The document describes experiments conducted to shatter glass goblets using amplified singing, as proposed for a television commercial. Researchers tested various goblets and sound sources, identifying a thin-walled German goblet that shattered around 136 dB when vibrated at its resonant frequency. Modifications like scratches weakened goblets but did not reduce the sound level needed. Amplifying a singer's voice with a 100W amplifier allowed shattering goblets 5-10 dB louder than a tone generator. The goal was to demonstrate this effect could be achieved without "doctoring" the goblets.
The factors affecting acoustics in buildings include optimum reverberation time, loudness, focusing, echoes, the echelon effect, resonance, and noise. Optimum reverberation time can be achieved through sound absorbing materials, curtains, carpets, and decorations. Loudness is increased with quality speakers and low ceilings. Focusing is remedied by avoiding curved surfaces and using sound absorbers. Echoes are reduced with low ceilings and sound absorbers on walls and ceilings. The echelon effect comes from regular structures like railings and is remedied by avoiding them or adding carpets. Resonance is reduced by hanging curtains, and noise is controlled through sound absorbers, heavy
Wood is an effective acoustic material due to its ability to absorb and dampen sound vibrations through internal friction within its cellular structure. The Sydney Opera House effectively utilizes various types of wood in its construction to enhance acoustic performance, including white birch plywood panels in the concert hall ceiling which help reduce echoes, and brush box timber used for wall panels and floors for its warm color, grain, durability and acoustic insulation. The architect designed the Sydney Opera House interiors primarily with wood to provide acoustic warmth and contrast to the heavy concrete shells.
The document discusses key factors to consider when designing music studio acoustics, including acoustic isolation, frequency balance, and reverberation. It emphasizes building walls, floors, and ceilings that are decoupled from one another using materials like gypsum boards, floating floors, dropped ceilings, and insulation to minimize sound transmission. Windows and doors should be solid core and well-sealed. Isolation rooms, booths, and movable partitions can further isolate instruments and vocals.
This document provides details on designing an audio studio, including isolation, room treatment, and achieving target reverberation times (RT60). Key points:
- Three rooms will be designed - a control room, live room, and vocal booth. Standard room ratios will be used to minimize room modes.
- Isolation involves building rooms-within-rooms with mass, airtight construction, and decoupled structures. Brick walls, floating floors, sealed windows and doors will be used.
- Initial RT60 calculations show values much higher than desired 0.2s, 0.5s and 0.7s. Additional absorption materials like fiberglass and ceramic blankets will be added to walls, ceilings
This document summarizes and compares audio recordings taken in three different locations - a canteen, corridor, and outside. The canteen recording has the most background noise from people talking and moving chairs. The corridor recording is clearer but still has some noise from doors and people passing by. The outside recording is the loudest and clearest with the most open space and no background sounds, making it the best location for audio recording.
Construction of the Boom Room Recording StudioSiddhant FNU
The document provides details on the design and construction of an audio recording studio. It outlines 21 sections to be covered including layout, floating floor construction using wooden joists and drywall, hanging ceiling, custom windows, acoustic treatment, equipment, and software. Key aspects of construction addressed are using a sound lock between rooms, symmetrical design of control room, taller walls in recording room for reverb, and multi-layer wall construction with insulation to achieve an STC of 59. Electrical and HVAC systems are integrated within the walls and roof.
The document discusses the acoustical design considerations for an auditorium. It outlines key factors such as maintaining a low ambient noise level, providing appropriate reverberation time without echoes, and how the shape, dimensions, and seating arrangements of an auditorium impact hearing conditions. Different types of materials are also described that can be used to absorb or diffuse sound such as acoustical panels, diffusers, and noise barriers to improve the auditorium's acoustics. Proper loudspeaker systems and ceiling/wall designs can further enhance the sound quality within the auditorium space.
This document discusses various acoustical defects that can occur in buildings, including reverberation, echoes, sound foci, dead spots, insufficient loudness, and exterior noises. It provides explanations of each defect and potential remedies. Reverberation time should be between 0.5 to 5 seconds depending on the quality of sound desired. The shape of the room and use of sound absorbing materials can help control reverberation time. Echoes can be reduced by using splayed walls and absorptive ceiling materials. Sound foci and dead spots arise from the geometric shape focusing or reducing sound in areas and can be addressed through diffusers, reflectors, and absorbent materials. External noise insulation and location away from noise sources also
The factors affecting acoustics in buildings include optimum reverberation time, loudness, focusing, echoes, the echelon effect, resonance, and noise. Optimum reverberation time can be achieved through sound absorbing materials, curtains, carpets, and decorations. Loudness is increased with quality speakers and low ceilings. Focusing is remedied by avoiding curved surfaces and using sound absorbers. Echoes are reduced with low ceilings and sound absorbers on walls and ceilings. The echelon effect comes from regular structures like railings and is remedied by avoiding them or adding carpets. Resonance is reduced by hanging curtains, and noise is controlled through sound absorbers, heavy
Wood is an effective acoustic material due to its ability to absorb and dampen sound vibrations through internal friction within its cellular structure. The Sydney Opera House effectively utilizes various types of wood in its construction to enhance acoustic performance, including white birch plywood panels in the concert hall ceiling which help reduce echoes, and brush box timber used for wall panels and floors for its warm color, grain, durability and acoustic insulation. The architect designed the Sydney Opera House interiors primarily with wood to provide acoustic warmth and contrast to the heavy concrete shells.
The document discusses key factors to consider when designing music studio acoustics, including acoustic isolation, frequency balance, and reverberation. It emphasizes building walls, floors, and ceilings that are decoupled from one another using materials like gypsum boards, floating floors, dropped ceilings, and insulation to minimize sound transmission. Windows and doors should be solid core and well-sealed. Isolation rooms, booths, and movable partitions can further isolate instruments and vocals.
This document provides details on designing an audio studio, including isolation, room treatment, and achieving target reverberation times (RT60). Key points:
- Three rooms will be designed - a control room, live room, and vocal booth. Standard room ratios will be used to minimize room modes.
- Isolation involves building rooms-within-rooms with mass, airtight construction, and decoupled structures. Brick walls, floating floors, sealed windows and doors will be used.
- Initial RT60 calculations show values much higher than desired 0.2s, 0.5s and 0.7s. Additional absorption materials like fiberglass and ceramic blankets will be added to walls, ceilings
This document summarizes and compares audio recordings taken in three different locations - a canteen, corridor, and outside. The canteen recording has the most background noise from people talking and moving chairs. The corridor recording is clearer but still has some noise from doors and people passing by. The outside recording is the loudest and clearest with the most open space and no background sounds, making it the best location for audio recording.
Construction of the Boom Room Recording StudioSiddhant FNU
The document provides details on the design and construction of an audio recording studio. It outlines 21 sections to be covered including layout, floating floor construction using wooden joists and drywall, hanging ceiling, custom windows, acoustic treatment, equipment, and software. Key aspects of construction addressed are using a sound lock between rooms, symmetrical design of control room, taller walls in recording room for reverb, and multi-layer wall construction with insulation to achieve an STC of 59. Electrical and HVAC systems are integrated within the walls and roof.
The document discusses the acoustical design considerations for an auditorium. It outlines key factors such as maintaining a low ambient noise level, providing appropriate reverberation time without echoes, and how the shape, dimensions, and seating arrangements of an auditorium impact hearing conditions. Different types of materials are also described that can be used to absorb or diffuse sound such as acoustical panels, diffusers, and noise barriers to improve the auditorium's acoustics. Proper loudspeaker systems and ceiling/wall designs can further enhance the sound quality within the auditorium space.
This document discusses various acoustical defects that can occur in buildings, including reverberation, echoes, sound foci, dead spots, insufficient loudness, and exterior noises. It provides explanations of each defect and potential remedies. Reverberation time should be between 0.5 to 5 seconds depending on the quality of sound desired. The shape of the room and use of sound absorbing materials can help control reverberation time. Echoes can be reduced by using splayed walls and absorptive ceiling materials. Sound foci and dead spots arise from the geometric shape focusing or reducing sound in areas and can be addressed through diffusers, reflectors, and absorbent materials. External noise insulation and location away from noise sources also
This document discusses different types of ceilings. It describes tin ceilings, dropped ceilings, coffer ceilings, popcorn ceilings, gypsum ceilings, and acoustic ceilings. Tin ceilings were an affordable alternative to plasterwork and were formed by pressing patterns into metal. Dropped ceilings use a grid of metal channels to hold acoustic tiles. Coffer ceilings are recessed panels that serve as decorative elements. Popcorn ceilings provided acoustic benefits but are no longer commonly used. Gypsum is a material used in some ceiling types due to its hardening properties. Acoustic ceilings aim to absorb or redirect sound using perforated materials.
The document discusses the acoustics considerations for designing movie theatres. It outlines that acoustics involves the study of sound and how to achieve good acoustics in buildings. For theatres, important aspects include flooring, wall and ceiling finishes, and furniture layout. The document then provides details on acoustic flooring systems, wall fabrics and panels, ceiling tiles, and theatre seating options that help enhance sound quality. It also presents a case study of the acoustics design for a multiplex theatre in Gurgaon, India, covering its structure, plan, section details, and electrical, lighting and fire safety systems.
Acoustics case study IIT Roorkee ChurchAniruddh Jain
This document discusses the acoustical challenges of designing a cathedral and provides basic requirements for the acoustical design. It notes that cathedrals incorporate many uses beyond worship and have large interior volumes, exacerbating acoustical challenges. The design needs to support spoken word, music, and allow quiet contemplation while controlling noise. It then lists 7 basic requirements for the acoustical design, including providing a reverberation period of 2-3 seconds, sufficient room volume, hard surfaces near sound sources, and irregular surfaces to prevent echoes.
The document discusses the acoustics design considerations for recording studios. It explains that recording studios aim to have very short reverberation times, unlike auditoriums which enhance reverberation. This requires the enclosure to be very absorbent of sound and isolated from external noise. Common techniques used include double wall construction, soundproofing, bass traps, diffusers, absorbers and decoupling floors. The document provides examples of materials used like fiberglass, sheetrock and rubber for insulation and isolation.
Prithvi theatre, juhu - ACOUSTICS - AUDITORIUM - MUMBAIDijo Mathews
The Prithvi Theatre is located in Juhu, Mumbai and is known for cultural programs and dramas. It does not have its own parking, so patrons must park 500 meters away at the JW Marriott or in nearby pay parking. The theatre has a 200-seat auditorium with a fan shape and thrust stage design optimized for sound quality and audience connection. Acoustic treatments on the walls, ceiling, and floor enhance sound without needing speakers. The theatre operates year-round as a non-profit to promote professional theatre through performances, workshops, and support for theatre workers.
The document describes an auditorium with a fan-shaped volume of 11393 cubic meters and total floor area of 2120 square meters, with a seating capacity of 1500 people. It is designed for both speech and music with various acoustic paneling and speaker configurations to properly treat and distribute sound throughout the large, irregularly shaped space.
The document discusses various acoustical considerations for auditorium design including:
1. Ideal reverberation times for different room types like lecture halls, concert halls, and opera houses.
2. Factors that affect a room's acoustical characteristics like liveness, warmth, texture, and intimacy.
3. Common acoustical design problems to avoid like focusing of sound, echoes, standing waves, and resonances.
4. Recommendations for room dimensions, ceiling design, floor plan and slope, wall treatments, and rear wall design based on the room's intended use.
This document provides a case study on the acoustics of the Experimental Theatre (E.T.) at the University of Malaya. It discusses the theatre's design, measuring equipment and methodology used, acoustical analysis, and design considerations. The E.T. was constructed in 1965 and designed with influences from Brutalist architecture. Measurements of the theatre were taken using equipment like a sound meter and laser distance meter. The analysis found the theatre has a shoebox/fan shape conducive to sound reflection. The seating and stage layout supports clear sound propagation, though some seats experience sound shadows. Sound reinforcement systems were installed to amplify sound across the large space.
There are four main methods (ABCDs) to improve workplace acoustics: absorb, block, cover-up/control, and diffuse sound. Acoustic planning for rooms should consider reverberation time and sound reflections. For cinema halls specifically, neighboring auditoriums should be separated by soundproof walls, ceilings should have acoustic surfaces, and reverberation times should decrease from low to high frequencies. Common soundproofing materials include acoustic foam, insulation, panels, fabrics, coatings, floor underlayment, and architectural elements.
Landscapes are composed of objects, units or elements of different nature. Interaction between these elements creates a non- random organization aggregates and patterns. Such patterns emerge at related spatial and temporary scales.
Design Elements create moods or feeling for the Observer.
This document advertises Renaissance Conservatories and their specialty glazing products including skylights and lanterns. It describes how their custom skylights and lanterns can bring natural light into homes while maintaining style and grace. Their products are handcrafted from durable hardwoods and energy efficient glass to complement architectural styles. Renaissance can help turn dreams of natural light into reality through their expertise and vision in transforming spaces with their products.
1. In open-air theaters, sound reflections bounce between the sloped seating areas and the stage wall, contributing to long reverberation times.
2. When the seating is modeled as sloped surfaces shaped like an inverse cone, most reflections are directed upwards towards the sky, allowing the sound energy to dissipate quickly with few late reflections.
3. The design of open-air theaters aims to minimize external noise, ensure clear propagation of direct sound and early reflections from the seating gradient, and control late reflections to limit reverberation time and eliminate echoes.
The document provides details about the acoustic design of an auditorium for the Sidang Injil Borneo Kuala Lumpur church. It discusses the building and organization background, drawings of the auditorium space, sound absorption methods using various finishing materials, the sound system setup, potential noise intrusion areas, and how sound propagates within the space. Key aspects covered include the use of fabric wall panels, timber slats, and carpeted floors and seats to absorb sound, as well as speaker cabinets and line arrays to distribute sound to audiences.
This document summarizes the key details of an auditorium including its shape, volume, seating capacity, and intended uses. It also describes the various acoustic paneling and speaker systems used in the space to properly control sound reflection and dispersion for both speech and music throughout the large volume hall.
The canteen has both hard surfaces that reflect sound, like metal tables and brick walls, and surfaces that absorb sound, like wooden chairs. While the hard surfaces could make the sound louder, the wooden chairs and people absorb some of the sound. Even though there were not many people in the canteen during recording, some sound would still have been absorbed. The recording sounded clear and fairly loud despite being in a large space with some background noise from people and moving furniture.
The document provides details about Ravindralaya Auditorium in Lucknow, India. It describes the auditorium's capacity of 777 people, stage dimensions of 40ft x 40ft, and 14 rows of ground seating and 10 rows of balcony seating. Acoustical materials used include wooden wall panels, plastered brick walls, and different ceiling types. The auditorium was built in 1964 and is used for cultural, political and entertainment events.
The Kresge Auditorium at MIT is defined by an elegant thin concrete dome structure, one-eighth of a sphere reaching 15.24m high. It has a capacity of 1,226 people and was an innovative use of thin-shell concrete technology when built in 1955. The dome rests on just three points and was originally covered with limestone mixed polymer but is now clad in copper. It provides the main space for concerts, lectures and events at MIT.
This document provides information about the acoustics of two auditoriums - the Jamshed Bhabha Theatre in Mumbai and the auditorium at St. Andrew's College in Bandra, Mumbai. It discusses the design features of both auditoriums aimed at achieving good acoustics such as absorbing and diffusing surfaces on walls and ceilings. Details are given about the seating capacity, entrance/exits, stage, control room, green rooms and technical specifications of both auditoriums. The history and architectural elements of the Jamshed Bhabha Theatre are described in more depth.
This was a presentation I created for a program at Pasadena Public Library to teach kids about how sound recordings were invented and the history of recording, as well as inspire them and guide them in making their own "gramophone."
The document discusses analyzing the acoustic properties of unexplained rapping sounds and comparing them to normal rapping sounds produced by tapping. The author notes some previous studies that found differences in the low frequency properties and waveform envelopes between the two types of sounds. The current study analyzes recordings of unexplained rapping sounds from various cases using modern acoustic analysis techniques to examine if there are fundamental differences between the waveforms of unexplained versus normal rapping sounds.
This document discusses different types of ceilings. It describes tin ceilings, dropped ceilings, coffer ceilings, popcorn ceilings, gypsum ceilings, and acoustic ceilings. Tin ceilings were an affordable alternative to plasterwork and were formed by pressing patterns into metal. Dropped ceilings use a grid of metal channels to hold acoustic tiles. Coffer ceilings are recessed panels that serve as decorative elements. Popcorn ceilings provided acoustic benefits but are no longer commonly used. Gypsum is a material used in some ceiling types due to its hardening properties. Acoustic ceilings aim to absorb or redirect sound using perforated materials.
The document discusses the acoustics considerations for designing movie theatres. It outlines that acoustics involves the study of sound and how to achieve good acoustics in buildings. For theatres, important aspects include flooring, wall and ceiling finishes, and furniture layout. The document then provides details on acoustic flooring systems, wall fabrics and panels, ceiling tiles, and theatre seating options that help enhance sound quality. It also presents a case study of the acoustics design for a multiplex theatre in Gurgaon, India, covering its structure, plan, section details, and electrical, lighting and fire safety systems.
Acoustics case study IIT Roorkee ChurchAniruddh Jain
This document discusses the acoustical challenges of designing a cathedral and provides basic requirements for the acoustical design. It notes that cathedrals incorporate many uses beyond worship and have large interior volumes, exacerbating acoustical challenges. The design needs to support spoken word, music, and allow quiet contemplation while controlling noise. It then lists 7 basic requirements for the acoustical design, including providing a reverberation period of 2-3 seconds, sufficient room volume, hard surfaces near sound sources, and irregular surfaces to prevent echoes.
The document discusses the acoustics design considerations for recording studios. It explains that recording studios aim to have very short reverberation times, unlike auditoriums which enhance reverberation. This requires the enclosure to be very absorbent of sound and isolated from external noise. Common techniques used include double wall construction, soundproofing, bass traps, diffusers, absorbers and decoupling floors. The document provides examples of materials used like fiberglass, sheetrock and rubber for insulation and isolation.
Prithvi theatre, juhu - ACOUSTICS - AUDITORIUM - MUMBAIDijo Mathews
The Prithvi Theatre is located in Juhu, Mumbai and is known for cultural programs and dramas. It does not have its own parking, so patrons must park 500 meters away at the JW Marriott or in nearby pay parking. The theatre has a 200-seat auditorium with a fan shape and thrust stage design optimized for sound quality and audience connection. Acoustic treatments on the walls, ceiling, and floor enhance sound without needing speakers. The theatre operates year-round as a non-profit to promote professional theatre through performances, workshops, and support for theatre workers.
The document describes an auditorium with a fan-shaped volume of 11393 cubic meters and total floor area of 2120 square meters, with a seating capacity of 1500 people. It is designed for both speech and music with various acoustic paneling and speaker configurations to properly treat and distribute sound throughout the large, irregularly shaped space.
The document discusses various acoustical considerations for auditorium design including:
1. Ideal reverberation times for different room types like lecture halls, concert halls, and opera houses.
2. Factors that affect a room's acoustical characteristics like liveness, warmth, texture, and intimacy.
3. Common acoustical design problems to avoid like focusing of sound, echoes, standing waves, and resonances.
4. Recommendations for room dimensions, ceiling design, floor plan and slope, wall treatments, and rear wall design based on the room's intended use.
This document provides a case study on the acoustics of the Experimental Theatre (E.T.) at the University of Malaya. It discusses the theatre's design, measuring equipment and methodology used, acoustical analysis, and design considerations. The E.T. was constructed in 1965 and designed with influences from Brutalist architecture. Measurements of the theatre were taken using equipment like a sound meter and laser distance meter. The analysis found the theatre has a shoebox/fan shape conducive to sound reflection. The seating and stage layout supports clear sound propagation, though some seats experience sound shadows. Sound reinforcement systems were installed to amplify sound across the large space.
There are four main methods (ABCDs) to improve workplace acoustics: absorb, block, cover-up/control, and diffuse sound. Acoustic planning for rooms should consider reverberation time and sound reflections. For cinema halls specifically, neighboring auditoriums should be separated by soundproof walls, ceilings should have acoustic surfaces, and reverberation times should decrease from low to high frequencies. Common soundproofing materials include acoustic foam, insulation, panels, fabrics, coatings, floor underlayment, and architectural elements.
Landscapes are composed of objects, units or elements of different nature. Interaction between these elements creates a non- random organization aggregates and patterns. Such patterns emerge at related spatial and temporary scales.
Design Elements create moods or feeling for the Observer.
This document advertises Renaissance Conservatories and their specialty glazing products including skylights and lanterns. It describes how their custom skylights and lanterns can bring natural light into homes while maintaining style and grace. Their products are handcrafted from durable hardwoods and energy efficient glass to complement architectural styles. Renaissance can help turn dreams of natural light into reality through their expertise and vision in transforming spaces with their products.
1. In open-air theaters, sound reflections bounce between the sloped seating areas and the stage wall, contributing to long reverberation times.
2. When the seating is modeled as sloped surfaces shaped like an inverse cone, most reflections are directed upwards towards the sky, allowing the sound energy to dissipate quickly with few late reflections.
3. The design of open-air theaters aims to minimize external noise, ensure clear propagation of direct sound and early reflections from the seating gradient, and control late reflections to limit reverberation time and eliminate echoes.
The document provides details about the acoustic design of an auditorium for the Sidang Injil Borneo Kuala Lumpur church. It discusses the building and organization background, drawings of the auditorium space, sound absorption methods using various finishing materials, the sound system setup, potential noise intrusion areas, and how sound propagates within the space. Key aspects covered include the use of fabric wall panels, timber slats, and carpeted floors and seats to absorb sound, as well as speaker cabinets and line arrays to distribute sound to audiences.
This document summarizes the key details of an auditorium including its shape, volume, seating capacity, and intended uses. It also describes the various acoustic paneling and speaker systems used in the space to properly control sound reflection and dispersion for both speech and music throughout the large volume hall.
The canteen has both hard surfaces that reflect sound, like metal tables and brick walls, and surfaces that absorb sound, like wooden chairs. While the hard surfaces could make the sound louder, the wooden chairs and people absorb some of the sound. Even though there were not many people in the canteen during recording, some sound would still have been absorbed. The recording sounded clear and fairly loud despite being in a large space with some background noise from people and moving furniture.
The document provides details about Ravindralaya Auditorium in Lucknow, India. It describes the auditorium's capacity of 777 people, stage dimensions of 40ft x 40ft, and 14 rows of ground seating and 10 rows of balcony seating. Acoustical materials used include wooden wall panels, plastered brick walls, and different ceiling types. The auditorium was built in 1964 and is used for cultural, political and entertainment events.
The Kresge Auditorium at MIT is defined by an elegant thin concrete dome structure, one-eighth of a sphere reaching 15.24m high. It has a capacity of 1,226 people and was an innovative use of thin-shell concrete technology when built in 1955. The dome rests on just three points and was originally covered with limestone mixed polymer but is now clad in copper. It provides the main space for concerts, lectures and events at MIT.
This document provides information about the acoustics of two auditoriums - the Jamshed Bhabha Theatre in Mumbai and the auditorium at St. Andrew's College in Bandra, Mumbai. It discusses the design features of both auditoriums aimed at achieving good acoustics such as absorbing and diffusing surfaces on walls and ceilings. Details are given about the seating capacity, entrance/exits, stage, control room, green rooms and technical specifications of both auditoriums. The history and architectural elements of the Jamshed Bhabha Theatre are described in more depth.
This was a presentation I created for a program at Pasadena Public Library to teach kids about how sound recordings were invented and the history of recording, as well as inspire them and guide them in making their own "gramophone."
The document discusses analyzing the acoustic properties of unexplained rapping sounds and comparing them to normal rapping sounds produced by tapping. The author notes some previous studies that found differences in the low frequency properties and waveform envelopes between the two types of sounds. The current study analyzes recordings of unexplained rapping sounds from various cases using modern acoustic analysis techniques to examine if there are fundamental differences between the waveforms of unexplained versus normal rapping sounds.
THE father and son team who broke historic Rosslyn Chapel’s musical Da Vinci Code have done it again with another of the artist’s riddles.
Stuart and Tommy Mitchell believe they have cracked another secret of the Renaissance genius, this time in Leonardo’s famous portrait The Musician.
Art historians have remained baffled for centuries over the meaning of the work.They have also puzzled over the writing on the piece of music held by the subject of the 1490 painting, believed to be Da Vinci’s great friend Franchino Gaffurio.
Now Stuart and Tommy have used mirrors to reveal the words “agnus dei” and a musical score. Once the score is fully deciphered, Stuart plans to incorporate it in one of his classical pieces.as he did with the notes he found in Rosslyn.
The Science of Making Music: A program at Pasadena Public LibraryAnnMarie Ppl
Kids ages 8 - 12 came to Pasadena Library today to learn about how sounds are made, how different types of instruments vibrate in different ways, and made some instruments of their own. Find out more at http://scienceinthelibrary.blogspot.com
Here are a few suggestions for experiments you could try with foley:
- Walking foley - Record different surfaces like gravel, grass, carpet, hardwood floors. Layer tracks to create a walking scene.
- Kitchen foley - Record sounds of cooking, chopping, dishes, appliances to bring a kitchen scene to life.
- Nature foley - Record sounds outdoors like wind, leaves, water, birds, insects to create ambience.
- Object manipulation foley - Record sounds of objects like crumpling paper, opening jars, flipping pages, typing to add texture.
- Clothing foley - Record sounds of different fabrics like zipping, buttoning, rustling to add movement.
The pipe organ is a musical instrument where sound is produced by pressurized air causing pipes to vibrate. It has several components including keyboards to play notes, sets of pipes that produce sound, and stops that control which pipes sound. The pipe organ is one of the oldest instruments still in use today and is commonly found in churches, where it is played during services to accompany hymns and choirs. Famous pipe organ players include George Wright, who learned to play as a child and became a renowned concert performer.
Knowledge Is Power-Essay WritingEssay About KnowlClaudia Shah
1. The document discusses the process of registering and submitting a request on the HelpWriting.net website. Users create an account, complete an order form providing instructions and deadlines, and writers bid on the request.
2. After a writer is selected, they complete the assignment and the user reviews it. If satisfied, the user authorizes payment. HelpWriting.net offers free revisions to ensure user satisfaction.
3. The website aims to fully meet user needs through a process of registration, bidding on requests by writers, writing and revising assignments until the user is satisfied.
A history of reverb in music productionPaulo Abelho
Reverb has played an important role in music production throughout history. Early techniques included natural reverb captured in recording spaces and echo rooms. Mechanical reverb systems like spring and plate reverbs provided more control and flexibility. Digital reverb systems later used algorithms to recreate reverb digitally. Modern software reverb plugins now provide powerful and realistic reverb effects.
This document summarizes an article from 1925 about repairing and understanding the sounding board of a piano. It discusses the complex construction and materials of sounding boards and how vibrations travel through different parts of the board. It emphasizes that a well-constructed and properly repaired sounding board is essential for a piano to produce good tone. The document aims to educate piano technicians on the importance of the sounding board and how to properly diagnose and repair issues with it.
Ellie Langton created a 3 minute soundscape inspired by a visit to the Liverpool Albert Dock museum. The soundscape focuses on the history of religion and cathedrals in Liverpool, featuring sounds like Gregorian chants, church bells, flowing water, and birds to represent the purity and natural elements associated with churches. Ellie manipulated and layered various found sounds using effects like reversing, fading, and changing volume levels to blend the sounds together into a cohesive piece that progresses from the past to present while maintaining a naturalistic and environmental atmosphere. Overall, Ellie felt the soundscape met the criteria of the assignment and incorporating both natural and human-made sounds from a historical perspective.
Ulla from Denmark created recordings of a singing bowl to demonstrate comb filtering in an acoustic space. She recorded the singing bowl in a room with hard surfaces and also inside a hut made of blankets on chairs to eliminate echoes. The recording in the room showed comb filtering effects with multiple frequency peaks visible in the spectrogram. However, the recording inside the blanket hut showed only the fundamental frequencies of the singing bowl without additional peaks from echoes. This experiment demonstrated how room reflections can cause comb filtering and additional frequencies in a recorded sound.
The document discusses several topics related to sound:
1. Reflection of sound follows the same laws as light reflection, with the incident, reflected, and normal waves lying in the same plane. Echoes are produced by sound reflections off large, hard, smooth surfaces.
2. Reverberation occurs when the original and reflected sounds are so close in time that they cannot be heard separately, making the sound seem prolonged.
3. Applications of echoes include locating submarines, fish shoals, and sunken objects underwater through echolocation.
Recording technology has evolved significantly over time. Early devices like the phonograph used wax cylinders to record sound mechanically by tracing sound waves. The development of magnetic tape and digital technology improved recording quality and allowed for multi-track recording. Now, high quality multi-track recording can be done on portable devices small enough to fit in your hand.
1. Thomas Edison invented the phonograph in 1877, which was the first device capable of recording and playing back sound. It used a tin foil cylinder to record sound vibrations.
2. The transition to disc recordings in the 1890s by Emile Berliner made reproduction and distribution more efficient.
3. In the 1920s, electrical recording using microphones replaced mechanical recording, improving sound quality. However, speakers could not reproduce low bass frequencies well until the invention of the subwoofer in the 1960s to add deeper bass to the audio experience.
The document summarizes the three main families of instruments in a band - woodwinds, brass, and percussion. It describes the basic characteristics of each family, including how sound is produced and how pitch is changed. It also provides examples of specific instruments within each family and discusses how the size and length of an instrument determines its pitch. Sound clips are included to demonstrate the differences between instruments like the piccolo and tuba.
This lab manual instructs students how to construct a flute out of PVC piping. It provides measurements for drilling finger holes in the piping to produce notes in tune with a G or F scale. Students will drill holes of increasing size to observe how it affects the pitch of notes played. They will also cover different combinations of holes to understand how additional open holes change a note's pitch. The goal is to explore how tone holes impact pitch and gain appreciation for the design of musical instruments.
Sound is a form of energy made by vibrations. When an object vibrates, it causes the air particles around it to move in a longitudinal wave. These particles then bump into nearby particles, transferring the vibrations until the energy runs out. Sound needs a medium, such as air, water or other matter, to travel through as it cannot travel through a vacuum. The pitch and loudness of sound depends on the frequency and amplitude of vibrations.
Thank you for sharing your reflections. Here are a few suggestions based on what you shared:
- For recording dialogue, consider using a dedicated microphone rather than a phone to improve audio quality. A lavalier mic clipped to your shirt could work well.
- When creating sound effects, experiment with different materials and surfaces. For example, scraping a key on sandpaper might create a different texture than scraping on metal. Getting creative can yield unique effects.
- As you edit, listen critically and make adjustments as needed. For example, if transitions between audio pieces feel abrupt, try adding short fades. Pay attention to levels and EQ.
- Pacing is important. Consider how long dialogue vs. effects sections should be to
Tuning fork tests are used in audiology and otology to distinguish between conductive and sensorineural hearing losses. Common tuning fork tests include the Weber test, Rinne test, Schwabach test, and Bing test. The Weber test identifies unilateral hearing loss by determining whether a vibrating tuning fork placed on the forehead is heard best in one ear or centered. The Rinne test compares bone conduction to air conduction to diagnose conductive hearing loss. The Schwabach and Bing tests further evaluate bone conduction abilities. Tuning fork tests provide valuable information but have limitations and require proper technique for accurate results.
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2. SHATTERING GOBLETS WITH AMPLIFIED SINGING
by
Peter W. Tappan
Bolt Beranek & Newman Inc.
Downers Grove, Illinois
ABSTRACT
According to legend, Caruso was able to shatter a goblet
with his voice. With the aid of reinforcement, this feat
has now been duplicated for television commercials.
Experiments and techniques will be described. Filmed and
live demonstrations will be presented. Based on our data,
it appears conceivable that Caruso may actually have been
able to shatter a goblet with his unaided voice.
INTRODUCTION
In July of 1970, we received a telephone call from the Leo
Burnett Company, an advertising agency, inquiring whether
we thought it might be possible to cause a goblet to
shatter by exposing it to direct or amplified singing.
We were informed that this was proposed for a television
commercial.
Our immediate response was to suggest a BB gun off camera.
We were told, however, that it had to be a genuine demon-
stration. The idea was to show a goblet being shattered
by a singer, while the singer was simultaneously being
recorded on a Memorex cassette. The recording would then
be played back to show that it could shatter a second
matched goblet.
We ventured the opinion that this might be possible, and
suggested a feasibility study. Thus, the project was
born.
HISTORY
The story is prevalent that Enrico Caruso could shatter a
goblet by singing the proper note at it. The writer
remembers first hearing this story as a teenager. The
article on sound in the 19 58 edition of the World Book
Encyclopedia contains a drawing of Caruso performing this
feat.
Nevertheless, none of the half-dozen or so acoustical
consultants we talked to could verify the story, and some
expressed doubt that the feat could be accomplished by
any unamplified voice, unless the goblet were so fragile
that it could not withstand normal handling.
The attempt to pin down the truth or falsehood of the
Caruso legend was not carried beyond this, but the logical
next step would have been to consult historians of opera.
There was no question, however, about the possibility of
breaking glass by sound, if the sound is intense enough.
Supersonic airplanes and space rockets have demonstrated
this amply, to the consternation of homeowners. Clay
Allen, of our Cambridge office, has shattered glass
funnels at a sound level of approximately 165 dB. (For
reference, the threshold of pain is approximately 14 0 dB;
165 dB represents an intensity 300 times greater.) He
has also devised, for a major company manufacturing light
bulbs, a process for sonically shattering bulbs with
defective glass envelopes as the bulbs come off the pro-
duction line. The purpose of this process is to test the
bulbs and eliminate the defective ones automatically. We
have even heard reports that church windows have inadvertently
been broken by very loud organ playing.
At the end of July, investigation by Dr. Eric Daniel of
Memorex disclosed that in 1960 the Corning Glass Works
manufactured and experimented with some special goblets
designed to be easily shattered by sound, apparently for
use in a motion picture. We learned that these goblets
were quite large (bowl 6 1/4" diameter and 8" high), with
thin walls (.032" to .036") and a "bucket" (straight-sided)
shape. They were made of leaded glass with a lead oxide
content of 20% or greater. A glass rod .030" to .040" in
diameter was wrapped around the outside about V below the
rim and sealed to the goblet (presumably by heating) to
form a bead. The purpose of this bead was to concentrate
the stress induced by vibration of the goblet, to make it
shatter more easily. In addition, the bead and outside
surface of the goblet were abraded by carborundum grit
to increase the fragility.
The goblets were shattered by singing the proper note into
a microphone attached to a 25-50 watt amplifier and
loudspeaker. No details of the loudspeaker used were
available.
-2-
3. We did not pursue this approach further, because it was
decided by our client that the goblets to be used in the
commercial should be "off-the-shelf" units purchased at a
regular retail outlet, if at all possible.
GOBLETS
Several department stores selling fine glassware were
visited. We looked at hundreds of glasses of various
configurations and sizes, and rang dozens by snapping a
fingernail against them. The principal characteristics
we were looking for were thinness and a high-Q resonance
(a clear ring with a long duration). It was quickly found
that the goblet shape seemed to give the best ring; the
tumblers we tried had a much lower Q. Among the goblets,
the medium and large ones with relatively thin walls were
better than the smaller wine glasses and the thicker-
walled goblets. Also, those with sides that were nearly
vertical near the rim generally, but not always, rang
better than those with inward-sloping walls at the rim.
It may be that goblets with very thin walls that are
vertical at the rim are not widely manufactured because
they are too fragile.
Eight or nine different kinds of goblets were finally
purchased. Bowl diameters ranged between 2-7/8" and
6-5/8", wall thicknesses between 0.024" and 0.050", ring
frequencies between 330 and 1540 Hz, and prices between
$1.25 and $12.50. Most had relatively straight sides
with rounded bottoms; two had more spherical shapes with
inward-curving rims, and one was funnel-shaped. Two had
designs cut into the sides that we felt might increase
the fragility.
INITIAL EXPERIMENTS
In our laboratory, initial experiments were conducted
using a heavy-duty 6" x 9" loudspeaker in a closed-box
enclosure, driven by a 50-watt amplifier. The signal was
a pure tone of variable frequency provided by a sine-wave
oscillator. The goblet under test was set on the labora-
tory bench immediately in front of the loudspeaker.
Sometimes the goblet was held by the foot and moved slowly
through various orientations and positions in the vicinity
of the loudspeaker.
-3-
In these initial experiments, two methods were used to
tune the oscillator to the goblet ring frequency. In the
first method, the oscillator tone was played softly while
the goblet was snapped by the fingernail. The goblet
ringing produced audible beats with the oscillator tone,
and the latter was tuned to reduce the beat rate to as
close to zero as possible. The second method was to play
the oscillator tone as loudly as possible while holding
the goblet by the stem, and tune the oscillator for
maximum feelable vibration of the stem.
Each of three different goblets used in the first experi-
ments was subjected to the maximum output of the sound
source at the ring frequency. The frequency and output
were held constant while the goblet was moved about in
front of the loudspeaker. The sound pressure level in
the vicinity of the goblet was measured with a sound level
meter and was found to be approximately 122 dB. None of
the goblets broke, although their vibration was very
evident.
Although a goblet when struck rings predominantly at one
particular pitch or frequency, any such object has many
resonantfrequencies. Thus, it was conceivable that a
goblet might break more easily at some frequency other
than the most obvious ring frequency. Consequently, in
addition to the foregoing test at the ring frequency, each
goblet was subjected to the full audio range by slowly
sweeping the oscillator from 20 Hz to 20,000 Hz. No
breakage resulted.
We then substituted a medium-sized horn loudspeaker for
the 6" x 9" cone loudspeaker and repeated the tests. The
higher efficiency of this loudspeaker enabled us to reach
sound levels of approximately 132 dB at the ring frequen-
cies of the smaller goblets. Again none of the goblets
broke.
Early in the project, two professional singers were brought
to our laboratory for experiments. One of these was a
male operatic tenor; the other was a female popular singer
with a wide range. Tape recordings of their voices were
made for later analysis. The analysis showed that in her
soprano range, at least, the strongest harmonic of the
woman's voice was the fundamental; thus she would have the
best chance of shattering a goblet by singing the same
note as the goblet's ring frequency. The man's voice, on
the other hand, had somewhat greater power in the second
harmonic than in the fundamental, so he would be expected
to shatter a goblet more easily by singing one octave
below the ring frequency.
-4-
4. Both singers attempted to shatter several goblets by
singing the proper note with their lips close to the side
of the goblet; neither was successful.
The writer and a representative of the Leo Burnett Company
also made attempts, with the same lack of results, even
though we could generate levels up to about 140 dB at the
lips .
We next obtained a large horn loudspeaker. We found that
in spite of the relatively high efficiency of this unit,
we could not obtain significantly higher sound levels near
the mouth because the sound energy was spread out more
than with the smaller horn. Consequently, we removed the
horn and tried the driver alone. This enabled us to reach
somewhat higher sound levels. ,
We tuned the oscillator to the 810 Hz ring frequency of
one of the goblets and moved the goblet very slowly toward
the driver. As the distance between them decreased from
about 1 1/2" to about 3/4", the vibration of the rim of the
goblet closest to the driver became so violent that it
blurred like an image going out of focus, and the goblet
suddenly shattered. The sound level meter was placed
where the goblet had been, and gave a reading of 136 dB.
The test was later repeated with other goblets of the same
kind, and gave similar results. Other kinds of goblets
were also tried, but did not shatter as easily as the
first kind. This kind was used in most of the subsequent
experiments, and in the commercial. It was manufactured
in West Germany. The bowl is 3-3/8" in diameter and 4"
high. The wall thickness is approximately 0.035" near the
rim, tapering to about 1/4" at the bottom. There is no
bead at the rim. The sides are vertical near and at the
rim. The overall height of the goblet is 6-1/4", and the
foot diameter is 2-7/8". Ring frequencies fall in the
range of about 600 to 900 Hz.
BREAKAGE PATTERN
Most goblets broke into relatively few pieces. It was
soon discovered that the mode of vibration of the goblet
bowls was such as to tend to break them into four
approximately equal pieces, much as though they were sliced
vertically into quadrants by two knives at right angles to
each other. However, since the bowl cannot easily break
at the bottom where it is thickest and where the stem is
attached, the actual breakage pattern is a little more
complicated. Typically, one of the "imaginary knives"
-5-
slicing down through the bowl divides into two near the
bottom, passing on opposite sides of the stem and leaving
a crescent-shaped section attached to the latter. At
90° to this, the other "imaginary knife" at the same time
is deflected to one side or the other of the stem but does
not divide into two; this "knife" thus slices off one of
the two horns of the crescent, leaving the other attached
to the stem.
Thus, the fundamental breakage pattern leaves six pieces:
the four large, quadrants, a small crescent horn, and the
remainder of the crescent attached to the stem (Figure 1) .
In most cases, at least one of the four quadrants broke
further. On rare occasions, the bowl broke into only two
pieces.
The general breakage pattern is a logical consequence of
the vibration pattern of the goblet at its ring frequency.
Vibration is maximum at the rim. If the motion were slowed
down, it would look as though invisible fingers at opposite
sides of the rim were alternately squeezing and stretching
it out of its circular shape. This results in maximum move-
ment (antinodes) at four points on the rim 90° apart, one
of which is the point closest to the loudspeaker sound
source (Figure 2). The four points midway between these
antinodes are nodes and do not move. At a sound level
nearly strong enough to shatter the goblet, the blurring
of the rim at and near the four antinodes can be clearly
seen.
GOBLET MODIFICATIONS
It seemed conceivable that there might be some simple
modification of the goblet which, by weakening it or by
concentrating the stress, might cause it to shatter at a
substantially lower sound level.
We tried nicking the rim of a goblet with a file at four
points spaced 90° apart. This did not have a significant
effect (the goblet did not break at a sound level of
approximately 130 dB). With a glass cutter, we made four
vertical scratches down the sides of the goblet, beginning
at the nicks. The goblet did break at a sound level a
few dB lower than the undoctored goblets, but it broke
into only two pieces.
-6-
5. We glued brass nuts to opposite sides of the rim of a
goblet, but this had no apparent effect other than to
produce a double ring (two notes) when the goblet was
struck.
We filled one goblet with enough water to lower its ring
frequency slightly. When this was subjected to a high
sound level at its ring frequency, the water surface
became so agitated that it changed the ring frequency,
detuning the goblet and causing the vibration to die down.
When the water surface settled down, it brought the goblet
back into resonance with the sound source and the vibration
built up again. This action repeated itself several times
per second, with the water performing an entertaining
choreographic display. We are certain that a water-filled
goblet would withstand a considerably higher sound level
before shattering than an empty one, because of the
detuning action of the dancing water surface.
Efforts to weaken the goblets were discontinued at this
point, because the client expressed the desire that the
goblets to be used in the commercial should not be
"doctored" in any way.
FURTHER EXPERIMENTS
Later, we replaced the horn driver with a more efficient
unit and replaced the 50-watt amplifier with a 100-watt
unit. With this combination we were successful in
shattering goblets repeatedly, using the writer's ampli-
fied voice as the signal source. The sound level required
was found to be 5 to 10 dB higher than when using the sine-
wave oscillator. This can be explained partly by the fact
that only a fraction of the power of the voice is in the
second harmonic that the goblet responds to, and partly
by the inability of the voice to hit and maintain the
proper pitch with the same precision as the oscillator.
(Because of its extremely high Q, the goblet does not
shatter the instant the sound is applied; the vibration
must build up for a second or more before it becomes
intense enough to rupture the glass.)
At this point in the project, at the request of the
client, we investigated the possibility of duplicating
the experiment with a cone loudspeaker instead of a horn
driver. We obtained an efficient 12" cone loudspeaker
capable of withstanding a continuous sine-wave power
input of 100 watts. We were at first delighted to find
that we could generate a level of 152 dB at the face of
the loudspeaker, and then disappointed to learn that this
would not shatter a goblet, even when the signal source
was the oscillator.
-7-
A little thought revealed the reason for this seeming
contradiction of our earlier results. To cause the
goblet to vibrate in the proper way, there must be a
differential force acting on its opposite sides. In
other words, when the side of the goblet nearest the
loudspeaker is moving in one direction, the side away
from the loudspeaker must be moving in the opposite
direction. If the same force is applied in the same
direction to both sides, the goblet may be moved as a
whole but the glass is not appreciably bent. The horn
driver was successful in shattering goblets because
its mouth is small compared to the goblet, so the force
acting on the near side was much stronger than that
acting on the far side. With the large cone loudspeaker,
on the other hand, the sound dispersed so gradually as a
function of distance that the sound level at the far edge
of the goblet was practically the same as at the near
edge.
One way of overcoming this problem might be to use a
goblet that is approximately a half wavelength in diameter
at its ring frequency; then the sound at the far edge
would act in the opposite direction to that at the near
edge. Such a goblet, however, would probably have to
be fairly thick, making it difficult to break.
The simpler solution is to use a small opening in front
of the loudspeaker, thereby causing the sound to disperse
rapidly as it leaves the opening. We found that when
the loudspeaker was mounted on a baffle with a 2" opening,
the same sound level could be achieved at the opening,
and goblets could be shattered as easily as with the horn
driver.
We also found that for maximum loudspeaker output at
the ring frequencies of these goblets, the enclosure
volume behind the loudspeaker should be small. Best
results were obtained by completely closing the openings
in the loudspeaker basket.
FILMING OF THE COMMERCIALS
Three television commercials have been made. The first
was with operatic tenor Enrico Di Giuseppi, the second
with operatic soprano Nancy Shade, and the third with
Ella Fitzgerald.
-8-
6. Prior to each filming, the ring frequencies of several
dozen goblets were determined by striking each goblet,
picking up the tone with a microphone, and reading the
frequency with an electronic frequency counter. The
goblets were then grouped in pairs matched within approxi-
mately 1 Hz.
For the first part of the commercial, a goblet was set
immediately in front of the loudspeaker such that the rim
of the goblet was approximately level with the top of the
2" opening in the loudspeaker baffle. The singer was
given the proper pitch by means of an oscillator, fre-
quency counter, and monitor loudspeaker. He or she then
sang a short musical sequence of notes, ending with the
ring frequency (or, in the case of the tenor, an octave
below the ring frequency). The sound was picked up by a
microphone held by the singer, amplified, and fed to the
loudspeaker. A meter across the power amplifier output
monitored the voltage delivered to the loudspeaker.
The microphone preamplifier output was also fed to a
cassette deck and recorded on a Memorex cassette.
After the shattering of the goblet by the amplified live
singing had been filmed, the cassette was rewound and the
matching goblet was placed in front of the loudspeaker.
For the second part of the commercial, the cassette
recording was played back through the loudspeaker at the
same level as the original live program, and caused the
second goblet to shatter. After the filming, the recording
was played back once more and a sound level meter was
placed where the goblets had been, in order to measure the
sound level that had shattered the goblets. In the three
commercials, the respective readings were 141, 151, and
148 1/2 dB.
The soundtrack of the singing for the first part of the
commercial was taken from the microphone preamplifier.
For the second part of the commercial, the soundtrack
of the singing was taken from the cassette deck. In the
Ella Fitzgerald commercial, there is instrumental accom-
paniment which was picked up with separate microphones and
recorded on a separate synchronized recorder. This was
then added later to the commercial soundtrack. Thus, the
accompaniment was not reproduced by the loudspeaker and
played no role in the goblet shattering.
-9-
The sound of goblets shattering was dubbed onto the
commercial soundtrack, since the actual shatter sound was
relatively weak compared to the loudspeaker level.
As might well be expected, not every trial was successful
in breaking a goblet. Sometimes the singer's pitch was
very slightly off. Sometimes, especially during the first
trials with each singer, there was too much vibrato.
Professional singers, it seems, are not used to singing
without any vibrato and find it hard and/or distasteful
to do. Sometimes the singer was successful in breaking
the first goblet but the recording failed to break the
second one. When this happened, repeating the trial with
the same goblet was almost never successful. The probable
reasons for this occasional failure to break the second
goblet are a slight difference in ring frequency or a
sturdier goblet. We did find that some goblets were
harder to break than others. Incidentally, the goblets
with ring frequencies above about 850 Hz were extremely
difficult or impossible to break. They probably had
thicker walls.
FEASIBILITY OF THE CARUSO LEGEND
The human mouth is similar in dimensions to the loudspeaker
baffle opening used in the commercials. Some of our goblets
shattered with amplified voice levels as low as 141 dB. The
writer, who is not a singer, is able to produce a voice
level of 140 dB at his lips. When these facts are put
together, it is not difficult to believe that Caruso may
indeed have shattered one or more goblets with his voice,
if he held them very close to his mouth and used the right
goblets. If any reader can document the legend, the writer
would appreciate hearing about it.
ACKNOWLEDGEMENT
The writer wishes to acknowledge the assistance and
suggestions of many people during various phases of the
project. Particularly helpful were Dr. Eric Daniel and
James Loser of Memorex; James Shymkus, James Leman, Gary
Horton, Pat Collins, Wally Smith, and Norry Nelson of Leo
Burnett Company; Hal Landecker, Bob Callen, David Impastato ,
and Pete Grelet of EUE/Screen Gems, where the commercials
were filmed; and R. Lawrence Kirkegaard, Charles Dietrich,
and Joseph Rothermel of Bolt Beranek and Newman Inc.
-10-
7. FIGURE 1. BASIC BREAK PATTERN
FIGURE 2. VIBRATION PATTERN OF GOBLET RIM AS SEEN FROM
ABOVE