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Vol 23 No 3


December 1995


Computer Simulation Techniques for Acoustical Design of Rooms
J H Rindel
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Predicting the Acoustics of Concert Halls Using an Artifical Neural Network
F Fricke and C Hoon Haan
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Some Notes on Sabine Rooms
D A Bies
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Notes on Office Acoustics
B Murray
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Computer Simulation Techniques for Acoustical Design of Rooms

Jens Holger Rindel
The Acoustics Laboratory
Technical University of Denmark
DK-2800 Lyngby, Denmark

Vol. 23, No. 3 pp 81-86 (1995)
ABSTRACT: After decades of development room acoustical computer models have matured. Hybrid methods combine the best features from image source models and ray tracing methods and have lead to significantly reduced calculation times. Due to the wave nature of sound it has been necessary to simulate scattering effects in the models. Today's room acoustical computer models have several advantages compared to scale models. They have become reliable and efficient design tools for acoustic consultants, and the results of a simulation can be presented not only for the eyes but also for the ears with new techniques for auralisation.

Predicting the Acoustics of Concert Halls Using an Artifical Neural Network

Fergus Fricke and Chan Hoon Haan
Department of Architectural and Design Science
University of Sydney
NSW 2006 Australia

Vol. 23, No. 3 pp 87-95 (1995)
ABSTRACT: An alternative approach to the design of concert halls, using artificial neural networks, has been investigated. As part of the study, visiting musicians and conductors were asked to complete a questionnaire on their preferences for over 60 concert halls, most of which were located in Europe and North America. A similar survey was carried out using members of the Music Critics Association in the USA. These results were used to correlate hall preferences with physical features of the halls. It was found that the single most important feature affecting the acoustics of halls was the diffusion of the interior surfaces. A preliminary neural network analysis showed a high correlation between the predicted and assessed acoustical ratings of halls when only seven geometrical factors were used to describe the halls used in the study. The paper also reports on the comparison of evaluations of concert halls by musicians and music critics and the preferences of both groups for different types of halls.

Some Notes on Sabine Rooms

David Alan Bies
Department of Mechanical Engineering
University of Adelaide, Adelaide 5005

Vol. 23, No. 3 pp 97-103 (1995)
ABSTRACT: First the classical derivation of the Sabine equation describing the decay of a diffuse sound field in a reverberant enclosed space is reviewed. Next a modal description of sound field decay is proposed and three alternative methods of solution are considered:(a) With appropriate simplifications the Norris-Eyering equation is derived. From the latter equation the Sabine equation is derived as a first approximation.(b) With alternative assumptions the Millington-Sette equation is derived and the open window dilemma, often cited, is resolved. (c) With further argument and one assumption the modal analysis leads to the Sabine equation but not as a first approximation. Experimental verification is demonstrated by making reference to data provided by a CSIRO round robin which was conducted and reported in 1980. It is shown that all of the data obtained in the latter investigation in the seven rooms ranging in size from 106 cubic meters to 607 cubic meters which had sufficient auxiliary diffusion and for all patch sizes tested may be reduced to one line in terms of the calculated statistical absorption coefficient for an infinite patch.A simple empirical expression based upon assumed edge diffraction effects is shown to fairly well describe the data in its mid range. Explanations for departures at low and at high frequencies from the proposed expression describing the results are suggested.

Notes on Office Acoustics

Barry Murray
Wilkinson Murray Pty Ltd
SYDNEY NSW 2006 Australia

Vol. 23, No. 3 pp 105-107 (1995)
ABSTRACT:Based on theoretical aspects of acoustics and years of experience, practical methods of office acoustic design have been determined. When installing partitioning for cellular offices, care needs to be taken to ensure that the sound transmission loss of the partition construction is matched by surrounding constructions and details. When designing open office plans, a careful balance of all of the factors, including sound absorption, distance, shielding and background noise level, is required. The acoustic design of conference rooms must also allow for the modem audio technology associated with such rooms.




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