Acoustical design of stages with large plane surfaces in rectangular recital halls

Chiang, Wei‐Hwa; Shu, Yan-kuan

doi:10.1016/s0003-682x(03)00048-3

Cited by 15 publications

(11 citation statements)

References 2 publications

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“…This work reports the investigation of potentially suitable, practicable methodologies for field measurements in large rooms and the calculation of acoustic indices. This issue has not been discussed greatly in the scientific literature, though several works have considered the related topics of auditorium and theatre design [2][3][4] and sound propagation in low-ceilinged and extended industrial environments [5]. The defining of virtual measurement environments in laboratories has been discussed [6]; large rooms characterized by repetitive structures have also been considered [7].…”

Section: Introductionmentioning

confidence: 99%

Field Measurements of Sound Insulation in Large, Open Rooms

et al. 2014

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The international standards governing the measurement of sound insulation in buildings (ISO 140) do not explicitly cover the methodology of taking measurements in large open rooms. A building with open plan floors, each of about 1300 m 2 , is considered here. The ISO 140-14 standard, through an analysis of sound level distribution, allowed smaller partitions to be identified and used as reference volumes. Different index calculation methods allowed critical issues to be highlighted. The impact sound index was strongly affected by geometry (i.e., volume); therefore, its calculation using different virtual volumes gave differing results. Furthermore, the index calculated using the logarithmic average of the indices for each virtual volume and an extended analysis of measurements over the entire floor provided different results. The airborne sound insulation index was demonstrated to be independent of the choice of virtual volumes; it could be consistently calculated using either the logarithmic average or the extended analysis.

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Section: Introductionmentioning

confidence: 99%

Field Measurements of Sound Insulation in Large, Open Rooms

et al. 2014

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“…Based on the findings as reported in the previous sections there are twotime boundaries which connect the three important time intervals direct, early reflected and late reflected sound. The time points 5, 7, 10 and 20 ms have been used in [19,23], [18,15,22], [3,4] and [3,4] respectively to describe the transition time point between the direct sound and the early reflections which will be denoted 'x'. The time points 40, 50, 80 and 100 ms have been used in [22], [15], [3,4,19] and [3,4,18] respectively to describe the transition time point between the early reflections and late reflections and will be denoted 'y'.…”

Section: Methodsmentioning

confidence: 99%

“…Another series of papers have discussed possible variations in time intervals for the ST parameters. It wass uggested by Chiang et al to extend the ST early time interval from 20-100 ms to 7-100 ms [18] or 5-80 ms [19]. This way, ST early could be used to perform measurements closer to the stage boundaries.…”

Section: Variations On the Support Parametersmentioning

confidence: 99%

On Measurements of Stage Acoustic Parameters: Time Interval Limits and various Source–Receiver Distances

Wenmaekers¹,

Hak²,

Luxemburg³

2012

Acta Acustica united with Acustica

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The most widely recognized objective stage acoustic parameters are the Early Support (ST early ) and Late Support (ST late ). In these parameters the early and late reflected sound energy is measured within a certain time interval. Different time interval limits have been proposed for the stage acoustic parameters but there is no agreement on the preferable limits. There is a growing interest to measure stage acoustic parameters at various source to receiver distances. In this paper the influence of perceptual and architectural parameters, synchronicity, source to receiver relationship and the measurement system on stage acoustic parameters is discussed. Based on existing and new insights an optimization and extension of the ST parameters is proposed such that they can be measured at any distance between source and receiver using the most appropriate time interval limits. Theoretical assumptions were checked and confirmed based on systematic analyses of measured results for different concert hall stages with various conditions and various source to receiver distances. SummaryThe most widely recognized objective stage acoustic parameters are the Early Support (ST early )and Late Support (ST late ). In these parameters the early and late reflected sound energy is measured within acertain time interval. Different time interval limits have been proposed for the stage acoustic parameters butthere is no agreement on the preferable limits. There is agrowing interest to measure stage acoustic parameters at various source to receiver distances. In this paper the influence of perceptual and architectural parameters, synchronicity,source to receiver relationship and the measurement system on stage acoustic parameters is discussed. Based on existing and new insights an optimization and extension of the ST parameters is proposed such that theycan be measured at any distance between source and receiveru sing the most appropriate time interval limits. Theoretical assumptions were checked and confirmed based on systematic analyses of measured results for different concert hall stages with various conditions and various source to receiverdistances. PACS no. 43.20.El, 43.55.Br,43.58.Gn 776 ©S.Hirzel Verlag · EAA Wenmaekers et al.:M easurements of stage acoustic parameters ACTA ACUSTICA UNITED WITH ACUSTICA Vol. 98 (2012)

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“…They also found that the difference between the two methods was less than the just noticeable difference (JND) [22]. Chiang and Shu [23] investigated the effects of the splaying angle of the perimeter; proportion, position, and direction of musicians; and the presence or absence of reflectors on the stage acoustics. They found that positioning the sound source behind the stage, while reducing the stage volume and width was effective for acquiring the initial energy and that the shape played a more important role than the volume for the late energy.…”

Section: Introductionmentioning

confidence: 99%

Effect of Stage Volume Ratio on Audience Acoustics in Concert Halls

Jeon

Seo

2020

Sustainability

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This report proposes the stage volume ratio (Vo/V) as an acoustic design factor for concert halls and presents an investigation of the dependence of the acoustic parameters of an auditorium on the stage volume through computer simulation. Firstly, the ratio of the stage volume to the total volume of a concert hall was defined as Vo/V through case studies of existing concert halls. It was verified using a simple model that the stage acoustic parameter STEarly and audience acoustic parameters G and C80 decreased, whereas, the reverberation time and early decay time increased with increasing Vo/V. Secondly, a computer simulation was performed for nine existing concert halls, while changing Vo/V from −20% to 30%. The room acoustic parameters exhibited the same patterns as suggested by the simple model. Vo/V significantly affected the bass ratio and bass index. A comparison of the effects of Vo/V and the sound absorption coefficient in nine concert halls revealed that Vo/V contributed approximately 15% to the reverberation and affected the bass characteristics more substantially. Thus, Vo/V is a critical design factor when determining the warmth of the audience acoustics. The study results could be used as a basis for acoustic design in the future.

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Acoustical design of stages with large plane surfaces in rectangular recital halls

Cited by 15 publications

References 2 publications

Field Measurements of Sound Insulation in Large, Open Rooms

Field Measurements of Sound Insulation in Large, Open Rooms

On Measurements of Stage Acoustic Parameters: Time Interval Limits and various Source–Receiver Distances

Effect of Stage Volume Ratio on Audience Acoustics in Concert Halls

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