Room acoustics is a subfield of acoustics dealing with the behaviour of sound in enclosed or partially-enclosed spaces. The architectural details of a room influences the behaviour of sound waves within it, with the effects varying by frequency. Acoustic reflection, diffraction, and diffusion can combine to create audible phenomena such as room modes and standing waves at specific frequencies and locations, echos, and unique reverberation patterns.
The way that sound behaves in a room can be broken up into roughly four different frequency zones:
The first zone is below the frequency that has a wavelength of twice the longest length of the room. In this zone, sound behaves very much like changes in static air pressure.
Above that zone, until wavelengths are comparable to the dimensions of the room, room resonances dominate. This transition frequency is popularly known as the Schroeder frequency, or the cross-over frequency and it differentiates the low frequencies which create standing waves within small rooms from the mid and high frequencies.
The third region which extends approximately 2 octaves is a transition to the fourth zone.
In the fourth zone, sounds behave like rays of light bouncing around the room.
Room mode and Normal mode
For frequencies under the Schroeder frequency, certain wavelengths of sound will build up as resonances within the boundaries of the room, and the resonating frequencies can be determined using the room's dimensions. Similar to the calculation of standing waves inside a pipe with two closed ends, the modal frequencies and the sound pressure of those modes at a particular position of a rectilinear room can be defined as
where are mode numbers corresponding to the x-,y-, and z-axis of the room, is the speed of sound in , are the dimensions of the room in meters. is the amplitude of the sound wave, and are coordinates of a point contained inside the room.
Modes can occur in all three dimensions of a room. Axial modes are one-dimensional, and build up between one set of parallel walls.
This page is automatically generated and may contain information that is not correct, complete, up-to-date, or relevant to your search query. The same applies to every other page on this website. Please make sure to verify the information with EPFL's official sources.
This lecture is oriented towards the study of audio engineering, with a special focus on room acoustics applications. The learning outcomes will be the techniques for microphones and loudspeaker desig
Ce cours a pour objectif de former les étudiants de section Génie Electrique et Electronique à la conception de systèmes acoustiques, à l'aide d'un formalisme basé sur l'électrotechnique. A la fin du
Soundproofing is any means of impeding sound propagation. There are several basic ways to reduce sound: increasing the distance between source and receiver, decoupling, using noise barriers to reflect or absorb the energy of the sound waves, using damping structures such as sound baffles for absorption, or using active antinoise sound generators. Acoustic quieting and noise control can be used to limit unwanted noise.
An audio engineer (also known as a sound engineer or recording engineer) helps to produce a recording or a live performance, balancing and adjusting sound sources using equalization, dynamics processing and audio effects, mixing, reproduction, and reinforcement of sound. Audio engineers work on the "technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer... the nuts and bolts.
A recording studio is a specialized facility for recording and mixing of instrumental or vocal musical performances, spoken words, and other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally, both the recording and monitoring (listening and mixing) spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties (acoustic isolation or diffusion or absorption of reflected sound echoes that could otherwise interfere with the sound heard by the listener).
We present a massively parallel and scalable nodal discontinuous Galerkin finite element method (DGFEM) solver for the time-domain linearized acoustic wave equations. The solver is implemented using the libParanumal finite element framework with extensions ...
Controlling audible sound requires inherently broadband and subwavelength acoustic solutions, which are to date, crucially missing. This includes current noise absorption methods, such as porous materials or acoustic resonators, which are typically ineffic ...
In environmental acoustics and in room acoustics, many surfaces exhibit extended-reaction (ER) behavior, i.e., their surface impedance varies with the angle of the incident sound wave. This paper presents a phenomenological method for modeling such angle d ...