1

Studio Acoustic
Introduction

A broadcasting studio is a room in studio complex which has been specially designed
and constructed to serve the purpose of originating broadcasting programs. Whenever
any musician sings and we sit in front of a performing musician to listen to him, we enjoy
the program by virtue of the superb qualities of our sensory organs namely ears.
However, when we listen to the same program over the broadcast chain at our home
though domestic receivers, the conditions are entirely different. We as broadcasters,
are continuously engaged in the task of ensuring the maximum pleasure for the listener
at home when the artists are performing inside the studios.

In order to achieve our goal we must thoroughly understand the characteristic of the
different components involved in the broadcast chain, and in this process we must
preserve the original quality of sound produced by the artists inside the studio. The
science of sound is often called “Acoustics’. It would be thus prudent to understand the
field of acoustics as applied to broadcasting.

Acoustic Treatment

Good acoustics is a pre-requisite of high quality broadcasting or recording. Acoustic

treatment is provided in studios, control rooms, and other technical areas in order to
achieve the acoustic conditions which have been found from experience to be suitable
for the various types of programmes. In this section problems and design aspects of
internal acoustics of a broadcast studio are explained.

a) Propagation of Sound Waves

Sound waves emanating from a sound source are propagated in all directions. These
sound waves are subject to reflection, absorption and refraction on encountering an
obstacle. Extent to which each of these phenomenon takes place depends upon the
structure and shape of the obstacle, and also on the frequency of sound waves. In close
rooms, the sound would be reflected and re-reflected till the intensity weakens and it
dies down.

Physical characteristics of sound waves are thus modified in various ways before they
reach the human ear. These reflected waves can create echo effect in the room. To
achieve the desirable effects of the reflected sound, the dimensions and shape of the
 Induction Course (Radio)

room are decided with due care and acoustic treatments are also provided on the
various surfaces.

b) Reverberation Time(R/T)

In any enclosed room when a sound is switched off, it takes a finite length of time to
decay to inaudibility.

The ‘hanging-on’ of the sound in a room after the exciting signal has been removed, is
called ‘reverberation’ and the time taken for the sound to decay to one millionth of its
initial value, i.e. 60 dB, after the source has stopped, is termed ‘Reverberation
Time’(R/T).

c) Factor Covering Reverberation Time

R/T of a room depends upon shape and size of room and on the total absorption offered
on boundary surfaces.

For a room of given volume and surface area, the R/T can be derived by Eyring’s
formula

0.049 V
R/T =
− S × ln (1 − α )
where R/T = Reverberation time in seconds
V = Volume in cubic ft.
S = Total surface area of room in Sq.ft.
α = Average absorption coefficient

Average absorption coefficient ( α ) is given by

S1α 1 + S 2 α 2 + .........+ S n α n
α =
S1 + S 2 + .......+ S n

Where S1, S2…….Sn are the areas (in sq. ft.) of different materials provided, and α 1 ,
α 2 ……α n are the absorption coefficients of these materials. α of acoustic material is
defined as the ratio of absorbed sound to the total incident energy of sound. An open
window absorbs/allows to pass all of the sound energy striking it and reflects none.
Thus it has α of unity.

α of practically all acoustic materials vary with frequency.

d) Effects of Reverberation on Programme

Reverberation is the most important single parameter of a room. It influences the audio
programs in following ways:-

• Volume of program increases due to reverberation of sound. This is a desirable

feature, however, too much of reverberation may impair the quality of proram
and, therefore, should be controlled.

STI(T) Publication 2 004/IC(Radio)/2004

 Studio Acoustics

• Reverberation results in prolongation of sound inside the room. This leads to

‘blending of one sound with the next and produces a very pleasant continuity in
the flow of music. Too much of prolongation, however, may create loss in
intelligibility of program due to decrease in clarity.
• Reverberation time of a room is dependent on frequency. Therefore, it modifies
the frequency characteristics of the total sound field inside the room. High R/T at
mid and high frequencies lead to increased ‘liveness’ and that at low frequencies
increases ‘warmth’. This effect can be used judiciously for desirable qualities.

e) Optimum Reverberation Time

R/T value at each frequency of sound is fixed for most desirable results for different type
of programmes.

Larger the room size the longer it takes for the sound to travel to the boundary surfaces
and get reflected. Therefore, optimum R/T increases with the increase in the room size.
Generally Morris & Nixon’s curve (Fig. 1) is followed for optimum R/T at 1 kHz as a
function of room size.

Fig. 1 Reverberation Time vs. Volume

Optimum R/T values at other audio frequencies are dependent mainly on the type of
programme for which the studio will be used. These values have been decided after
detailed study and subjective listening tests. Optimum R/T for talk studio is generally
flat, whereas for music, studio, Morris & Nixon’s recommendations (Fig. 2) are followed
in AIR. For drama programmes, the optimum R/T is taken as an average of talks and
music values at each frequency.

STI(T) Publication 3 004/IC(Radio)/2004

Induction Course (Radio)

Fig. 2 Recommendation – MORRIS & NIXON

f) Acoustic Absorbers

Acoustic absorbers are provided on the inner surfaces of the room to achieve optimum
R/T characteristics. Different absorbers have different absorption characteristics. No
single absorber generally provides uniform absorption over the complete frequency
spectrum.

Some of the commonly used absorbers are:

i) Porous Materials: Mineral wool, glass wool, etc. are members of this class.
These materials are very good absorber and are most effective in mid and high
frequencies, however, these cannot be used without some facing material.

Carpets and curtains also fall in this category.

ii) Fibrous Materials: Celotak, insulation boards, perfotiles, jolly-lowtone

tiles etc. fall in this category. Absorption of these materials depends upon their
softness. Absorption efficiency of these materials depends upon the trapping
and dissipation of sound energy in tiny pores. Absorption gets reduced if the
surface pores are filled with paints etc.

These materials have very poor absorption on low frequencies. However

appreciable improvement at these frequencies is possible by providing air-gap
behind.

iii) Panel Absorbers: Panel absorbers are thin sheets/membranes with an

air cavity behind. The mass of the panel and the springiness of the air in the
cavity resonant at some particular frequency.

STI(T) Publication 4 004/IC(Radio)/2004

 Studio Acoustics

Panel absorbers with 3mm teak ply-facing + 50mm air gap + 25mm mineral wool
resonates at about 125Hz. This is generally used as low frequency
absorber(LFA).

iv) Perforated Panel Absorbers: Perforated hardboard (PHB) spaced

from the wall constitute a resonant type of sound absorber. The absorption can
be considerably enhanced by inserting a suitable porous/fibrous damping
materials in the air cavity.

The absorption pattern can be varied by adjusting the front and rear air gap from
the damping material. Absorption coefficient of these absorber depends on the
percentage open area of PHBs also.

g) Design of Room Acoustic

Design for correct reverberation time consists of estimating the total absorption which
must be present in the studio. This is calculated by Eyring’s Formula, some of the
absorption is offered by windows, doors, flooring and artists inside the studio. For the
balance requirement sound absorbing materials are provided on walls and ceiling
surfaces. Calculations are generally made at six spot frequencies of 125, 250, 500,
1000, 2000 and 4000 Hz. Quantities of materials of known absorption coefficients are
selected by trial and error method so that R/T requirements are met within +5% of the
optimum R/T at all these frequencies. Computer aided design for the same has also
been evolved. Thereafter these acoustic materials are distributed on various surfaces
for proper diffusion of sound in the studio. Typical acoustic treatment for a studio is
given in Appendix.

After completion of acoustic installation as per the theoretical design, R/T measurements
are carried out and if the achieved R/T figures are found to be very much different than
the designed values, then acoustic corrections are also applied.

Sound Insulation

The ‘unwanted sound’ or ‘noise’ in the studios spoils the quality of recorded
programmes. Sound insulation of walls doors etc. and layout of the studio building is
therefore, decided for acceptable background noise level in the studios.

a) Acceptable background Noise Level

It is not possible to specify an acceptable background noise level in the studios as a

single weighted figure, because the noise normally present is spread over a wide range.
An excessive noise energy over a small bandwidth could be very disturbing without very
much affecting the weighted noise figure. Therefore, the acceptable background noise
level is specified as a graph of band level in octave bands against frequency, usually
over the range 68 Hz to 4 kHz. These acceptable limits have varied widely between
different authorities. In AIR NC 20 curve is followed for studios (Refer Figure 3 for NC
Curve), which corresponds to following values.

STI(T) Publication 5 004/IC(Radio)/2004

Induction Course (Radio)

Frequency Band (Hz) Noise Level (db above

0.002 dynes/cm2)

37.75 54
75.150 43
150.300 35
300.600 28
600.1200 23
1200.2400 20
2400.4800 17
4800-9600 10

Fig. 3 Noise Criteria Curve

b) Source of Noise and Sound Insulation

Noise in studios may be either air-borne or structure borne. Background noise in a

studio can originate from

• Outside the building

• Inside the studio itself and /or
• Outside the studio but within the building

c) Noise originated from outside the building

Noise from outside the studio building are mostly due to aircraft, road and rail traffic etc.
These noise can be avoided/minimised by locating the studio building in a quiet
environment away from the railway lines highways and aerodromes. In case studio
centre is located in noisy street, sufficient set-back distance is provided between the
street kerb and the main building. Sometimes a multi-storeyed office building is built in
between the studio building and the sound source to act as a sound barrier for the studio
building.

STI(T) Publication 6 004/IC(Radio)/2004

 Studio Acoustics

d) Noise from inside the studio

Noise from inside the studio itself consist of air-conditioning noise due to air flow, the
noise from fluorescent lights, from cooling fans in tape recorders etc.

Noise due to airflow in the studios is controlled by creating slow diffusions of air.

To avoid noise of fluorescent lights, ballast chokes are not mounted with the light fittings
in the studio. These are mounted separately in a ballast nitch outside the studio.

Cooling fans in tape recorders are generally of low noise type.

e) Control of air-conditioning and diesel generator and lift noise

Noise due to air-conditioning plants can transfer to the studios as structural borne noise
as well as air borne noise. The structural borne noise is avoided by providing the a.c.
plants in a separate block isolated from the main studio mook. A structural isolation gap
of 75 mm width right from foundation level up to the roof height is provided between the
two blocks. This gap is filled with damping materials, such as asphalt, to avoid bridging
by stone, cement mortar etc. Wherever required, only flexible connections are used for
linking these blocks for running electrical cables, duct etc.

These plants are mounted on vibration isolation pads and water pipes for condenser
cooling are also isolated from the walls with resilient packing materials so that
transmission of the vibration to the building is avoided.

To avoid transferred structural vibration through ducts, the main supply and return ducts
from the plants are connected to the studio ducts through flexible canvass connection.

To avoid transfer of airborne noise from the a.c. plants, the plenum chamber and the
entire length of supply/return duct is insulated internally with sound absorbing materials
e.g. glass wool. Also speed of the blower is kept low (about 750 rpm) as the noise at
source itself is controlled.

Similarly diesel generator is either installed in this structurally isolated block or in a

separate building away from the studio. The generator is mounted on anti-vibration
mounting so that vibration due to the same is minimised in the structure.

f) Sound insulation from footfall, dragging of furniture etc.

Noise due to footfall, dragging of furniture, falling of paper weight etc. are transmitted at
long distance as structure borne noise. Transmission of this noise is much more in steel
framed buildings than in load bearing structure. Therefore, studios are generally made
in load bearing single storeyed buildings.

In case of steel-framed building and/or multi-storeyed buildings, floating construction i.e.

box within the box is recommended for broadcasting studios.

STI(T) Publication 7 004/IC(Radio)/2004

Induction Course (Radio)

g) Sound Insulation from adjacent room/corridor noise

High level of programme/ monitoring in adjacent rooms and conversation in corridors

may cause leakage of this sound in a studio. This leakage may be due to poor sound
insulation of intervening walls or due to flanking paths.

Sound insulation of a single solid wall (generally known as transmission loss, TL) against
airborne noise is determined by its mass per unit area. TL of a 115 mm brick wall,
plastered on both sides, is 45 dB. A 225 mm plastered wall has a TL of 50 dB, which is
a very poor return for the extra mass. Though the TL figures are much better for cavity
walls (with air gaps), however, their construction is very difficult. Therefore these cavity
walls are avoided in AIR, all studio walls have been standardised as 340 mm thick.
Additional insulation, whenever required, is achieved by proper positioning of various
sources of noises (at the planning stage) so that either the high level studio/room is not
very close to another studio or by providing a buffer room (such as musical instruments
room, store room etc.) between the high level source and the studio.

TL of a specially designed sound proof door is about 30 to 35 dB only. This is much less
than that of a 300 mm wall. Therefore, a sound lock, heavily treated, is placed at the
entrance of the studio so that corridor noises do not leak to the studio through the
entrance door. Similarly the observation windows are constructed with double glass so
that TL of the wall is not reduced with the provision of this window.

Leakage of sound in a studio may be through cracks in walls, holes made for running
ducts etc. and/or through a.c. ducts and conduits.

To avoid leakage through these flanking paths, all the partition walls in the studios are
erected up to the real ceiling height. Walls are plastered on both sides without any
crevices/gaps. Holes made in walls for a.c. ducts are closed tightly by ramming high
density mineral wool into the hole and applying a layer of plaster to the outer faces.
Similarly all holes made for running conduits are sealed properly. To avoid leakage of
sound through the a.c. ducts, the layout of ducts is decided judiciously and all the ducts
(supply as well as return) are lined internally with mineral wool after running cables.

Conclusion

It hardly needs to be over-emphasised that broadcasting studios should be free from

noise and be designed for optimum R/T requirements. For international exchange of
programmes, it is essential that the condition of noise and acoustics are as per
international standards. These requirements are duly taken care of at the design and
installation stage, however sufficient precautions should be taken during maintenance
i.e. painting etc. and/or at the stage of making any additions/changes in the studios so
that these characteristics are not altered.

STI(T) Publication 8 004/IC(Radio)/2004

 Studio Acoustics

Appendix Typical Acoustic Treatments for studio

STI(T) Publication 9 004/IC(Radio)/2004

Induction Course (Radio)

STI(T) Publication 10 004/IC(Radio)/2004