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Journal articles on the topic 'Auditorium Acoustics'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Orlowski, Raf. "Auditorium Acoustics." Acoustics 1, no. 3 (2019): 693. http://dx.doi.org/10.3390/acoustics1030040.

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2

Putra, Alnugraha Rachman, and Ryanty Derwentyana Nazhar. "Peranan Material Interior dalam Pengendalian Akustik Auditorium Bandung Creative Hub." Waca Cipta Ruang 6, no. 2 (2020): 71–76. http://dx.doi.org/10.34010/wcr.v6i2.4123.

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Acoustics in an auditorium interior have a vital role in the continuity of activities in it. Activities in the auditorium are closely related to audio and visual, so designing an auditorium requires an acoustic control system, not only visual elements are considered, but also sound or acoustic control requires special attention. This study describes the role of interior materials in acoustic control in a multifunctional auditorium in the Bandung Creative Hub building, West Java. To determine the quality of the room acoustics under study, the research method used is descriptive analysis by proc

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3

Pereira, Andreia, Anna Gaspar, Luís Godinho, et al. "On the Use of Perforated Sound Absorption Systems for Variable Acoustics Room Design." Buildings 11, no. 11 (2021): 543. http://dx.doi.org/10.3390/buildings11110543.

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An important challenge for acoustic engineers in room acoustics design is related to the acoustic performance of multi-purpose auditoriums, which are typically designed to suit several performance requirements. With this intent, the analysis of several scenarios is usually performed individually, and then an acceptable solution, that may be adapted to several situations, is selected. One way of providing a more appropriate acoustic performance for each function of the auditorium is using variable sound absorption techniques to control reverberation and other relevant acoustic phenomena associa

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4

Wang, Ji-Qing. "Diffusion and Auditorium Acoustics." Building Acoustics 10, no. 3 (2003): 211–19. http://dx.doi.org/10.1260/135101003322662014.

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5

Kuttruff, H. "On the Acoustics of Auditoria." Building Acoustics 1, no. 1 (1994): 27–48. http://dx.doi.org/10.1177/1351010x9400100103.

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The paper presents a short introduction into auditorium acoustics and reports on a few new developments in this field, which are believed to be of great benefit both for the acoustical design of auditoria and for research in practical room acoustics. The first part describes in a rather elementary way the basic facts of sound propagation in enclosures, including the effects of reflections and the role of reverberation. Furthermore, some of the numerous objective parameters are discussed which have been introduced in order to characterize particular aspects of sound fields. In the second part,

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6

Templeton, Duncan. "Auditorium acoustics and architectural design." Applied Acoustics 49, no. 3 (1996): 283–85. http://dx.doi.org/10.1016/s0003-682x(97)88032-2.

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7

Borish, Jeffrey Glenn. "Electronic simulation of auditorium acoustics." Journal of the Acoustical Society of America 77, no. 2 (1985): 764. http://dx.doi.org/10.1121/1.392353.

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8

Barron, Michael, and Timothy J. Foulkes. "Auditorium Acoustics and Architectural Design." Journal of the Acoustical Society of America 96, no. 1 (1994): 612. http://dx.doi.org/10.1121/1.410457.

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9

Pinnington, R. J., and C. B. Nathanail. "Modelling auditorium acoustics with light." Applied Acoustics 40, no. 1 (1993): 21–46. http://dx.doi.org/10.1016/0003-682x(93)90019-3.

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10

Maishan, Kabiru, and Asst Prof Dr Halil Zafer Alibaba. "Auditorium Acoustics From Past to Present." International Journal of Engineering Research and Applications 07, no. 01 (2017): 15–23. http://dx.doi.org/10.9790/9622-0701011523.

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11

Krokstad, Asbjørn. "Electroacoustic means of controlling auditorium acoustics." Journal of the Acoustical Society of America 77, S1 (1985): S89. http://dx.doi.org/10.1121/1.2022571.

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12

Rieffel, Marc, and E. Carr Everbach. "Auditorium acoustics simulation for the Macintosh." Journal of the Acoustical Society of America 91, no. 4 (1992): 2373. http://dx.doi.org/10.1121/1.403340.

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13

Bradley, J. S. "Auditorium acoustics measures from pistol shots." Journal of the Acoustical Society of America 80, no. 1 (1986): 199–205. http://dx.doi.org/10.1121/1.394162.

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14

Krokstad, Asbjörn. "Electroacoustic means of controlling auditorium acoustics." Applied Acoustics 24, no. 4 (1988): 275–88. http://dx.doi.org/10.1016/0003-682x(88)90085-0.

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15

Fernández, Gonzalo. "Sodre auditorium." Journal of the Acoustical Society of America 128, no. 4 (2010): 2275. http://dx.doi.org/10.1121/1.3507959.

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16

Zhang, Richard J. "Analysis on the Acoustics of an Auditorium." Open Journal of Acoustics 10, no. 02 (2020): 19–40. http://dx.doi.org/10.4236/oja.2020.102002.

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17

Orlowski, Rafal, Arup Acoustics, St Giles Hall, and Pound Hill. "Book Review: Auditorium Acoustics and Architectural Design." Building Acoustics 1, no. 1 (1994): 89–90. http://dx.doi.org/10.1177/1351010x9400100106.

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18

Rosenberg, Carl J. "Auditorium acoustics newsletters, edited by Russell Johnson." Journal of the Acoustical Society of America 124, no. 4 (2008): 2504. http://dx.doi.org/10.1121/1.4782872.

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19

Siebein, Gary W., and Michael Barron. "Auditorium Acoustics and Architectural Design, 2nd Edition." Noise Control Engineering Journal 59, no. 2 (2011): 213. http://dx.doi.org/10.3397/1.3544301.

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20

Bradley, J. S., and R. E. Halliwell. "Assessing electroacoustic systems with auditorium acoustics measures." Journal of the Acoustical Society of America 85, S1 (1989): S16. http://dx.doi.org/10.1121/1.2026841.

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21

Bradley, J. S., and R. E. Halliwell. "Ten years of newer auditorium acoustics measurements." Journal of the Acoustical Society of America 89, no. 4B (1991): 1856. http://dx.doi.org/10.1121/1.2029261.

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22

Barron, Mike. "The Search for Excellence in Auditorium Acoustics." Acoustics Australia 43, no. 1 (2015): 25–31. http://dx.doi.org/10.1007/s40857-015-0012-9.

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23

Rubacha, Jarosław, Adam Pilch, and Marcin Zastawnik. "Measurements of the Sound Absorption Coefficient of Auditorium Seats for Various Geometries of the Samples." Archives of Acoustics 37, no. 4 (2012): 483–88. http://dx.doi.org/10.2478/v10168-012-0060-1.

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Abstract This paper presents the results of measurements of the sound absorption coefficient of auditorium seats carried out in the laboratory using two methods. In the first one, small blocks of seats in various arrangements were studied in a reverberation chamber to determine the absorption coefficient of an auditorium of infinite dimensions. The results were compared to the values of the absorption coefficient measured using the second method, which involved samples enclosed within a frame screening the side surfaces of other auditorium blocks. The results of both methods allowed for the as

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24

Connolly, Sean. "Willson Auditorium renovation." Journal of the Acoustical Society of America 146, no. 4 (2019): 2894. http://dx.doi.org/10.1121/1.5137041.

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25

Woszczyk, Wieslaw, Aybar Aydin, and Ying-Ying Zhang. "Virtual Acoustics, better than the real thing? Considering the creative side." Journal of the Acoustical Society of America 152, no. 4 (2022): A181. http://dx.doi.org/10.1121/10.0015962.

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Once room acoustical reflections data are extracted from a physical space or a model, and are encapsulated in a 3D impulse response, they can be used to render immersive sound fields in real time. A range of possibilities then opens for creative use of acoustics in music. A skilled virtual acoustics designer-engineer may rebalance digital signals representing the room response to situate player and listener on the stage or at the back of the auditorium, may modify and arrange temporal segments to re-imagine the aural dimensions of the space, and apply gain and directional placement to shape th

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26

Medwin, Herman. "From auditorium ray acoustics to wave acoustics: The next giant step." Journal of the Acoustical Society of America 107, no. 5 (2000): 2891. http://dx.doi.org/10.1121/1.428748.

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27

Wu, Shuoxian, Hongwei Wang, and Yuezhe Zhao. "Auditorium acoustics evaluation based on simulated impulse response." Journal of the Acoustical Society of America 115, no. 5 (2004): 2476. http://dx.doi.org/10.1121/1.4782526.

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28

Chan, T. M., and W. M. To. "Modelling of Scattering from Balcony Fronts." Building Acoustics 9, no. 3 (2002): 219–31. http://dx.doi.org/10.1260/135101002320815684.

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Balconies are normally used in large auditoria such as concert halls or opera houses, to increase seating capacity or to give better view for a distinguished group of the audience. When ray-tracing based computer models are applied to study the acoustical quality of these auditoria, the alteration of the sound field due to balcony fronts is normally unobservable, because of the relative small size of the balcony fronts in the auditorium. Furthermore, most diffuse reflection ray-tracing methods are not based on direct wave acoustics but on an approximation of the scattering effect. In practice,

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29

Büttner, Clemens, Mitsuru Yabushita, Antonio Sánchez Parejo, Yu Morishita, and Stefan Weinzierl. "The Acoustics of Kabuki Theaters." Acta Acustica united with Acustica 105, no. 6 (2019): 1105–13. http://dx.doi.org/10.3813/aaa.919389.

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The study presents a room acoustical investigation of a representative sample of eight Kabuki theaters as the most important public performance venues of pre-modern Japan. Room acoustical parameters according to ISO 3382 were measured for the unoccupied and simulated for the occupied condition. In comparison with European proscenium stage theaters, they have lower room heights in the auditorium, with usually only one upper tier, and no high stage house for movable scenery. The lower volume per seat results in lower reverberation times, The wooden construction and the audience seating arrangeme

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30

Davies, W. J., R. J. Orlowski, and Y. W. Lam. "Measuring auditorium seat absorption." Journal of the Acoustical Society of America 96, no. 2 (1994): 879–88. http://dx.doi.org/10.1121/1.410263.

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31

Poletti, M. A. "Active Acoustic Systems for the Control of Room Acoustics." Building Acoustics 18, no. 3-4 (2011): 237–58. http://dx.doi.org/10.1260/1351-010x.18.3-4.237.

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The acoustic design of auditoria involves the specification of the room geometry and boundary properties, and any additional acoustic elements such as reflectors or diffusers, to usefully direct sound to produce a desired subjective experience, quantified by measurable acoustic parameters. This design must take into account the reflection of sound within the stage area, the early reflections from the stage to the audience and the reverberant response of the room. The sound produced by the audience can also be an important consideration. Active acoustic systems provide an alternative approach t

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32

Ţopa, Marina Dana, Norbert Toma, Botond Sandor Kirei, Ioana Sărăcuţ, and Angelo Farina. "Experimental Acoustic Evaluation of an Auditorium." Advances in Acoustics and Vibration 2012 (September 23, 2012): 1–8. http://dx.doi.org/10.1155/2012/868247.

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The paper presents a case history: the acoustical analysis of a rectangular auditorium. The following acoustical parameters were evaluated: early decay time, reverberation time, clarity, definition, and center time. The excitation signal was linear sweep sine and additional analysis was carried out: peak-to-noise ratio, reverberation time for empty and occupied room, standard deviation of acoustical parameters, diffusion, and just noticeable differences analysis. Conclusions about room’s destination and modeling were drawn in the end.

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33

Tanen, Robert, and Alexander M. Aquila. "Big Acoustics in Small Spaces - Achieving HS Auditorium Design Goals with Space Constraints." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 4 (2021): 2126–37. http://dx.doi.org/10.3397/in-2021-2058.

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When designing a high school auditorium there are several factors that determine the outcome of the final construction. Prior to establishing acoustical design goals, the restrictions outlined from the design team typically start at budget and may extend to the size of the box in which the auditorium is to fit. A fluent balance between design restrictions and internal acoustical goals is critical to create a successful end-product. This case study shows the actions taken to increase the volume, provide custom diffusion, and isolate an auditorium from mechanical sources directly above the space

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34

Rieffel, Marc, Geoffrey Noer, Jeremy Dilatush, Andrew Brown, and E. Carr Everbach. "Ray‐tracing analysis of auditorium acoustics for the Macintosh." Journal of the Acoustical Society of America 95, no. 5 (1994): 2887. http://dx.doi.org/10.1121/1.409357.

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35

Wettstein, Domonkos. "Az auditorium mint analóg hangszer : Az Opera felújításának építészeti kihívásai." Metszet 13, no. 5 (2022): 14–23. http://dx.doi.org/10.33268/met.2022.5.1.

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"The building is an analog instrument" - which can be interpreted not only in terms of acoustics, but also in connection of relationships between historical and contemporary layers. This instrument can be prepared during the restoration process but awaits fine tuning once performances return to the stage. In whole the main auditorium has been restored to its original form, yet innovative use of electrical and mechanical services has been applied to enhance the spectator's experiences. Not only has the auditorium been fine-tuned, but the same dedication also been applied to restoring this instr

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36

Kolářová, Zuzana, Libor Šteffek, and František Vajkay. "Computer Simulations of Room Acoustics in Sporting Facilities." Advanced Materials Research 649 (January 2013): 57–60. http://dx.doi.org/10.4028/www.scientific.net/amr.649.57.

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The paper is focused on a solution with regards to acoustic problems inside of facilities for sporting activities. The evaluation of the acoustic parameters of the interior was done within a project called "Badminton Centre with Facilities", which was part of a master thesis at the Institute of Building Structures of the Faculty of Civil Engineering, BUT Brno. The given solution and design took into account not only the requirements given by the legislation dealing with building acoustics, but the aesthetical viewpoint of the individual acoustically absorbing surfaces also. The simulations wer

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37

Markham, Benjamin. "Blodgett Hall Auditorium, Vassar College." Journal of the Acoustical Society of America 115, no. 5 (2004): 2440. http://dx.doi.org/10.1121/1.4781931.

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38

Jurdy, Basel. "Flutter echo at Pigott Auditorium." Journal of the Acoustical Society of America 121, no. 5 (2007): 3151. http://dx.doi.org/10.1121/1.4782181.

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39

Foulkes, Timothy, and Christopher Storch. "Auditorium design for choral performance." Journal of the Acoustical Society of America 118, no. 3 (2005): 2008. http://dx.doi.org/10.1121/1.4785701.

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40

Sü Gül, Zühre, Merve Eşmebaşı, and Zeynep Bora Özyurt. "The effects of stage house coupling on multipurpose auditorium acoustics." Applied Acoustics 198 (September 2022): 108996. http://dx.doi.org/10.1016/j.apacoust.2022.108996.

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41

Cairoli, Maria. "Architectural customized design for variable acoustics in a Multipurpose Auditorium." Applied Acoustics 140 (November 2018): 167–77. http://dx.doi.org/10.1016/j.apacoust.2018.05.026.

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42

Yadav, Saurabh, Gaurav Sharma, Sarthak Nag, and Arpan Gupta. "Reverberation time improvement of lecture auditorium: A case study." Noise & Vibration Worldwide 49, no. 1 (2018): 14–19. http://dx.doi.org/10.1177/0957456517748448.

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In this study, reverberation time of a lecture auditorium has been analyzed experimentally and analytically. It is well-known fact that reverberation time affects the speech intelligibility and hence should be within the range of possible optimum values. Experiments were performed to calculate the reverberation time of a lecture auditorium constructed at Indian Institute of Technology Mandi (IIT Mandi), for different internal conditions such as furniture and curtains. Experimental results were compared with the theoretically calculated values of reverberation time. It is found that acoustic pe

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43

Vaupel, B. G. L. "The Best Remaining Seat: Evaluating Auditorium Plans for Desirability." Building Acoustics 5, no. 1 (1998): 1–16. http://dx.doi.org/10.1177/1351010x9800500101.

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It is important that an auditorium be designed to have as many good seats as possible. Not all seats in an auditorium are judged to be equally good. This is manifested in that the audience does not choose its seats randomly. The audience understands intuitively that, generally speaking, the closer a seat is to the performers, and the more straight on the better it is. Acoustics should be the most important consideration in selecting a seat, prior to a concert. However, the visual, comfort and economic factors are also important, along with others, not easy to isolate or define. Imagine an audi

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44

Kamisiński, Tadeusz. "Correction of Acoustics in Historic Opera Theatres with the Use of Schroeder Diffuser." Archives of Acoustics 37, no. 3 (2012): 349–54. http://dx.doi.org/10.2478/v10168-012-0044-1.

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Abstract The paper deals with the problem of acoustic correction in historic opera theatres with the auditorium layout in the form of a horseshoe with deep underbalcony cavities limited with a semicircular wall surface. Both geometry of the cavities and excessive sound absorption determine acoustic phenomena registered in this area of the hall. The problem has been observed in the Theatre of Opera and Ballet in Lviv, Ukraine, where acoustic tests were carried out, simulation calculations performed, and finally a diffusion panel worked out designed for the rear wall of the underbalcony space. A

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45

Johnson, Russell. "Partially coupled chambers in auditorium design." Journal of the Acoustical Society of America 99, no. 4 (1996): 2459–500. http://dx.doi.org/10.1121/1.415485.

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46

Ryan, William W. "Auditorium characteristics and a cappella music." Journal of the Acoustical Society of America 96, no. 5 (1994): 3248. http://dx.doi.org/10.1121/1.411047.

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47

Britton, Deb, Kevin Hodsgon, and Gain Foster. "Sound reinforcement for a divisible auditorium." Journal of the Acoustical Society of America 141, no. 5 (2017): 3712. http://dx.doi.org/10.1121/1.4988120.

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48

Woolworth, David S. "Case studies: Auditorium, gymnasium, and gymnatorium." Journal of the Acoustical Society of America 127, no. 3 (2010): 1892. http://dx.doi.org/10.1121/1.3384724.

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49

Kim, Jae Ho, Yong Hee Kim, and Jin Yong Jeon. "Diffuser design for both auditorium and stage acoustics in concert halls." Journal of the Acoustical Society of America 123, no. 5 (2008): 3198. http://dx.doi.org/10.1121/1.2933345.

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50

Echenagucia, Tomás Méndez, Mario Sassone, Arianna Astolfi, Louena Shtrepi, and Arthur van der Harten. "EDT, C80and G Driven Auditorium Design." Building Acoustics 21, no. 1 (2014): 43–54. http://dx.doi.org/10.1260/1351-010x.21.1.43.

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