SCHOOL OF BUILDING AND

ENVIRONMENT
DEPARTMENT OF
ARCHITECTURE

UNIT – 1 - BUILDING SERVICES IV– 18ARC74

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 INTRODUCTION
Acoustics is a science of sound, which deals with origin, propagation and auditory sensation of sound,
and also with design & construction of different building units to set optimum conditions for producing
& listening, speech, music, etc.
There are three domains in acoustical study that deals with building physics or the architectural
acoustics.
➢ Wave Acoustics
➢ Ray or Geometric Acoustics
➢ Statistical Acoustics
Wave Acoustics- where a sound is taken into a wave front and the wave propagation where particular
fluctuations of the wave, the pressure fluctuation has to be taken into account.
Geometric or the ray acoustics where the wave front or the sound wave is generally categorized as
a line diagram. So, a line actually replaces the wave in a logical and understanding format inside a
room. So, the reflection, refraction or maybe the absorption of the sound has been translated in terms
of a ray.
Geometrical Acoustics or ray acoustics is a branch of acoustics that studies propagation of sound
on the basis of the concept of rays considered as lines along which the acoustic energy is transported.
The same laws of reflection and refraction hold for sound rays as for light rays.

Fig.1.Ray diagram
Statistical Acoustics a particular sound there are various amount of frequencies and various types of
the sound pressure levels or maybe the sound intensity levels. So need some kind of a statistical
techniques to be handled to deal with lot of frequencies and the sound pressure.
To give a certain type of sound with a certain type of quality and in a certain area, for that we need some
kind of a statistical techniques to be handled to deal with lot of frequencies and the sound pressure.

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This statistical acoustics is directly implemented in any kind of material testing and also categorize
the character of the interiors of building.
In physics, sound is a vibration that propagates as an acoustic wave, through a transmission
medium such as a gas, liquid or solid.
Sound is in the form of energy.
It travels in the waves through elastic media and fluctuation of pressure and displacement of air
particles.
A sound wave is a wave of alternating high-pressure and low pressure regions of air.
Types of wave motion
Longitudinal and transverse waves

Fig.2.A loudspeaker generates longitudinal waves in which particles

Oscillate parallel to the direction of wave propagation.

Transverse waves

Fig.3.The hand shaking the rope generates a transverse wave in which particles
Oscillate perpendicular to the direction of wave propagation.

Sound (or noise) is the result of pressure variations, or oscillations, in an elastic medium (e.g., air,
water, solids), generated by a vibrating surface, or turbulent fluid flow. Sound propagates in theform
of longitudinal waves, involving a succession of compressions and rarefactions.
We have three parameters; one is a velocity which is dependent on the wave length and frequency
of sound, at room temperature typically it is around 340 to 343 meter per second that is a velocity
of sound.
Velocity – (speed of sound)

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The speed of sound is the distance travelled per unit of time by a sound wave propagating through an
elastic medium. In dry air at 20 °C (68 °F), at sea level, the speed of sound is 343 metres per second
(1,125 ft/s)
Sound does not propagate through vacuum, so it needs a medium to propagate.
There is a sound source, path and a receiver. It can be any source, it can be equipment, it can be a bird,
and it can be some event which is happening. Then there is a medium of propagation.
Sound propagates through the air is the medium called as air borne. Where the sound transmits through
the structural components called as structure borne.

Fig.4.Sound waves

Amplitude – (Height of Waves)

The amplitude (A) is the maximum extent of a vibration or oscillation in a propagating wavemotion,
measured from the position of equilibrium.
At any point on the wave, the vertical distance of the wave from the centerline is called the amplitude
of the wave. The amplitude of the peak is called the peak amplitude. The more intensethe vibration,
the greater the pressure variations, and the greater the peak amplitude. The greater the amplitude, the
louder the sound.

Fig.5.Sound waves(Amplitude)
The amplitude of the motion is also having 3 types:
• Peak Amplitude
• Peak to Peak Amplitude
• Root Mean Square Amplitude.
Peak Amplitude
The extent of a vibration between the crest to the position of equilibrium in a propagating wave
move motion is called Peak Amplitude.

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Fig.6.Peak Amplitude

Peak-to-Peak Amplitude
The extent of a vibration between the crest to trough in a propagating wave move motion is called
Peak-to-Peak Amplitude.

Fig.7.Peak –to-peak Amplitude

Root mean square amplitude

The square root of the squared average values of the wave form is called Root-mean-square
amplitude.
the root mean square value - the square root of the squared
average, of the total propagation by integrating this particular in a period of time T.

Fig.8.Root mean square Amplitude

Time Period
The time needed for one complete cycle of vibration to pass a given point is called Time Period.

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Fig.9.Time period

FREQUENCY
Frequency – (No of Cycles / second)
Frequency describes the number of completed wave cycle that pass a fixed point in unit time.
Usually frequency is measured in cycles per second (cps) or hertz unit.

Fig.10.Frequency

Distance covered by the particular unit time is the frequency times the wave length. So then the velocity
of the propagation of the wave is -in one second.
Velocity of propagation = frequency (number of cycles) x wavelength.

FREQUENCY
The sound source (the loudspeaker) vibrates back and forth many times a second. The number of cycles
completed in one second is called the frequency. The faster the speaker vibrates, the higher the
frequency of the sound. Frequency is measured in hertz (abbreviated Hz.,) One Hertz equals one cycle
per second. The higher the frequency, the higher the perceived pitch of the sound. Low- frequency tones
(say, 100 Hz) are low pitched; high-frequency tones (say,10,000 Hz) are high- pitched. Doubling the
frequency raises the pitch one octave.
The frequency is the number of cycles per second(1 Hertz = 1 vibration/second).

Wavelength (λ) – (Distance)

When a sound wave travels through the air, the physical distance from one peak (compression) to
the next is called a wavelength. Low frequencies have long wavelengths (several feet); high frequencies
have short wavelengths (a few inches or less).

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Fig.11.Sound wave propagation in Air

Fig.12.Variation of frequency, Amplitude &Wavelength

Fig.13.Nomogram of Frequency & Wavelength

This is a nomogram where we can see an extended version of the frequency in the lower axis of the
x and the wave length in the upper axis. From the figure we can understand the intimate relationship
between frequency and wavelength in a wave propagation.

Pitch
Pitch is perceived as how "low" or "high" a sound is and represents the cyclic, repetitive nature of the
vibrations that make up sound.
For simple sounds, pitch relates to the frequency of the slowest vibration in the sound (called the
fundamental harmonic). In the case of complex sounds, pitch perception can vary. Sometimes
individuals identify different pitches for the same sound, based on their personal experience of particular
sound patterns. Selection of a particular pitch is determined by pre-conscious examination of
vibrations, including their frequencies and the balance between them.
The brain interprets the frequency in terms of the subjective quality called Pitch.
There are two type of tones

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Pure tone
Complex tone
A sound with a single frequency or only a particular frequency is called a pure tone.
For example, a vibrating object like tuning fork or maybe a guitar string is a pure tone. It involves
only one frequency.
Complex tone -where there are two or more than two frequencies mixed together.
A complex tone consists of two or more simple tones, called overtones. The tone of lowest
frequency is called the fundamental; the others, overtones.
So these different frequencies super impose with each other.

Loudness
Loudness is an attribute of a sound that depends primarily on the pressure amplitude of the wave.
Frequency is also factor.
Hearing range usually describes the range of frequencies that can be heard by humans or other animals,
though it can also refer to the range of levels. The human range is on average from 20 to 20,000 Hz,
although there is considerable variation between individuals (range declines with age), especially at
high frequencies, where a gradual decline with age is considered normal. Sensitivity also varies with
frequency, as shown by equal-loudness contours.

Fig.14.Sound wave(loudness)

Equal loudness contour

An equal-loudness contour is a measure of sound pressure (dB SPL), over the frequency spectrum, for
which a listener perceives a constant loudness when presented with pure steady tones. The unit of
measurement for loudness levels is the phon, and is arrived at by reference to equal-loudness contours.

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Fig.15.Equal loudness contour

Intensity is the amount of energy that is transported past a given area of the medium per unit time
is known as intensity of the sound wave. The greater the amplitude of vibrations of the particles of
the medium, the greater the rate at which energy is transported through it.
Sound intensity
Sound intensity is defined as sound power per unit of an area. It depends on the distance from the sound
source and the acoustic environment in which the sound source is. Sound intensity is a vector quantity
and describes the amount and direction of the sound energy. The unit for sound intensity is [W/m2]. It
is calculated as a product of the sound pressure and the speed of particles.
"human ear is capable of detecting sound waves with a wide range of frequencies, ranging between
approximately 20 Hz to 20 000 Hz. Any sound with a frequency below the audible range of hearing
(i.e., less than 20 Hz) is known as an infrasound and any sound with a frequency above the audible
range of hearing (i.e., more than 20 000 Hz) is known as an ultrasound."

Fig.16.Audible frequency range

The creatures produce low-frequency noises between 1 to 20 Hertz, known as infrasound, that help
them keep in touch over distances as large as 10 kilometers.
Speech and music frequencies

Speech normally carries the mid frequency. The male voice has little lower frequency than the female
voice. Speech frequencies ranges from 200Hz to 2KHz.
Music frequencies ranges little wider than the speech frequencies. It ranges from 63Hz to 16Khz.The
sound pressure level (dB levels) are ranges from 20dB in the mid frequencies to 90dB in thelower
frequencies in the case of drums and bands.

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Fig.17. Speech and music frequencies
When the sound level exceeds certain threshold value we perceive it as Noise.
Typically it is unwanted sound or undesirable sound. One person sound can be other person’s noise, so
the threshold typically varies depending on the source depending on the path and depending onthe
receiver, the nature of source as well.
Velocity of the sound depends up on the density of the medium as well as the temperature of the
medium.

Speed of the sound -Sound travels faster in solids as compared to liquids and faster in liquids as
compared to gases.

dB scale (logarithmic scale)

A direct application of linear scales (in Pa) to the measurement of sound pressure leads to large and
unwieldy numbers. In addition, as the ear responds logarithmically rather than linearly to stimuli, itis
more practical to express acoustic parameters as a logarithmic ratio of the measured value to a reference
value. This logarithmic ratio is called a decibel or dB. Here, the linear scale with its large numbers is
converted into a manageable scale from 0 dB at the threshold of hearing (20 µPa) to 130

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dB at the threshold of pain (~100 Pa). Fig -shows the dB scale equivalent to pressure levels. Surprisingly
wide range of sound pressures - a ratio of over a million to one. The dB scale makesthe numbers
manageable.

Fig.18. dB Scale
Sound power is the characteristic of a sound source, it is independent of the distance and, therefore,
a practical way of comparing various sound sources. Sound power can be measured in different ways
(by sound pressure or by sound intensity).
Sound pressure or acoustic pressure is the local pressure deviation from the ambient (average, or
equilibrium) atmospheric pressure, caused by a sound wave. In air the sound pressure can be measured
using a microphone, and in water with a hydrophone. The SI unit for sound pressure p is the pascal
(symbol: Pa).
Sound pressure level (Comparative term)
Sound pressure level (SPL) or sound level is a logarithmic measure of the effective sound pressure
of a sound relative to a reference value. It is measured in decibels (dB) above a standard reference level.
The standard reference sound pressure in the air or other gases is 20 µPa, which is usually considered
the threshold of human hearing (at 1 kHz).
Difference from pressure and power- When there is a sound source it is having a power, when it is
emitting there is a medium - source, path and it can be receiver can be an instrument or human ear. So,
source path and receiver you perceive it as pressure.
A simple analogy is there is a radiant heater it has certain power, it has certain power, it emits the heat
radiant (the heat transmission or heat transfer), it emits heat and then start perceiving it througha
censor or through your human body in terms of temperature. So, this can be equated, there is

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power perceive it as pressure. It needs a medium in terms of compression and rarefaction it propagates
and then it reaches you it causes your tympanum to vibrate in your ear which senses it as the pressure
quantity. Sound power that is a source it can be anything says mechanical equipment, propagates
through the room and then it reaches you. So, what you measure or whatyou perceive is a sound
pressure.

Octave bands
Sound is like wide spectrum within which lot of variations can happen.In order to get a closer look
of the characteristic of the source itself or the propagating medium and the receiver characteristics need
to split it in to specific segments which was called as frequency spectrum.
There are different types of frequency splitting- octave band (2 is to 1). for example, central frequency
of 500, 1000, 2000, 4000 so on. For building applications refer as 63 and half hertz on the lower
end that is of low frequency it can go as high as 16,000 hertz. But mostly it was around 8000 hertz for
our specific observations. Further it can split up to third octave bands. So, each octave gets split into
three.

Fig.19. Comparison of frequency range

Knowing about this not all the sources have similar frequency characteristics. For example piano
keyboard will be having the low mid and high frequencies.
Each instrument, each source, any particular noise signal sound signal we will have a frequency
spectrum.
Violin for example, the prominent frequency lies somewhere between 150 hertz to 4000 hertz.
bass drum -33 hz to 280hz.(low frequency side).
Jet Air Craft -really wide spectrum, it ranges from a very low frequency to a very high frequency.
Propeller air craft- it is more on the low
frequency compare to higher one.
male and female voice- male voice slightly goes to the lower frequency spectrum somewhere from 125
hertz goes all the way to slightly more than 2000 hertz, whereas female voice does not go that low, but
it has a slightly higher frequency spectrumthan the male voice. So, if you take multiple

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numbers of sources we will be able to split what frequency spectrum they actually are emitting the
sound levels.
This has lot of implications, but primary implication the sound propagation depends mainly on the
frequency and the wave length of the sound. Where frequency determines the wave length, frequency
is a number of cycle, wave length is the distance between the compressions or rarefactions.
The frequency of the sound has a strong impact on the way the sound propagates.
For example - design for indoor acoustical - an auditorium or a classroom, you have to really understand
which prominent frequency the sound is getting emitted. Only if you know that you willbe able to
give a proper treatment.
Similarly, for an environmental noise you want to design a noise barrier you want to arrest the
sound you want to do sound proofing-
1. the first idea you should have is about the sound pressure level; how much intense the sound is.
2.And in which frequency spectrum the sound is getting emitted.
So, if you know these two characteristics then you will be able to effectively contain or treat the
sound source.
This wide frequency spectrum has lot of implications:
• The primary implication of the sound propagation depends mainly on the frequency and the
wave length.
• The frequency of the sound has a strong impact on the way the sound propagates.
While designing an indoor acoustical design has to be done for an auditorium or a classroom:

• really to understand which frequency there is a prominence of sound mean,

• which prominent frequency the sound is getting emitted.
• Then will be able to give a proper acoustical treatment.
Sound field
Spherical Propagation - how the propagation of the sound occurs. The propagation of sound is spherical;
it is from a point source is in a spherical way. So, in air or in space it is going in a spherical way. So,
from this particular point s source is going in 3 dimensions in this spherical way.
So, if you are very near to the source, intensity is high, if move away from the source, your sphere
is bigger, radius is bigger, surface area is bigger and the intensity is decreasing.
The sound intensity from a point source of sound will obey the inverse square law if there are no
reflections or reverberation. A plot of this intensity drop shows that it drops off rapidly.
Inverse square Law - The decrease in intensity with increasing distance is explained by the fact
that the wave is spreading out over a circular (2 dimensions) or spherical (3 dimensions) surface and
thus the energy of the sound wave is being distributed over a greater surface area. The diagramat the
shows that the sound wave in a 2-dimensional medium is spreading out in space over a circular
pattern. Since energy is conserved and the area through which this energy is transported is

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increasing, the power (being a quantity that is measured on a per area basis) must decrease The
mathematical relationship between intensity and distance is sometimes referred to as an inverse square
relationship. The intensity vanes inversely with the square of the distance from the source Soif the
distance from the source is doubled (increased by a factor of 2), then the intensity is quartered (decreased
by a factor of 4).

Fig.19. Inverse square law

The sound field is an area where the sound exists. When measuring the sound pressure, it is very
important whether the sound field is free or diffused.

Free-field

Fig.20. Free field

Free sound field- it can be found in a space where there is no reflection. It can be simulated outside
or in an isolation room, where all the sound that strikes the walls is absorbed. The main property of
the free sound field is that the sound spreads spherically.
Free-field conditions occur when sound waves are free from the influence of reflective surfaces (e.g.,
open areas outdoors, anechoic rooms).

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Under free-field conditions, sound energy from point sources (e.g., warning siren, truck exhaust)
spreads spherically and drops off 6 dB for each doubling of distance from the source.
Line sources of vehicular traffic consist of successive point sources which reinforce each other. Sound
energy from line sources spreads cylindrically, not spherically, and drops off only 3 dB for each
doubling of distance.

Fig.21. Frequency of audible sound and its wavelength in air

An audible range, which is of the order of 20 Hz to 20000 Hz frequency. 20 Hz is the order of 17 meters
or 51 feet, which is equivalent to a five-storey structure. And for 20000 Hz, which is of the order of 17
millimeter of wavelength, which is 11/16 th inch, which is small distance.
Now, particularly when we deal with our rooms, spaces where we need to communicate, it ismostly
speech, music, orchestra, or a performance where we need to take our sound, whichever is originated
from the source to the receivers (whoever are spread inside). So, knowing this wavelength is very
important, we usually consider our speeches to music from 250 Hz to 4000 Hz,and can move further
to 8000 Hz and maybe down to 63 Hz.
The interaction of sound with solid surfaces:
Reflection
Diffusion (scattering of sound)
Diffraction (bending of sound)
Absorption
Transmission

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Fig.22. interaction of sound with solid surfaces
The incident ray is falling on an object and, it is getting reflected directly, which is called specular
reflection. Some of it gets diffused, and some of it can bend and go beyond that particular object, where
it is falling on, so that is diffraction and some gets absorbed and transmitted.

Reflection
The reflection of sound follows the law "angle of incidence equals angle of reflection", sometimes called
the law of reflection.
The same behavior is observed with light and other waves, and by the bounce of a billiard ball off the
bank of a table.
The reflected waves can interfere with incident waves, producing patterns of constructive and
destructive interference. This can lead to resonances called standing waves in rooms
It also means that the sound intensity near a hard surface is enhanced because the reflected wave adds
to the incident wave, giving a pressure amplitude that is twice as great in a thin "pressure zone" near
the surface.

Fig.23. Reflection

Ray diagram or Geometric Acoustics

It is a simple way by demonstrate within the spaces which deal for acoustics, though there are certain
limitations, it is considered that sound reflects as represented by ray diagrams.
Limitations
Sound reflects as represented by ray diagram only when the surfaces which hits is very large compared
to the wave length.
Source is considered as a static which may not actually true. Detailed study may not be possible with
respect to diffusion or scattering of sound.

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Fig.24. Section of a room
In this ray diagram the source is there, the direct sound is shown in a continuous line and the reflected
sound in dotted line, the two different locations the sound traveled from the source are different.
So, the direct path is D1, and the reflected path to D1 is the reflected path (R1a )+ reflected path (R1b).
Similarly, at location 2, it is R2a and R2b, and that is what is reaching him after a short spanof time
after he has heard D2. So, the path difference is R1a + R1b - D1 for the listener 1, and R2a
+ R2b- D2, in case of listener 2.
So, this path difference should be heard within a certain time, so that these can help in strengthening
or better hearing at location 1.

Fig.25.Shape of reflector determines the sound path

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Fig.26.Hot spot and dead spot
Hot spot -sound concentration can create some points within the floor where there will be a glare. So,
all the sound from the source will go and concentrate in that particular area, which is called the hotspot.

Dead spots The entire sound energy which was supposed to get distributed into the other areas, there
no sound has reached particularly from the reflected sound rays. So, that creates a sound shadow area,
or dead spots, beside or surrounding a hotspot.

Diffusion
Diffusion implies the scattering of sound or random distribution of spreading of sound from a surface
on to which it is falling.
So this diffusion is happening in all directions. Surface irregularities, breaks, projections, wedges,
instead of continuous reflective surfaces, can cause diffusion.
Inside our spaces- for example- curtain, blackboard edges, the chairs, tables; any material which is
projected out, like a book rack within a classroom; all can take part in the process of diffusion of sound.
Diffusion helps in uniform distribution of sound in the space, and it also implies uniform decay of
the sound within the room. it distributes the sound energy equally towards the receivers all from the
front till the back. Adequate diffusion is critical for obtaining an even distribution of reverberant sound
in a listening space. Sound reflection from flat surfaces causes glares, while diffused sound helps avoid
direct sound to the receiver.

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Fig.27.Diffusion

Transmission

Fig.28.Transmission

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There are two types of transmission one is called the airborne sound transmission and, one is called
the structure borne sound transmission.
In airborne sound transmission, Sound energy penetrate the boundary element and reaches the other
part. Where as in the structure borne sound, sound will travel through the material itself or the envelope
material of the building. And there will be gradual loss of the sound energy and, when it propagates
from one point to the other point.

Diffraction
An acoustical phenomenon which causes sound waves to be bent or scattered around such obstacles
as corners, columns, walls, and beams
Also a phenomenon where sound passes through an opening resulting in a change of propagation,
as influenced by the ratio of the sound wavelength to the size of the opening
the bending of waves around small* obstacles and the spreading out of waves beyond small*openings.
The fact that you can hear sounds around corners and around barriers involves both diffraction and
reflection of sound. Diffraction in such cases helps the sound to "bend around" the obstacles.
Diffraction is nothing but bending of sound. Why can we hear a sound behind a wall, source is not
seen, we can hear some of the sound. That is because sound can bend and go into the receiver’s ears.
From the below image- when incident wave is falling and is getting guarded by a barrier, the upper part
of the incident wave is traveling, whereas the lower part is hit and it may reflect back. This upper part,
which is moving by compression and rarefaction is not present in this particular zone(this particular
zone is devoid of it). So, the energy will push these areas and will allow the sound to pass to this area,
which is nothing but diffraction.
Though one will listen very nicely in the particular zone hence will correspondingly listen (receive)
at a higher energy level (in case of direct sound), or lower energy level (for diffracted sound).

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Fig.29.Diffration
Absorption

• The property of a surface by which sound energy is converted into other form of energy is
known as absorption.
• In the process of absorption sound energy is converted into heat due to frictional resistance
inside the pores of the material.
• The fibrous and porous materials absorb sound energy more, than other solid materials.
When sound waves hit the surface of an obstacle, some of its energy is reflected while some are lost
through its transfer to the molecules of the barrier. The lost sound energy is said to have been
absorbed by the barrier. The thickness and nature of the material as regards its softness and
hardness influences the amount of sound energy absorbed.
Absorption co-efficient

• The effectiveness of a surface in absorbing sound energy is expressed with the help of
absorption coefficient.
• The coefficient of absorption `α’ of material is defined as the ratio of sound energy absorbed by
its surface to that of the total sound energy incident on the surface.
• A unit area of open window is selected as the standard. All the sound incident on an open
window is fully transmitted and none is reflected. Therefore, it is considered as anideal
absorber of sound.
• Thus the unit of absorption is the open window unit (O.W.U.), which is named a “sabin” after
the scientist who established the unit.
Absorption Coefficient
The effectiveness of acoustical material to absorb sound depends on its thickness, amount of
airspace, and density. It is the ratio of ABSORBED: INCIDENT sound energy

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The amount of sound absorbed at the surface of a material is described by an absorption coefficient
( a ). The absorption coefficient relates to sound reflection, where a high equals low reflectedenergy
and a low a equals high reflected energy.
Marble slate has an absorption coefficient of 0.01 (almost no absorption and high reflection). Some
specially constructed sound rooms score as high as 1.0 (total absorption and no reflected energy).
The absorption coefficient of a material typically increases with frequency. At low frequencies, porous
materials absorb less sound, so that materials must be thicker to be effective. The overall performance
of a sound-absorbing material is often described by the Noise Reduction Coefficient (NRC). The NRC
is the arithmetic average of the absorption coefficient at 250, 500, 1000, and2000 Hz.
Sound absorption differs from sound insulation. Sound absorption relates to sound reflection,
whereas sound insulation relates to the amount of acoustic energy able to pass through material. The
sound absorption provided by a 10 centimetre-thick (4-inch thick) fiberglass acoustical blanketis
high, but its insulation quality is low. Sound is able to travel through the material to the other side.
By contrast, a lead wall absorbs almost no sound but it is a very good insulator.
NRC stands for Noise Reduction Coefficient and is a standard rating for how wella
material absorbs sound. The NRC rating of a material can be viewed as a percentage. The
NRC figure ranges from 0.00 (perfectly reflective) to 1.00 (perfectly absorptive).
NRC value which is an average absorption coefficient of four different frequencies, 250 500 1000 and
2000. If there is any material there will be the noise reduction coefficient, for example -the NRC
value is 0.8, 0.94, means it’s a good absorbing material. It indicates the materials absorbing
performance, but it is an average value.
Reverberation
is the persistence of sound after the source of sound has stopped. It is due to the repeated reflection
of sound waves remaining between the enclosing surfaces. Reverberation Time Reverberation time
is defined as that time required for the sound in a room to decay 60 dB. This represents a change in
sound intensity or sound power of 1 million (10 log 1,000,000 = 60 dB). In very rough human terms,
it is the time required for a sound that is very loud to decay to inaudibility. Sabine Reverberation The
idea that there exists a characteristic time for sound to die out in a room originated with Wallace
Clement Sabine.
Sabine measured the reverberation time, the time it took for the sound level to drop 60 dB, for varying
amounts of absorptive materials.
The empirical formula he discovered, now called the Sabine reverberation time, is

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RT = (0.16 × V)/A --------Unit seconds (for matric)

RT = (0.05 × V)/A --------Unit seconds (for feet and inches)

where V = volume of room (m3), A = total absorption in room (m2).

Reverberation time
When the source is switched off, the reverberant sound field would persist for a little time as it gradually
decays. The time taken for the sound field to drop by a factor of a million (106), i.e. adrop in
sound level of 60 dB, is referred to as the reverberation time (RT). The length of this time depends on
the size of the room and the room surfaces. A little energy is lost at each reflection. With hard
surfaces it will take more reflections, thus a longer time for the sound to decay. In a larger room the
sound travels a longer time between reflections, there are fewer reflections in unit time, thus RT is
longer.

Fig.30.Graph showing reverberation time

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