ACOUSTIC - Eight frequency bands, or

octaves, are considered in room

acoustics with the following
center frequencies:
Acoustics is a science that deals with the
production, control, transmission, 63 Hz, 125 Hz, 250 Hz, 500 Hz,
reception, and effects of sound in an 1 kHz, 2 kHz, 4 kHz and 8 kHz.
enclosed space.

SOUND
Sound is the human ear’s response to
pressure fluctuations in the air caused by
vibrating objects.

For example, a tap on the wall produces

sound because the tap makes a wall
vibrate. The vibrating wall produces
pressure fluctuations in the air.

Sound travels in space by a phenomenon

called wave motion.
FREQUENCY RANGE FOR SPEECH
Wave motion in air is similar to the AND MUSIC:
motion of a ripple produced by dropping a
pebble into a water pond.
2. SPEED (c)
- The speed of sound in air has
TYPES OF SOUND been measured as 344 m/sec
(1,130 ft/sec).
1. Speech

2. Music - This corresponds to 1,240

km/hr (770 mi/hr) which is
3. Noise extremely small as compared to
the speed of light (300,000
km/sec).
PHYSICAL QUANTITIES OF SOUND
The speed of sound in air does not vary
1. FREQUENCY (f) with the frequency of sound or its
- the number of sound ripples loudness.
generated in unit time.

- The number of cycles that the

air particles move back and
forth in one second in a sound Sounds at all audible frequencies,
wave is called the frequency of regardless of their loudness, travel at the
the wave. same speed.
- Its unit is cycles per second
(c/s) which is also termed Hertz
(Hz) after the Austrian physicist 3. WAVELENGTH (λ)
Heinrich Hertz (1857-94).
- The wavelength and the
frequency of sound are related
 to each other as shown in the
equation below. - It is a quantity called the sound
intensity level (IL).

The wavelength of sound corresponding

to the center frequencies are as shown
below:

2. PITCH
- is the frequency of sound wave
perceived by the human ear.

- A high-pitched sound means

that it has a high frequency.

4. INTENSITY - The female voice is slightly

- the amount of sound power higher pitched than the male
falling on (or passing through, voice.
or crossing) a unit area.

- Since the unit of power is watt

(W), the unit of sound intensity ACOUSTICAL CONCERNS
is watt per square meter IN ARCHITECTURE
(W/m2).

The sound intensity which is just audible,

called the threshold of audibility, has NOISE CONTROL
been determined to be 10-12 W/m2, and the This involves the following activities:
intensity that corresponds to the sensation
of pain in the human ear is approximately The control of air-borne noise through the
10 W/m2. insulation of sound or the shutting out of
unwanted sounds from the outside. This
CHARACTERISTICS OF SOUND
requires a study of the sound insulating
values of walls, partitions, doors and
windows and a study of the ventilating
1. LOUDNESS systems to provide a basis for the
- is a measure of the intensity of reduction of the transfer of unwanted
sound and is expressed in sound from one room to another;
decibels (dB).
The control of structure-borne noises c) RESONANCE
through the isolation of machines from the
room’s or the building’s structure. is the reinforcement of certain sound
frequencies due to sympathetic
vibrations.

PRINCIPAL ACOUSTICAL This is especially the case in enclosed

DEFECTS OF ROOMS rooms with highly reflective surfaces.

The effect would be to emphasize certain

frequencies at the expense of others,
a) PROLONGED which is undesirable for the balance
REVERBERATION desired in rooms intended for music.
long reverberation time (RT) due to
large amounts of highly reflective surfaces
and/or to large volume of space which d) FLUTTER ECHO
will take considerable time for reflected
sound to die out. a rapid but repetitive succession of
sounds caused by highly reflective
Effect of prolonged reverberation is parallel surfaces (wall to wall, or ceiling
blurring which is harmful to both speech to floor).
and music.

Reverberation time is influenced by:

e) UNDUE FOCUSING OF
- Volume of the room SOUND

- Sound absorbing qualities of the is caused by concave surfaces which

room’s surfaces. causes sound to converge at certain points
resulting in loss of energy in other parts of
- Number of people and furniture the room.
in the room

GLOSSARY OF IMPORTANT
b) ECHO ACOUSTICAL TERMS
distinct reflection of original sound which
results when the path of reflected sound is
20 m (65 ft) or more than the path of ABSORPTION COEFFICIENT – the
direct sound. fraction of the incident sound energy
If the difference is less than 20 m, the absorbed by a surface.
reflected sound will reinforce the direct ANECHOIC CHAMBER – a sealed
sound which is desirable. room in which all the surfaces are
It is recommended that the surfaces of the designed to completely absorb all sound
front part of an auditorium must be highly produced in the room.
reflective to reinforce direct sound and ATTENUATION – a reduction in sound
throw it to the rear of the room. level. Sound attenuation in air-
On the other hand, the rear must be highly conditioning is specified in terms of dB
absorptive so the delayed direct sound per meter.
will the absorbed and not be reflected to BACKGROUND NOISE – ambient
the front. noise
BREAK-IN NOISE – transfer of noise INSULATION – see isolation
from a space s
INTERMITTENT SOUND – a sound
urrounding the duct into the duct through that is discontinuous or fluctuates to such
duct walls. an extent that at times its sound pressure
level falls below a measurable level.
BREAK-OUT NOISE – transfer of noise
from the interior of a duct through duct INVERSE SQUARE LAW – a law that
walls into a space outside the duct. states that the sound intensity in a free
field varies inversely with the square of
DEAD ROOM – a room containing an the distance from the source.
unusually large amount of sound
absorption. ISOLATION– a lack of acoustical
connection.
DECIBEL (dB) – a unit of measurement
for sound pressure level, sound intensity LEAK – a small opening in a barrier that
level or sound power level. allows airborne sound to pass through.

DIFFRACTION – a change in the LIVE ROOM – a room containing an

direction of propagation of sound because unusually small amount of sound
of bending caused by a barrier in the path absorption.
of a sound wave.
LOUDNESS – an auditory sensation that
DIFFUSE SOUND (FIELD) – a sound depends on sound pressure level and the
field in which the sound comes in equal frequency of sound.
intensity from all directions.
MASKING – the increase in the
DIRECT SOUND – the sound that threshold of audibility of a sound that is
arrives at a receiver along a direct line required so that the sound can be heard in
from the source without reflection from the presence of another sound.
any surface.
NOISE ISOLATION CLASS (NIC) – a
ECHO – a sound that has been reflected single number rating derived from the
with sufficient time delay. measured value of noise reduction
between two rooms.
ENVIRONMENTAL NOISE – exterior
background noise in a neighborhood (i.e. NOISE REDUCTION (NR) – the
traffic, aircraft). reduction in the sound pressure level of
noise.
FIDELITY – a faithful reproduction of a
sound source. NOISE REDUCTION COEFFICIENT
(NRC) – a single number rating derived
FLUTTER ECHO – a rapid but from measured values of sound absorption
repetitive succession of sound from a coefficients of a material at 250, 500,
sound source usually occurring because of 1000, and 2000 Hz.
multiple reflections in a space with hard,
flat, and parallel walls. OUTDOOR – INDOOR
TRANSMISSION CLASS (OITC) – a
FREQUENCY – the number of full weighted single number rating of the
cycles per second measured. sound reduction effectiveness of a
partition that separates an indoor space
IMPACT NOISE – noise caused by the
from the outside.
collision of two objects.
PITCH – a listener’s perception of the
INFRASONIC – a sound that is below
frequency of a pure tone.
the human audible frequency, below 20
Hz.
REFLECTION COEFFICIENT – a STRUCTURE-BORNE SOUND –
measure of the sound reflective property sound propagated through a solid
of a surface. structure.

RESONANCE – the relatively large TRANSMISSION COEFFICIENT –

amplitude of vibration produced when the the ratio of transmitted sound energy to
frequency of the source of sound is equal incident sound energy
to the natural frequency of a room.
TRANSMISSION LOSS (TL) – is the
REVERBERANT SOUND FIELD – a measure of sound insulation of a partition.
sound field created by repeated reflections
of sound from the boundaries in an WAVELENGTH – the distance between
enclosed space. two adjacent compressions or rarefactions
in a sound wave.
REVERBERATION – the continuation
of sound in an enclosed space after the WHITE NOISE – a noise whose energy
initial source has been terminated. is uniform over a wide range of
frequencies. This is analogous to the term
REVERBERATION TIME (RT) – the “white light”, which consists of almost
time it takes for sound intensity to decay equal amount of light of different
by 1 millionth of its steady state value wavelengths (colors).
after the sound source has been
terminated. A white noise sounds hissy.

SABIN – a unit of measure of sound

absorption.

SCATTERING – an irregular diffraction ARCHITECTURAL

of sound in many directions.
ACOUSTICS
SOUND INSULATION – the ability of a
barrier to prevent sound from reaching a
receiver.
(man, space and
SOUND INTENSITY (SI) – the average
sound)
rate of sound energy flow through a unit
area in a given direction.

SOUND LEVEL (SIL) – a quantity Architectural Acoustics is the art and

expressed in decibels of airborne sound. technique of designing spaces, structures,
and mechanical systems to meet hearing
SOUND LOCK – a small space that
needs.
works as a buffer between a source room
and a receiving room. The architect must deal primarily with the
external human senses of sight, touch and
SOUND PRESSURE – fluctuating
hearing when designing the environment
pressure of sound superimposed on the
of the building.
static air pressure.
Knowledge of the concepts of
SOUND PRESSURE LEVEL – see
architectural acoustics, the study of
sound intensity level
everything which concerns hearing in
SOUND TRANSMISSION CLASS and around buildings, will enable the
(STC) – a single number rating of the designer to properly integrate the
sound insulation rating of a partition. requirements of sound control with the
requirements of other building functions.
The designer must be prepared to a. Site consideration
recognize and solve acoustical problems
from the very earliest design stages of a b. Location of activities within the
project. building

Equipped with a knowledge of the c. Wall, floor & ceiling construction and
concepts of architectural acoustics, the barriers
architectural designer can identify
d. Background sound levels
acoustical conditions requiring
professional assistance and engage in e. Coordination with room acoustics
productive collaborative work with all the
members of the project design team.

The goal of architectural acoustics is to 4. Mechanical System Noise

make the environment best serve the Control
functions intended, such as work,
a. Vibration isolation
relaxation or sleep.
b. Duct treatment

c. Equipment selec tion

ESSENTIAL ELEMENTS OF
ARCHITECTURAL d. Background Noise Generation
ACOUSTICS

1. Room Acoustics

a. Volume

b. Interior Surface Shapes

c. Surface Material Selection and

Placement

d. Audience Seating and Furnishings

2. Sound Reinforcement
System

a. Compatibility with room acoustics

b. Loudspeaker selection and

placement

c. System controls and components

3. Sound Isolation
 What is the Nature of Sound?

The nature of sound, to be heard,

requires the following elements:

1. Source of sound

2. Medium or Transmission Path

3. Receiver

SOURCE OF SOUND
Source of Sound is normally a
vibrating body, which converts some
other form of energy into vibration.

The source can be made quitter.

• The word TRANSDUCER is

often used as a generic term for
devices used in converting some
form of energy into sound such
as loudspeakers and
microphones.

TRANSMISSION PATH
A transmission path is any substance
that allows the vibration to be
transmitted in the form of a wave
motion.
THE PHYSICS OF
The transmission can be made to transmit
ACOUSTICS
more or less sound.

• Sounds that are transmitted by

What is Sound? air are called airborne sounds.

Sound is an oscillation in the presence of • Sounds that are transmitted

the atmosphere which is capable of being through solid bodies are called
detected by the human ear. structureborne sounds.

It is a form of energy propagated in waves

that continues to subsist until filtered
through a material turning into heat by RECEIVER
friction.
Receiver pertains with the human ear.
Sound is the sensation produced
The receiver can be influenced.
through the ear resulting from
fluctuations in the pressure of the air.
TYPES OF SOUND PARTS OF SOUND WAVE
The types of sound are: • Cycle – the full circuit by the
particle.

• Frequency – the number of

1. Music – can be classified as complete cycles per second,
ordered sound since it is measured in hertz (Hz).
integrated.
• Amplitude – the maximum
2. Speech – can also be considered displacement of a particle.
as ordered sound since it is also
integrated. • Period – the time required for
one complete vibration,
3. Noise – is classified as measured in seconds per cycle.
disordered sound, as in street
noise. • Wavelength – the distance a
sound wave travels during one
cycle of vibration.

THE SOUND WAVE

Sound Vibrations are longitudinal waves.

• They can be pure tone or a

complex sound.

PURE TONE

is sound dominated by energy in a single

frequency, and is described by a single
smooth sine curve.

Pure tones can only be produced

electronically.

Sounds with wavelengths ranging from

COMPLEX SOUNDS are those of 12mm to 15,000mm can be heard by
speech, music and noise. humans.
Most sounds in the everyday world are THE PROPERTIES OF
complex, consisting of a variety of
pressures which vary in time.
SOUND
1. Speed or Velocity

2. Frequency (Pitch or Tone)

3. Power (Intensity or Loudness)

4. Threshold of Audibility

5. Threshold of pain

6. Directionality of Sound Sources

SPEED OR VELOCITY OF SOUND 1,000 to 8,000 Hz are referred
to as hissy.
• Velocity is the speed of sound
that varies greatly according to
the medium the waves travel
in and slightly according to the Frequency of Sound and its Wavelength
temperature of the medium.

• Sound travels in the air at 330

meters per second at normal
temperature (20 degrees
Centigrade)

The relationship between wavelength,

frequency and speed of a sound is
expressed as;
FREQUENCY (PITCH OR TONE)

• In sound, Frequency is often w=v/f

referred to by a term borrowed
from musical concepts – Pitch.

• The higher the frequency, the where:

higher the pitch.
w=
• The sound’s frequency is its wavelength
number of vibrations in cycles (m)
per second, also known as
v = velocity
Hertz (Hz).
(m/s)
• The approximate frequency
f = frequency
range of a healthy person’s is 20
(Hz)
to 20,000 Hz.

• Humans are most sensitive to

sounds having significant *Sounds with
energy in the 500 to 4000 Hz. wavelengths
ranging from
• Low frequency sounds of about
16 to 500 Hz are called rumble,
while high frequency sounds of
12mm to 15,000mm can be heard by
humans.
What is acoustics?

SOUND PRESSURE LEVEL It is the interdisciplinary science that deals

with the study of all mechanical waves
(power, intensity, or
in gases, liquids, and solids including
loudness) vibration, sound, ultrasound and
infrasound.
Sound power level, also known as sound
intensity, is its loudness or impact of its
pulsating waves against eardrums,
measured in decibels (db).

This is the most often used description

and measurement of sound relative to
human sensitivity as to pressure.

Its unit of measure is in uP

(micropascal) or psi (pounds per square
inch.

A sound pressure level of

0 dB = 0.0207 uP or 0.000000003 psi

and120 dB = 20,700 uP or 0.03 psi

ACOUSTICAL ENGINEER
Sound pressure levels changes with
distance from a sound source. A scientist who works in the field of
acoustics is an acoustician while
someone working in the field of acoustics
technology may be called an acoustical
engineer.

The application of acoustics is present in

almost all aspects of modern society with
the most obvious being the audio and
noise control industries.

The word "acoustic" is derived from the

Greek word ἀκουστικός (akoustikos),
meaning

"of or for hearing, ready to hear" and

that from ἀκουστός (akoustos), "heard,

END audible",which in turn derives from the
verb ἀκούω (akouo), "I hear".

ACOUSTICAL The study of acoustics revolves around

the generation, propagation and
MATERIALS reception of mechanical waves and
vibration.
 3. fiberglass
4. fluffy fabrics
Auditory transduction 5. other porous materials
- refers to the process of A wide variety of materials can be applied
converting sound waves into to walls and ceilings, depending on your
electrical signals that can be application and environment.
processed by the brain.
These materials vary in thickness and in
shape to achieve different absorption
ratings depending on the specific sound
TYPES OF MATERIALS requirements.
1. SOUND DIFFUSERS
2. SOUND ABSORBERS
3. SOUND REFLECTORS
4. NOISE BARRIERS

Acoustical materials are a variety of

foams, fabrics, metals, etc. used to quiet
workplaces, homes, automobiles, and so
forth to increase the comfort and safety of
their inhabitants by reducing noise
generated both inside and outside of those
spaces.

Acoustical materials are used in two

major ways:

as soundproofing, by which noise TYPES:

generated from outside a given space is
blocked from entering the space; and, ACOUSTIC FOAM PANELS

as sound absorbing, where noise WHITE “PAINTABLE” ACOUSTICAL

generated within a space is reduced inside WALL PANELS
the space itself.
FABRIC WRAPPED PANELS

ACOUSTICAL WALL COVERINGS

CEILING TILES
SOUND ABSORBERS

Sound absorbing acoustical panels and

soundproofing

materials are used to eliminate sound

reflections to improve speech
intelligibility.

Typical materials:

1. open cell polyurethane foam

2. cellular melamine
BAFFLES AND BANNERS FOR - It is a white acoustical wall
CEILING panel with a soft textured
appearance.
FIBER GLASS BLANKETS AND ROLL
- The two feet by one foot
dimension provides installers
ACOUSTICAL FOAM flexibility to mount acoustical
PANELS panels around existing objects.

- used in a wide variety of - In addition to reducing echo

applications ranging from and reverberation, these
Recording and Broadcast
Studios to Commercial and
Industrial Facilities.

- Available in Polyurethane or in
a Class 1 Fire Rated foam.

- These products can be applied

directly to walls, hung as
baffles, or used as freestanding acoustical panels are used to
absorbers. create unique designs and
patterns.

- The glass fiber core is faced

with a paintable covering.

- This allows you to match or

complement existing wall colors
by applying a light coat of flat
or matte spray paint.

- To customize the look even

further, many local printing
companies now have the

capability to produce an image

directly to the face of these
panels.

ADVANTAGES:
WHITE PAINTABLE PANELS
Quick & Easy acoustical solution

Soft drywall texture appearance

Create unique patterns

Panel size allows for flexible mounting need material sized to fit or other finishes
options or coverings.

Paintable & Printable finish

Ceiling clouds reduce reflected

sound in areas such as theaters,
restaurants, arenas, shopping malls,
convention centers, recording and
broadcast rooms,or anywhere
absorption is required.

Ceiling Tiles are an excellent choice for

many ceiling
FABRIC WRAPPED PANELS
- grid applications requiring
high absorption

Sculptured sound absorbing modular units

used for walls, as

corner traps, bass traps and ceiling

applications. Available in

half-rounds or quarter-rounds.

Broadband Noise also called wideband

noise, is noise whose sound energy is
Acoustical sound panels utilize 6-7 PCF distributed over a wide section of the
glass fiber material for maximum audible range as opposed to narrowband
absorption. noise.
Available as wall panels, ceiling tiles,
hanging baffles, acoustical clouds and
bass traps, with more than 50 standard All surface faces and edges of the glass
colors to choose from, these materials fiber core are wrapped in fabric to match
will look as good as they sound. or accentuate room décor .

The standard sizes and configurations best Ceiling Baffles absorb sound on all sides
maximize raw materials, however, many and edges.
of these products can be customized to
meet specific requirements should you
 CEILING TILES

Cloudscape Ceiling Tiles absorb noise

WALL COVERINGS and block sound transmission.

- These ceiling tiles are designed

to fit into existing 2' x 2'
Acoustical wall fabric is a dimensional suspended drop tile ceiling grid
fabric that offers excellent acoustical systems.
properties, unmatched fade resistance,
and a fire/smoke retardant class A rating. - They may also retrofit in a 2' x
4' ceiling grid by installing cross
Sound channels is resistant to moisture, tees.
mildew, rot, bacteria, and is non-
allergenic. Produced with no voc’s
(volatile organic compounds), ods’s
(ozone-depleting substances), heavy
metals or formaldehyde, it's the perfect
acoustic fabric for offices, classrooms,
conference centers or any area where
speech intelligibility is a critical factor

FEATURES

•Lightweight Acoustic Fabric

•Easy to install

•Class A

•Passes Corner Burn Test

•Available in Many Colors

•Durable / Abuse Resistant

•Improves Speech Intelligibility

 - Cloudscape® ceiling tiles may reduced simultaneously by 3 to 12
also be ordered as a full 24" x decibels.
24" size, un-backed for adhesive
mounting directly to walls or
ceilings.

SOUND DIFFUSERS
BAFFLES AND BANNERS

- These devices reduce the

Baffles and Banners are designed to solve intensity of sound by scattering
acoustical problems economically in any it over an expanded area,
large cubic volume space such as rather than eliminating the
arenas, gymnasiums, theaters, sound reflections as an absorber
restaurants, and auditoriums. would.

Reverberation times that range from 4 to 9 - Traditional spatial diffusers,

seconds can be reduced to 1/2 to 2 such as the polycylindrical
seconds. Speech intelligibility is greatly (barrel) shapes also double as
improved and sound intensity levels are low frequency traps.
 - Temporal diffusers, such as
binary arrays and quadratics,
scatter sound in a manner
similar to diffraction of light,
where the timing of reflections
from an uneven surface of
varying depths causes
interference which spreads the
sound.

- BlockAid® Vinyl Sound

Barrier, also known as mass
loaded vinyl (MLV), is a limp-
mass material used to block
unwanted noise and reduce
sound transmission without
reducing valuable room space.

NOISE BARRIERS &

VIBRATION CONTROL
These materials range from dense
materials to block the transmission of
airborne sound to devices and compounds
used to isolate structures from one another
and reduce impact noise.
 TERMS
- Composites are constructed
from combinations of various
materials including foams, Sound Transmission Class (STC)
fiberglass, and barriers.
- is the measurement of a
- Their unique properties can material's ability to block
block and/or absorb airborne airborne sound within the
sounds or impact vibrations. frequency range of human
speech.

- The STC number is the

decibel (dB) reduction across a
material or assembly.

- For instance, if a sound in a

room is 60dB and that same
sound in the next room is 20db,
then the wall between the
rooms has an STC rating of
- Vibration control products are
40.
used to absorb vibration energy
and reduce structural noise
transmission.

- These include vibration pads,

underlayments, isolation
hangers, and resilient clips.

SOUND REFLECTORS
- Any smooth and hard surfaces
like walls, rocks, pillars, wood,
metal sheets, and glass will Most building codes require walls
reflect sound waves and are between dwelling units to have an STC
known as good reflectors of rating of 50.
sound.

- Unlike entirely smooth surfaces,

certain materials absorb sound
waves instead of reflecting them
and are called bad reflectors of
sound.
 - However, very loud speech can It is
still be heard through such a
partition, so an STC rating of 55
to 60 is generally used in
higher-end housing.

It is important to note that STC ratings important to reiterate that NRC is a

are given to partitions by rating agencies measurement of noise reduction within
after testing in a laboratory the human speech range, so a material that
environment. has a high NRC rating, may be poor at
absorbing music, mechanical equipment
Partitions installed in the field can have an noise, or other very low or very high
effective rating of 5dB lower and if frequency sounds.
significant short circuits in the
construction are present (cracks, air gaps, In addition, NRC ratings are often
back-to-back electrical boxes, ducts, etc.), provided based on a given assembly.
the partitions can be ineffective at
blocking sound. For instance, a carpet manufacturer may
indicate an NRC rating of .50, but this
Sound levels are subjective and vary by rating may be for the carpet, pad, and
individual. sub-floor -- it is not necessarily just for
the carpet.
Normal conversation: 60 dB

Noise Reduction Coefficient (NRC)

Ceiling Attenuation Class (CAC)
- is a measure of a material's
ability to absorb sound within - is effectively the STC of a
the frequency range of speech. ceiling tile.

- A material with an NRC of 0

will reflect all sound that hits it.

- A material with an NRC of 1.0

will theoretically absorb all
sound that hits it.

- Some materials have a listed

NRC rating above 1.0 due to the
complexity in testing a material
within a laboratory.

- Although a material is tested

based on its face dimensions,
the material has an inherent
thickness. - CAC is generally used to
measure sound transmission
- Due to diffraction and since the between two spaces when the
edges absorb sound, the average wall between them stops at or
sound absorption of the material just above the ceiling.
is greater than that of its face.
- Since the wall does not extend
to the underside of the structural
deck above, the ceiling is the
 only barrier preventing sound Floor: carpet - thick no pad (NRC = 0.45)
transmission between the
spaces. Ceiling: gypsum wallboard (NRC = 0.05)

Wall 1: glass (NRC = 0.02)

Wall 2: gypsum wallboard (NRC = 0.05)

FORMULAS
Wall 3: gypsum wallboard (NRC = 0.05)

Wall 4: gypsum wallboard (NRC = 0.05)

Sabine / Eyrings Formula for Floor: 4 m x 5 m = 20 m2 x 0.45 NRC = 9

Reverberation

Ceiling:
Time:
4 m x 5 m = 20 m2 x 0.05 NRC = 1
RT60 = K V/a ( K V/a )

RT60 = .049 V/a ( 0.16 V/a )

Wall 1:

4 m x 2.5 m = 10 m2 x 0.05 NRC = 0.5

Where:

RT60 = Reverberation Time

Wall 2:
V = volume of the space (Cubic feet /
Cubic meter) 5 m x 2.5 m = 12.5 m2 x 0.05 NRC =
0.625
a = sabins (total room absorption at given
frequency)
Wall 3:

k is a constant that equals 0.16 when the 5 m x 2.5 m = 12.5 m2 x 0.05 NRC =
units of measurement are expressed in 0.625
meters and 0.049 when units are
expressed in feet
Wall 4:

4 m x 2.5 m = 10 m2 x 0.02 NRC = 0.2

Reverb Time Calculation
Example
Total absorption in the room is 9 + 1 + 0.5
+ 0.2 + 0.625 + 0.625 = 11.95
Tip: to convert feet to meters take your
measurement (in feet) and divide it by
3.28. To find the reverberation time (T60) of
the example room we use the equation:

T60 = 0.16V/A
Example Room:

4 m wide x 5 m long x 2.5 m high

A = total absorption = 11.95
Building Materials:
V = Volume = 4 m x 5 m x 2.5 m = 50 m3

T60 = 0.16(50) / 11.95 Total absorption in the room is 0.4 + 1 +

3.5 + 0.2 + 0.625 + 0.625 = 6.35
T60 = 0.67 seconds < 1.5 seconds (To be
solved)

To find the reverberation time (T60) of

the example room we use the equation:

T60 = 0.16V/A

A = total absorption = 6.35

V = Volume = 4 m x 5 m x 2.5 m = 50 m3

T60 = 0.16(50) / 6.35

Floor:
T60 = 1.30 seconds < 1.5 seconds (To be
4 m x 5 m = 20 m2 x 0.02 NRC = 0.4 solved)
(changed to marble)

Floor:
Ceiling:
4 m x 5 m = 20 m2 x 0.02 NRC = 0.40
4 m x 5 m = 20 m2 x 0.05 NRC = 1
(changed to marble)

Wall 1:
Ceiling:
4 m x 2.5 m = 10 m2 x 0.35 NRC = 3.5
4 m x 5 m = 20 m2 x 0.05 NRC = 1
(change to drapery)

Wall 1:
Wall 2:
4 m x 2.5 m = 10 m2 x 0.05 NRC = 0.5
5 m x 2.5 m = 12.5 m2 x 0.05 NRC =
0.625

Wall 2:
Wall 3: 5 m x 2.5 m = 12.5 m2 x 0.05 NRC =
0.625
5 m x 2.5 m = 12.5 m2 x 0.05 NRC =
0.625

Wall 3:
Wall 4: 5 m x 2.5 m = 12.5 m2 x 0.05 NRC =
0.625
4 m x 2.5 m = 10 m2 x 0.02 NRC = 0.2
Wall 4:

4 m x 2.5 m = 10 m2 x 0.02 NRC = 0.2

Total absorption in the room is 0.4 + 1 +

0.5 + 0.2 + 0.625 + 0.625 = 3.35

To find the reverberation time (T60) of

the example room we use the equation:

T60 = 0.16V/A

A = total absorption = 3.35

V = Volume = 4 m x 5 m x 2.5 m = 50 m3

T60 = 0.16(50) / 3.35

T60 = 2.39 seconds > 1.5 seconds (To be

solved)