080610 Neocon Presentation

7/30/2019 080610 Neocon Presentation

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Home Theater Acoustics WSDG

Considerations in Interior Design

forHome Theaters and Listening Enviornments

presented by

Beth Walters & J ohn Storyk

Principals and Co-Founders

Walters-Storyk Design Group

NeoConJ une 10, 2008


Partners in Design

Acoustics +Audio-Video


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Challenge

unite the disciplines ofarchitecture and acoustics in

order to create excitingspaces that are acousticallyaccurate and quiet within the

community


1. Our Approach

2. Acoustic Audio-Video fundamentals

3. Home Theater Design & Beyond

4. Case Studies


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1.

Our Approach



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room shaping fundamental isolation issues room surface concepts


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1. Quietness2. Internal Room Acoustic Values3. Audio Video Requirements

4. Client Education


1. quietness


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1. quietness

room within

roomconstruction


1. quietness


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1. quietness

early project reminders

make an acoustic site survey develop a robust program statement

with exact quietness requirements


2. internal room acoustic values

- Intelligibility rooms acoustic characteristic toclearly hear speech such as conference rooms

- Audio (music) responsiveness this is important inany room dedicated to serious music listeningsuch as recording studios and home theaters


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2. internal room acoustic values


3. audio video requirements

early project reminder a-v requirements

at the very least identify specialty a-v requirements ipod docking station integrated window and lighting controls surround sound distributed audio-video master media library

etc.


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3. audio video requirements

equipment closet in millwork with rear access


4. client education

discuss these early in the project

room shaping surface treatments a-v electronics


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4. client education


4. client education


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4. client education


4. client education


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4. client education


4. client education


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2.

Acoustics + Audio-Video Fundamentals


applied acoustics in design

transfer and isolation internal room


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All acoustical parameters must be

thought of as being

FREQUENCY DEPENDENT

Acousticsis the study of sound.

Soundis the change of pressure in a

medium (air) over time.


AtmosphericPressure

Press

ure

Time

Fundamentals

WavelengthWavelength


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c f=c, the velocity of sound, is constant.

Therefore, if gets small, f must get large.If gets large, f must get small.

Low frequencies have long wavelengths.

High frequencies have short wavelengths.

Wavelength & Speed

1130 / 1.13 / 1 /

344 / 34.4 / 30 /

Imperial Units:

SI Units:

c ft s ft ms ft ms

c m s cm ms cm ms

=

=


Speech

Music

40dB

20 to 20,000Hz

80 to 4,000Hz

Frequency (Hz)

Sound

Pressure

Level(dB)

80dB

Thresholdof Hearing

Thresholdof Pain

Speech and Music120

100

80

60

40

20

0

20 10050 300 500 1k 3k 5k 10k 20k


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63 125 250 500 1k 2k 4k 8k

Octave Bands

Frequency Range in Bands

The most common frequency bands have their centers atoctave or1/3 octave intervals.


Acoustic Sound LevelsdB SPL Chart

Our ears sensitivity for loudness andfrequency is logarithmic measured in

decibel (dB)


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transfer and isolationacoustics


Noise Criteria Curves (NC)

One of the most commonly used single-numberreadings for quietness is the Noise Criteria (NC).

To convert a given set of measurement data to thesingle-number value, a set of predefined curves is

used.


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NC 35

NC 35 !

100

90

80

70

60

50

40

30

20

10

0

31.5 63 125 250 500 1k 2k 4k 8k

NC 70

NC 65

NC 60

NC 50

NC 45

NC 40

NC 30

NC 25

NC 20

NC 55

NC 35

octave band center frequencies (Hz)

sound-pressure

level(dB)

Noise Criteria Curves (NC)

NC curves areconvenient but canbe deceiving inaccuracy for individualfrequency values


45-60Computer room

20-25Home Theater35-50Restaurant

15-20Audio Studio

30-45Office

35-45Living

25-35Sleeping

NC levelConditions

Typical NC Values


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Transmission Loss (TL)

Level: 80dB SPL @ 1kHz

TL =approx. 80 35

=approx. 45dB @ 1kHz

Level: 35dB SPL @ 1kHz

The most common way of determining airborne sound insulation

is the two room method.

SourceRoom

ReceiverRoom


Two keywords for sound isolation designMass

Decoupling

A clever combination of both: physical massand mechanical decoupling will result in good

sound isolation.

High performance acoustic isolation often results inRoom within Room Construction

Room-within-Room Design


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Sound Transmission Class

STC 45

Fiber glass

2x4metal studs

5/8gypsum

board


STC 52

Partitions

Attenuation Blanket

Metal Studs

2 Layers of 5/8

Gypsum Board

Resilient Channel

Open Cell Neoprene

Acoustical Sealant

Metal Stud Systems


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STC 62

Partitions

Attenuation Blanket

Metal Studs

multiple g.b. layers

de-coupled acoustic ceiling

Floating Floor

Metal Stud Systems

Shown herewith

De-Coupled Floorand

Ceiling Systems


Room-within-Room Design

Detail ofceiling spring

isolator system

spring isolator


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Internal RoomAcoustics


AcousticalTreatment

TemporalResponse

SpatialResponse

Acoustical Palette

REFLECTION

-90

30

60

90

-30

-60

0SPECULAR

REFLETION

6 dB

DIFFUSION

-90

30

60

90

-30

-60

0

10dB

TIME (msec)

DIFFUSION

10 msec

ABSORPTION

-90

30

60

90

-30

-60

0DIRECT SOUND

ATTENUATED

REFLETION

Geometry links the real world to what we hear


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DirectSound

FirstReflection

SecondReflection

S

Reflections


The RT60 Decay Time measuresthe (frequency dependent) timenecessary for a 60 dB decayin sound pressure level (one-millionth of original Signal).

ReverberationRT60

The steepness of the slope with witch the reverb decays(which defines the RT60 Decay Time) is an importantparameter in defining the acoustics of a room.

However, the distribution of the individual reverberation peaksis the other half of the story!


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100

90

80

70

60

50

0,00

0,22

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0,44

0,88

1,10

1,32

1,54

1,76

10 1K100 10K

Sound PressureLeveldB re 20m Pa

Frequency, Hz

Time,Sec.

ReverberationRT60 - Waterfall Display


1.4

1.2

1.0

0.8

0.6

0.4

0.2

0

1,000

MUSIC

SPEECH

2,000 3,000 5,000 10,000 20,000 50,000

Rever

berationTime(seconds)

RT60 target design values

Room Volume (cubic feet)


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Newman

Bolt

Beranek

1957

Modal AnalysisRoom Ratios

Room 1

Length:

Width:

Height:

x : y : z = 3 : 2 : 1

36 ft

24 ft

12 ft

Note: Dimension Ratio 1:X:Y

ACCEPTABLE

RATIOS

3.0

2.8

2.6

2.4

2.2

2.0

1.8

1.6

1.41.2 1.4 1.6 1.8 2.0


Modal Analysis

Note: Dimension Ratio X:Y:1

ACCEPTABLE

RATIOS

3.0

2.8

2.6

2.4

2.2

2.0

1.8

1.6

1.41.2 1.4 1.6 1.8 2.0

Room 2

Length:

Width:

Height:

x : y : z = 2.3 : 1.6 : 1

21.5 ft

15 ft

9.5 ft

Room Ratios


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Acoustic Design Room Ratios

Log10 20 30 40 50 6 0 70 80 90 100 150 200 250 300 350

50 100 150 200 250 3000 350

Lin

20

20

width : 20

length: 20height: 9


Acoustic Design Room Ratios

10 20 30 40 50 6 0 70 80 90 100 150 200 250 300 350

50 100 150 200 250 3000 350

20

16.5

closet

width : 20length: 16.5height: 9

Log

Lin


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3.

Design


future homes more media rooms future offices more media conference rooms future environments quieter (greener)


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advanced technology and improved acousticswill appear in almost all building types


early in the design process room shaping display requirements audio and specifically low frequency control quietness and isolation hvac

wire management (future proof)the bare maximum


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CINEMA



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4.

Case Studies


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Mi Casa StudiosHollywood, CA, USA



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Belo Horizonte, Brazil

Paz Home Theater - Musuem of Inhotim



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Apartment Home TheaterDallas,TX



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Surround Control Room


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Nantucket, MA

Chu Residence Home Theater



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acoustic prediction auralization

slightly into the future for all rooms



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RT 60 Times

Frequency [Hz]

63 125 250 500 1000 2000 4000 8000

RT60

Reverberation

Time[s]

0

1

2

3

4

5

6

7

8

9

10

11

12

13

Simulation without Treatment

Simulation with preliminary Treatment

Walters Storyk Design Group

Upper Limit

Lower Limit


ZU-YUAN Auralisation Materials

Remarks:

01A2

Floor: Stone

AudienceArea

Carpet

25mm Insulation

Ceiling: Plaster

Circles: 100mm Insulation

Sidewall: Perforated Metalsheets,

Perforation Type 1

Frontwall: Perforated Metalsheets,

Perforation Type 2


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perforated metal sheets - concept

Remarks:

MicroperforatedMetalsheet. Theabsorption curve of these perforationscan be

achieved with slightlydifferent perforations, too.

Section Type 1: Sections Type 2:

Wall

50mm Insulation

50mm Airspace

PerforatedMetal Sheet

Thickness: 4mmHole diameter: 0.6mmHole Distance (c-c): 4mm

Perforated Metal Sheet

Thickness: 4mmHole diameter: 0.6mmHole Distance (c-c): 10mm

50mm Insulation

50mm Airspace



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Original imagesculpted metal panels on all walls


Auralization Amplified Music/Film

Feature Film Empty Room

Feature Film Treated Room


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080610 Neocon Presentation