 1.71 1.7 3.22 6.43 15.9
EDT 4.34 3.26 2.75 2.78 2.93 1.68 1.02 0.72
Sol 28 Lamellae surround, random location, random rotation tu_43
T30 4.87 3.46 4.87 4.24 4.28 2.81 1.08 0.37
G 6.86 5.2 3.82 3.08 2.36 2.6 1.19 0.25
C-80 1.2 2.35 3.05 3.49 2.4 3.67 8.34 17.67
EDT 3.37 2.4 2.33 2.67 2.48 1.9 1.11 1.15
Sol 29 Lamellae surroun glass, random location, random rotation tu_52
T30 5.27 6.54 4.14 5.28 5.05 2.96 1.23 0.4
G 6.8 6.35 6.22 5.87 5.78 5.12 3.71 1.7
C-80 1.16 1.07 1.26 0.81 0.26 1.55 6.79 16.06
EDT 3.56 2.76 2.7 3.32 3.3 2.06 0.71 0.44
LAMELLAE

| 71
0
1
2
3
4
5
6
7
T30[s]
Frequency [Hz]
Lamellae - T30
columns
columns
Lamellae surround
Lamellae surround, random location, random
rotation
random rotation
-2
-1
0
1
2
3
4
C80[dB]
Frequency [Hz]
Lamellae - C80
columns
columns
Lamellae surround
random rotation
random rotation
0
1
2
3
4
5
Lamellae - EDT
columns
columns
Lamellae surround
random rotation
random rotation
0
1
2
3
4
5
6
7
8
G[dB]
Frequency [Hz]
Lamellae - G
columns
columns
Lamellae surround
random rotation
random rotation

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol x1 Reflector 2 + absorption tu_62
T30 5.39 3.91 4.28 4.94 5.05 2.98 1.26 0.34
G 8.01 8.01 7.52 7.13 7.74 7.28 6.48 4.69
C-80 6.96 8.57 9.45 7.7 7.37 8.85 13.81 21.17
EDT 3.39 0.6 0.71 2.37 2.6 0.77 0.2 0.16
Sol x2 Reflector 4 + absorption tu_61
T30 5.44 3.99 4.75 5.42 5.21 3.15 1.18 0.4
G 7.37 7.02 6.18 5.88 5.36 5.46 4.51 2.6
C-80 4.64 5.91 6.63 4.82 4.74 7.07 11.02 23.5
EDT 3.68 2.5 1.89 3.64 3.96 1.54 0.4 0.2
The graphs also show the results of the normal reflectors of the same set-up
REFLECTORS WITH ABSORPTION ON THE BACK

| 73
0
1
2
3
4
5
6
RT30[s]
Frequency [Hz]
Reflectors - RT30
Reflector 2
Reflector 4
-2
0
2
4
6
8
10
C80[dB]
Frequency [Hz]
Reflectors - C80
Reflector 2
Reflector 4
0
1
2
3
4
5
6
7
8
9
G[dB]
Frequency [Hz]
Reflectors - G
Reflector 2
Reflector 4
0
1
2
3
4
5
EDT[s]
Frequency [Hz]
Reflectors - EDT
Reflector 2
Reflector 4

T30 5.33 4.48 4.32 5.19 5.41 2.94 1.21 0.38
G 5.53 4.74 4.28 4.31 4.42 4.34 2.52 0.17
C-80 -0.54 0.18 -0.59 -0.63 -0.07 1.49 5.52 14.66
EDT 4.37 4.22 4.18 4.34 4.09 2.27 1.06 0.81
Sol 30 Glass curtain tilted (Sol 7) + Roof with Absorption sheet (Sol 19) tu_35
T30 2.17 1.61 2.07 2.23 2.89 1.68 0.92 0.39
G 8.58 6.27 6.08 7.21 8.09 8.21 6.64 2.71
C-80 -0.24 2.49 2.93 0.98 0 0.1 2.08 9.61
EDT 1.28 1.18 1.04 1.22 1.37 1.27 0.92 0.66
Sol 31 Reflector 3 (Sol 14) + Roof with Absorption sheet (Sol 19) tu_36b
T30 3.54 2.94 3.14 2.85 3.35 2.65 1.19 0.39
G 6.7 6.13 5.62 5.99 6.12 5.36 4.77 2.57
C-80 5.84 10.55 9.43 8.87 5.92 6.61 12.51 21.79
EDT 2.9 0.38 0.37 0.55 1.49 1.29 0.37 0.25
Sol 32 Glass curtain L, from 3m (10) Reflector 4 (Sol 15) + Roof with Absorption
sheet (Sol 19)
tu_37b
T30 3.64 2.08 1.8 2.38 2.52 1.99 1 0.4
G 8.3 7.3 7.1 6.4 6.7 6.5 5.7 3.3
C-80 3.9 6.4 6.6 3.8 3.4 4.1 7.1 16
EDT 1.56 0.92 0.69 1.41 1.86 1.62 0.77 0.23
Sol 33 Lamellae surround ran.(Sol 28) + Roof with Absorption sheet (Sol 19) tu_46
T30 3.31 1.49 1.3 1.8 2.68 2.24 1.11 0.36
G 5.59 3.32 1.41 1.42 2.22 2.17 1.49 0.27
C-80 3.4 6.26 8.2 6.66 4.37 4.51 8.98 16.54
EDT 2.04 0.96 1 1.26 2.05 1.82 0.77 1.13
Sol 34 Lamellae sur. ran.(Sol 28) Refl. (Sol13) + Roof with Abs. sheet (Sol 19) tu_47
T30 3.25 1.51 1.54 1.79 2.7 2.08 1.15 0.28
G 7.8 7.2 5.3 5.6 5.5 5.8 4.8 3.3
C-80 6.9 11.6 11.9 11.3 10.5 11.2 15.1 22.5
EDT 1.02 0.34 0.39 0.39 0.39 0.35 0.34 0.16
Sol 35 Overhead cranes with reflectors and tu_57
T30 2.68 1.5 1.21 1.9 2.59 2.04 1.03 0.26
G 8.7 7.97 7.2 7.38 7.53 6.38 5.99 4.48
C-80 7.97 12.01 12.95 11.28 10.29 11.3 16.58 24.17
EDT 0.65 0.21 0.19 0.24 0.43 0.33 0.18 0.18
COMBINATIONS

| 75
0
1
2
3
4
5
6
T30[s]
Frequency [Hz]
Combinations - T30
Glass curtain tilted (Sol 7) + Roof with
(Sol 19)
-2
0
2
4
6
8
10
12
14
C80[dB]
Frequency [Hz]
Combinations - C-80
sheet (Sol 19)
(Sol 19)
0
1
2
3
4
5
EDT[s]
Frequency [Hz]
Combinations - EDT
sheet (Sol 19)
(Sol 19)
Glass curtain L, from 3m (10) Reflector 4 (Sol 15) +
Roof with Absorption sheet (Sol 19)
Lamellae sur. ran.(Sol 28) Refl. (Sol13) + Roof with
Abs. sheet (Sol 19)
0
2
4
6
8
10
G[dB]
Frequency [Hz]
Combinations - G
sheet (Sol 19)
(Sol 19)

REFLECTOR
SET-UP2*
REFLECTOR
SET-UP3
REFLECTOR
SET-UP4
REFLECTOR
SET-UP5
REFLECTOR
SET-UP6
* | Reflector set-up 1 is not covered, because it is not calculated
but roughly estimated. Set-up 2 is calculated with a partially
wrong script, but boosts good results.

| 77
Height [m] Width [m] X-rot. [°] Z-rot. [°]
Reflector 1 5 3.5 0 35
Reflector 2 5 3.5 -43.6 29.6
Reflector 3 5 3.5 43.6 29.6
Reflector 4 7 2.5 -61.8 15.5
Reflector 5 7 2.5 61.8 15.5
Reflector 6 8.2 5.5 0 -5.5
Reflector 1 6.16 6.67 0 10.9
Reflector 2 6 3.5 49.1 10.1
Reflector 3 6 3.5 -49.1 10.1
Reflector 1 9.2 7.1 0 -10.0
Reflector 2 6.16 6.67 0 14.9
Reflector 3 7.5 1.72 0 40.1
Reflector 1 6.16 6.67 -30.0 10.8
Reflector 2 6.16 6.67 30.0 29.6
Reflector 1 4.65 7.8 0 15.5
Reflector 2 1.5 7.8 0 38.9
Reflector 3 1.5 7.8 0 50.6
Reflector 4 1.5 7.8 0 64.6

Music in Heritage

More Related Content

Viewers also liked

Similar to Music in Heritage

Recently uploaded

Music in Heritage