1.4.

Sound Absorption,
Reflection and
Transmission,
Mechanism of
Absorption
SOUND ABSORPTION
❖ The property of surface by which sound energy (kinetic
energy) is converted into other form of energy, generally
heat energy (due to friction) and get absorbed.
❖ The degree to which this surface affects the absorption of
sound is known as absorption coefficient.
❖ The absorption coefficient is a common quantity used for
measuring the sound absorption of a material and is
known to be the function of the frequency of the incident
wave. It is defined as the ratio of energy absorbed by a
material to the energy incident upon its surface.
REQUIREMENTS OF A GOOD
SOUND ABSORBENT:
❖ Durable
❖ Efficient over wide range of frequencies,
❖ Non- Hygroscopic and heat insulating
❖ Vermin-proof
❖ Fire-resistant,
❖ Self- supporting and Easly fixable
❖ Pleasing in appearance
❖ High coefficient of absorption
❖ Sufficient structural strength.
 TYPES OF SOUND ABSORBING
MATERIALS
❖ POROUS MATERIALS
Basic acoustical characteristic of all porous
materials is a cellular network of minute
interlocking pores. They convert the incident
sound energy into heat energy by the frictional Rock Wool
and viscous resistance within these pores and by
vibration of their small fibers.
❑ Fiberboards, mineral wools, insulation blankets, etc. are
some of the examples Glass Wool Rock wool.

Grass Wool
TYPES OF SOUND ABSORBING
MATERIALS
❖ NON PERFORATED PANELS & MEMBRANE
ABSORBERS
-Any impervious material, installed on a solid
backing but separated from it by
an air space, will be set to vibration when struck by
sound waves. Good for low frequency range.

❑ Wood and hardboard panelling, gypsum boards, Gypsum Board

suspended plaster ceilings, furred out plasters,
rigid plastic boards, windows, glazing, doors,
wood floors and plat-forms, etc Gypsum Boards
TYPES OF SOUND ABSORBING
MATERIALS
❖ CAVITY OR HELMHOLTZ RESONATERS
They consist of an enclosed body of air
confined within rigid walls and connected by a narrow
opening(called the neck) with the surrounding space in which
the sound waves travel.
Cavity resonators can be applied ;
1. As individual units
2. As perforated panel resonators
3. As slit resonator panels.
 TYPES OF SOUND ABSORBING
MATERIALS
(According to their trade name and availability in market .)

❑ HAIRFELT ❑ ACOUSTICAL TILES

-The material was used by -They are factory made, uniform
prof. Sabin in his experimental works, made up of wool
and fur. sound absorbers, easily fixable but expensive.
-The average value of -Most suitable for rooms in which
coefficient of absorption of 25mm thick hairfelt is 0.60.
small area is available for the acoustical treatment.
- It is used at rooms and
halls. ❑ STRAWBOARD
❑ ACOUSTIC PLASTER
-Also known as the fibrous -Prepared from compressed straw
plaster and it includes granulated insulation insulation and covered with thick paper or hardboard are used.
mat for acoustical plaster boards- 0.15-0.30erial mixed -The average value of
with cement. coefficient of absorption of 13mm thick and density of
-The average value of 12.4kN/m3 is 0.3 at 500 cps.
coefficient of absorption of 20mm thick and density of
1kN/m3 acoustic plaster is 0.30 at 500 cps. -It is used at rooms and medium capacity
-For acoustical plaster halls.
boards- 0.15-0.30
 TYPES OF SOUND ABSORBING
MATERIALS
( According to their trade name and availability in market.)

❑ PULPBOARDS ❑ COMPRESSED WOOD PARTICLE BOARD

-These are the softboards
prepared from compressed pulps. -Prepared from compressed wood and
- The average value of provided with perforations and it can be painted also.
coefficient of absorption of 13mm thick, is 0.17 at 500 - The average value of coefficient of
cps. absorption of 13mm thick is 0.40 at 500 cps. -
-They are cheap and can be
fixed by ordinary panelling.
❑ COMPRESSED FIBREBOARD ❑ PERFORATED PLYWOOD
-Made up of compressed - Can be used by forming composite panels with
fibre, may be perforated or unperforated. mineral wool and cement asbestos or with mineral wool and
-The average value of hardboard.
coefficient of absorption of perforated one with the
density of 3kN/m3 is 0.30 and of other one is 0.52. -Generally suspended from trusses.
- The average value of coefficient of absorption
for the former one is as high as 0.95 and for the latter one, it is
about 0.20.
TYPES OF SOUND ABSORBING
MATERIALS
( According to their trade name and availability in market.)

❑ WOOD WOOL BOARD

-Prepared from a mixture of
portland cement and wood wool or wood shavings. A small quantity
of Gypsum is sometimes added.
- The average value of coefficient of
absorption of 25mm thick and density of 4kN/m3 is 0.20 at 500 cps.

❑ QUILTS AND MATS

-Prepared from mineral wool or glass wool and
are fixed in the form of acoustic blankets
-The absorption coefficients of such quilts and mats
depend on the thickness, density, perforations, mode of fixing, nature
of backing and frequency of sound.
1.4.2. Noise Reduction Coefficient (NRC)
❖ The Noise Reduction Coefficient (commonly abbreviated NRC) is a scalar representation
of the amount of sound energy absorbed upon striking a particular surface. An NRC of 0
indicates perfect reflection; an NRC of 1 indicates perfect absorption.

❖ a logarithmic representation of the decay rate

due to a panel or object with a defined
surface area absorbing energy compared to
the decay rate in a standard reverberant
room without the panel or object.
Noise Reduction Coefficients (NRC)
for Common Building :
Table of NRC values of most useful
materials for noise barriers:
❑ ALUMINUM ❑ WOOD
NRC value = 0.05 NRC value = 0.2
Aluminum microscopic view: Wood fibers microscopic view:
❑ STEEL ❑ CONCRETE ❑ GLASS
NRC value =0.1 NRC value =0.35 NRC value = 0.02
STEEL microscopic view:
CONCRETE microscopic view: GLASS microscopic view:
 SOUND ABSORPTION
1.4.3.
AND TREATMENT

❖ SOUND
ABSORPTION
- Is the loss of sound energy
when sound waves comes
into contact with an
absorbent material.
Sound absorption can be particularly important
factor for spaces such as:
❖ Sports halls
Sound absorption can be particularly important
factor for spaces such as:
❖ Schools
Sound absorption can be particularly important
factor for spaces such as:
❖ Recording Studios
Sound absorption can be particularly important
factor for spaces such as:
❖ Lecture theatres
Sound absorption can be particularly important
factor for spaces such as:
❖ Concert venues
❖ Cinemas
❖ Theatres

Sound absorption is applied in the form of treatment to floors, walls, ceiling,

partition surfaces & objects.
Sound-Absorbing Treatment
❖ Fibrous Ceiling Board ❖ Curtains ❖ Carpet

( Ceiling ) ( Wall ) ( Floor )

1.4.4. Absorptive Materials and It’s application

Characteristics of Sound Absorbing Materials

❖ When it comes to sound absorbing materials, also called sound absorbers or sound
diffusors, they are, usually, soft, light, fluffy, or porous, which enables them to better
absorb an echo.
❖ While products made of sound absorbing material can soften up the surfaces of the
room, they are also designed to contribute to the aesthetics of the room.
❖ However, their essential function is to improve the quality of a sound within the
room.
❖ It’s most likely that you will be coming across different types of sound panels, but
knowing what material to look out for is going to save you some money and provide
you with best results possible.
❖ Furthermore, you should pay attention to the fact that a sound absorbing ability of a
material is not always the same depending on frequency of a sound.
❖ So, low frequencies, below 500Hz, can be much more difficult to detect and absorb
while higher frequencies are, usually, easier to absorb.
List of the Best Sound Absorbing Materials

1. Acoustic Foam
❖ Acoustic foam is one of the most
commonly used materials due to its
easy installation and its affordability
as well as its effective absorption of a
sound.
❖ Usually, the foam consists of an
attractive fabric and design with
different patterns, which contributes
to the aesthetics of your home.
❖ However, it is not of great help if
used in huge spaces since it is best
to install it in small and middle-sized
ones, like rooms or offices.
List of the Best Sound Absorbing Materials

2. Acoustic Fabric Panels

❖ Acoustic Fabric Panels are made of wood
frame wrapped in fabric with some other
sound absorber, such as high-density
fiberglass, or foam.
❖ A dense fiberglass panel is one of the widely
used materials as bass trap, dealing with low
frequencies of a sound.
❖ By successfully controlling reverberation and
echo they provide an effective and superior
sound absorption.
❖ Also, the fabric can be attractive so you have a
lot of colors and designs to choose from
contributing to decoration of a place.
List of the Best Sound Absorbing Materials

3. Sound Absorbing Underlayment

❖ Sound Absorbing Underlayment materials could
be foam, vinyl, rubber. They are dense and they
can provide sound absorption but also
soundproofing.
❖ Generally, they are applied between subflooring
(usually concrete or plywood) and flooring (could
be hardwood or laminate).
❖ This material comes in various forms, such as
acoustic foam, felt, plywood, but felt is one of the
best solutions for you because it is very effective in
reducing sound absorption.
❖ Underlayment makes the sound within the room
much softer, and the footsteps are immensely
reduced as well as the noise from underneath.
List of the Best Sound Absorbing Materials

4. Acoustic Partitions
❖ Acoustic partitions could serve for
different purposes, and they could be
lightweight or heavyweight, which are
usually made of 100% polyester.
❖ Since lightweight ones are easy to move
around, they could be used to divide a
room, for example, when you need a
private and quiet space.
❖
Their colors and sized are various,
perfect for homes, restaurants, offices,
and many other.
 List of the Best Sound Absorbing Materials

5. Acoustic Cotton Batts

❖ Acoustic cotton batts are made of natural cotton fibers
which makes it softer and with a less chance for germ
infection. Also, it may be made of a high percentage of
recycled cotton.
❖ The fact about its hygienic benefit is of importance for
people with children since the material is friendly to a
human skin.
❖ Further, it is resistant to fungi, mold but also to flames.
Therefore, it may be considered to be one of the best
sound absorbers and the most effective and affordable
ones.
❖ It is easy to install it whether in offices, homes,
auditoriums, theatres, or wherever you need sound
absorption.
 List of the Best Sound Absorbing Materials

6. Acoustic Mineral Wool

❖ Acoustic mineral wool is of double usefulness
because it may serve for both sound absorption
and soundproofing.
❖ Also, it is tolerant of high heat as well as water,
which means that it is fire-resistant and it does not
absorb moisture.
❖ It is lightweight, easy to install, not pricey,
versatile, and it effectively reduces reverberation
or some other unwanted noise.
❖ It may be found in the form of a glass made of a
large, rigid, and fibrous board suitable for interior
panels, ceiling panels, office partitions, appliances,
furniture, machine rooms.
 List of the Best Sound Absorbing Materials

7. Hanging Baffles
❖ Hanging baffles may not be the most effective
solution for your sound absorption problem, but it
is certainly worth trying since it manages to reduce
the echo while it also contributes to the aesthetics of
your home.
❖ They are easy to install with chains and hooks.
❖ Also, they are pretty useful when you do not have
enough wall space because they actually hang from a
ceiling to create soundproof insulation.
❖ They present a great option for restaurants, hotels,
cafeterias, offices, or wherever you want to add the
artistic note to a space and improve its acoustics at
the same time.
1.4.5. RELATIVE EFFECIENCY OF SOUND
ABSORBERS

TYPES OF SOUND ABSORBERS

❖ Porous Absorbers
❖ Membrane Absorbers
❖ Resonance Absorbers
 ❖ Porous absorbers
- The sound energy is converted into heat energy.

Common porous absorbers:

❖ Carpet ❖ Fibrous mineral wool ❖ Glass fiber

➢ Membrane Absorbers

- Which are the proper bass absorbers. Doors, windows,

wood floors (on joists) ,plaster walls and gypsum board all
function as membrane absorbers.
➢ Resonance Absorbers
- Are the most powerful of low frequency ( below 100 Hz)
absorption technologies.
- Is a vibrational system that “runs” on sound pressure.
1.5. Reverberation Time

What is Reverberation?
❖ A sound that echoes
❖ have continuing effect: to have a far-reaching or lasting impact, especially as a
result of being circulated widely
❖ bounce back: to be reflected repeatedly off different surfaces (refers to heat,
light, or sound waves)
❖ cause sound to echo: to cause sound to bounce back from a surface
Reverberation Time

❖Is the time required for the sound to “Fade Away” or

decay in a closed space.
❖Reverberation reduces when reflections hit the
surfaces that can absorb sound such as curtains, chairs
and even people.
• Reverberation time of a room or
space is defined as the time it takes
for sound to decay by 60dB.

Why 60 dB?
Rationale for 60dB Reverberation Time

❖It is necessary to defined a standard reverberation time

in terms of the drop in intensity from the original level,
i.e., to define it in terms of relative intensity.
❖There is a good rationale for using 60dB since the
loudest crescendo for most orchestral music is about
100dB and typical room background level for a good
music- making area is about 40dB.
❖The 60 dB range
is about the
range of dynamic
levels for
orchestral music.
What is the desirable reverberation time?

❖Reverberation time for an auditorium or room

depends upon its intended use.
❖Around 2 seconds is desirable for a medium- size,
general purpose auditorium that is to be used for both
speech and music.
 ❖ In the
illustration, but
also depends
upon the
volume of the
room as shown
❖ The reverberation time is in the Sabine
strongly influenced by the Formula.
absorption coefficients of
the surfaces as suggested
Reverberation Time Calculation

SABIN FORMULA

❖ Approximate
reverberation times
can be calculated
from the Sabin
Formula.
Sabine is credited with modeling the
reverberation time with the simple relationship
which is called the Sabine Formula.
❖where V is the volume of the enclosure
and a is the absorption coefficient
associated with a given area S.
1.6. ROOM ACOUSTICS
Room Acoustics vs. Building Acoustics
❖ Building Acoustics has
to do with the building
and the transmission
of sound from
outdoor to indoor and
between structural
elements of a building,
e.g. floors and walls.
❖ Room Acoustics, pertains
to the noise and sounds
within the room or any
given space. The key to
room aoustics is
absorption to prevent
sound waves from
bouncing back- and- forth
in the room.
❖ It describes how sound
waves interact with a
room.
Room Sound Combinations

❖The sound you hear in a room is a combination of

Direct Sound and Indirect Sound.
❖Direct sound will come directly from your speakers
while the other sound you hear is reflected off of
various objects in the room.
Principles for Good Acoustics

❖To create a better acoustical environment and

reduce reverberation time in a room these principles
must be considered.
 Reflection
❖ Reflected sound waves, good and bad, affect the
sound you hear, where it comes from, and the
quality of the sound when it gets to you.
❖ Though when it comes to reflected sound is
standing waves.
❖ * these waves are created when sound is
reflected back and forth between any two parallel
surfaces in your room, ceiling and floor or wall to
wall.
❖ * Standing waves
tend to collect near the
walls in corners of a
room, these collecting
standing waves are called
room resonance modes.
Absorption
❖Sound Waves are absorbed by any acoustically soft
material they encounter
❖Sound is energy, an in order to stop this energy from
propagating, absorptive panels must be used to convert
this energy into heat through friction.
❖There should be a good mix of high frequency
absorbing materials and low frequency absorbing
materials.
Diffusion
❖ Sound energy is spread evenly in a given space.
❖ Wavelengths, which can't be absorbed through
acoustic treatment, will dissipate evenly back into
the room, ensuring a better spread while
maintaining a live, vivid sound.
❖ Using devices that diffuse sound is a fairly new
way of increasing acoustic performance in a
room.
1.6.1. Directivity Contour of Speech

❖ Directivity Contour - Sound

level of speech in horizontal
plane.
 Example of Directivity Contour of Speech
❖ The shapes of the contours ❖ 00 is the direction the speaker is
show the directional facing, 180° the direction behind
characteristics of speech at the speaker. Sound levels at low
low frequencies (<= 500 Hz frequencies are diminished very
to represent vowels, which little at the sides (90° orientation)
contribute to the tone of an and moderately at the rear (8 dB
individual’s speech) and at lower). However, sound levels at
high frequencies (=> 4000 high frequencies are diminished
Hz to re present by about 6 dB at the sides and 20
consonants, which strongly dB (about one- fourth as loud) at
influence intelligibility of the rear. When speakers turn
sibilants) their backs to the audience,
consonants can become
completely inaudible.

Speech Contours (500 and 4000 Hz); Auditorium Plan with Speech Contour Overlay
1.6.2. Sight Line

• Sight Line
- or visual axis is a normally
unobstructed line of
sight between an intended
observer (or spectator) and a
subject of interest, such as
a stage, arena, or monument.
Sightlines are a particularly
important consideration
in theatre and stadium design,
road junction layout
and urban planning.
 SIGHT LINE BASICS

❖ Unobstructed sight lines (i.e., straight lines drawn from

eyes of seated occupants to stage area) from all seats to
the front of the forestage allow full view of performers
and unobstructed propagation of the direct sound.

❖ Sight lines are normally drawn to converge at a point on

stage called the arrival point of sight APS. Audiences
should be able to hear and to see clearly and comfortably
to fully perceive the intended effects of performances.

❖ Laterally staggered seating layouts can achieve satisfactory

every-other-row vision for back- to-back seat dimension B
Average Seating Dimensions; Every-Row Vision; Every-Other-Row
of 40 in for continental seating and 36 in for radial and Vision; Note: To achieve liveness within a reasonable room volume,
parallel aisle seating. Non-staggered seating layouts can't the back-to-back seat dimension B and center-to-center seat
achieve satisfactory conditions for every-other-row vision dimension W should be as small as possible consistent with
the requirements for comfort and life safety.
SIGHT LINE LAYOUTS

❖ For proscenium theaters, lateral

sight lines normally should be
within a preferred “view angle” of
300. View angle is measured from
the perpendicular at the end of the
proscenium opening.

❖ In multi purpose auditoriums, the

proscenium line may vary from full Plan View
width for ballet and
symphonic orchestra (often located
downstage to provide orchestra en
closure of shallow depth) to smaller
widths for drama and music
performance by soloists.

Detailed at Stage
 SIGHT LINE LAYOUTS

❖ Floor and balcony slopes should be designed

so seated audience will have unobstructed
view of entire performing area, performers,
and scenery. For ex ample, the vertical sight
lines shown below illustrate acceptable
viewing conditions and preferred layout of
seating in the front of auditorium where an
uninterrupted view of entire stage floor is
essential for ballet.

❖ Balconies should not have excessive floor

slope (> 26°), and the top balcony should not
be more than 65 ft above the stage to avoid
vertigo. A balcony view of the first few rows
of main floor seating also may be desirable to
achieve a sense of congregation with audience
below and the proscenium arch should not
obstruct the view of bottom 7 ft of the
backstage wall. Section View
1.6.3 RAY DIAGRAM & SOUND PATHS

UTILITIES 323
Acoustics and Lighting
RAY DIAGRAM

❖ Analogous to specular reflection of light.

❖ Analysis of ray diagrams can be used to study the effect of room
shape on the distribution of sound and to identify surfaces that may
produce echoes.
❖ A ray diagram shows both reflected and direct sound paths.
❖ The difference between these two paths is called Path Difference.
(Path Difference = Reflected Path – Direct Path)
❖ A path difference in excess of the distance that can be traveled by a
sound wave in 0.05 seconds indicates that the reflected sound can be
perceived as discrete echo.
EXAMPLES OF RAY DIAGRAM
EXAMPLES OF RAY DIAGRAM

❖ Areas distinguished by blue are “live” areas, while seats marked in red
illustrates “dead” areas.
❖ This shows that the sound reflector panels are inefficiently designed to
spread sound to all areas of the theater.
EXAMPLES OF RAY DIAGRAM

❖ The following image shows the panels in new locations that will
reflect the sound to all areas of the audience and eliminate dead
areas.
❖ As evidence by this illustration, there are no “dead” zones in the
crowd where sound will not be reflected.
EXAMPLES OF RAY DIAGRAM
1.6.4. ECHOES AND ITS CONTROL

ECHO
❖ In audio signal processing and acoustics, echo is a reflection of sound that
arrives at the listener with a delay after the direct sound.
❖ The delay is directly proportional to the distance of the reflecting surfaces
from the source and the listener.
REVERBERATION CONTROL

• A major cause of discomfort in buildings is

excessive reverberant noise caused by hard
reflective surfaces such as painted plaster
board, concrete, ceramic, wood flooring,
plastics and glass.
• Excessive reverberation raises background
noise levels and affects speech intelligibility,
privacy, the old and those with hearing
difficulties.
• To control reverberation time, acoustic
absorption is used.
• Absorbent materials conventionally take two
forms: Fibrous materials or Open-celled foam.
• Fibrous materials absorb sound as sound
waves force the fibres to bend and this
bending creates heat.
1.7. Auditorium Acoustics
❖The room in which we listen to sounds has an
important influence on what we hear. This section will
identify some of the principal means currently
available for judging the quality of an auditorium.
However, the design of such spaces is still considered
an inexact science.
Sound Propagation in an Auditorium

❖ As sound waves travel at about 345 meters/second, the sound coming directly from a
source within an auditorium will generally reach a listener after a time of anywhere
from 0.01 to 0.2 seconds.
❖ Shortly after the arrival of the direct sound, a series of semi-distinct reflections from
various reflecting surfaces (walls and ceiling) will reach the listener. These early
reflections typically will occur within about 50 milliseconds.
❖ The reflections which reach the listener after the early reflections are typically of
lower amplitude and very closely spaced in time. These reflections merge into what is
called the reverberant sound or late reflections.
❖ If the source emits a continuous sound, the reverberant sound builds up until it
reaches an equilibrium level. When the sound stops, the sound level decreases at
amore or less constant rate until it reaches inaudibility.
❖ For impulsive sounds, the reverberant sound begins to decay immediately.
Direct Sound and Early Reflections

❖ Direct sound will decrease by 6 dB for each doubling of distance propagated.

❖ Our auditory system will determine the direction of a sound source from the direct sounds reaching
the ear.
❖ Early reflections which arrive within about 35 milliseconds are not heard as separate from the direct
sounds. Rather, they tend to reinforce the direct sound.
❖ The source is perceived to be in the direction from which the first sound arrives provided that (1)
successive sounds arrive within about 35 milliseconds, (2) the successive sounds have spectra and time
envelopes reasonably similar to the first sound, and (3) the successive sounds are not too much louder
than the first. This is referred to as the precedence effect.
❖ From a study by Leo Beranek (1962), a concert hall is considered ``intimate'' if the delay time
between the direct and first reflected sound is less than 20 milliseconds.
❖ First reflections usually arrive from the nearest side wall or from the ceiling for those seated in the
center.
❖ Reflections from the ceiling or overhead reflectors are not as perceptually desireable as those from side
walls.
Late Reflections

❖ During a continuous sound, the reverberant sound level is

reached when the rate at which energy is supplied by the source
is equal to the rate at which sound is absorbed by the room and
its contents.
❖ Too much reverberant sound will result in loss of clarity.
❖ In a bare room, where all surfaces absorb the same fraction of
the sound that reaches them, the theoretical reverberation time
is proportional to the ratio of volume to surface area.
❖ Reverberation time is typically defined as the time required for
the sound level to decrease by 60 dB
Calculating Reverberation Time

❖ When expressed in units of cubic and square meters,

the reverberation time is given by RT = 0.161 V/A ,
where V is the volume of the room and A is the
effective ``total absorption'' area.
❖ The ``total absorption'' area is calculated as the sum of
all surface areas in the room, each multiplied by its
respective absorption coefficient.
Air Absorption

❖Air contributes a substantial amount to the absorption

of high frequency sound.
❖Taking account of air absorption, RT =
0.161 , where is a constant which varies
with air temperature, humidity, and frequency.
Criteria for Good Acoustics
❖ Optimum reverberation time is a compromise between clarity (requiring short reverberation time), sound intensity
(requiring a high reverberant level), and liveness (requiring a long reverberation time).
❖ The optimum reverberation time of an auditorium is dependent on the use for which it is designed.
❖ Reflected sound arriving from the sides seems to be important to the overall reverberance of the room.
❖ Important subjective attributes of concert hall acoustics include intimacy, liveness, warmth, loudness of direct sound,
reverberant sound level, definition or clarity, diffusion or uniformity, balance and blend, ensemble, and freedom from
noise.
❖ In addition to the attributes above, spatial impression and early decay time are important. The spatial impression is
dependent on contributions to the early reflections from above and especially from the sides. The initial rate of decay
of reverberation is apparently more perceptually important than the total reverberation time.
❖ Echoes, flutter echoes, sound focusing, sound shadows, and background noise should be avoided in an auditorium
design.
❖ The greater the early decay time (up to two seconds), the greater the preference for the concert hall. Above two
seconds, the trend it reversed.
❖ Narrow halls are generally preferred to wide ones.
❖ Preference is shown for halls having a high ``binaural dissimilarity''.
❖ Less ``definition'' is preferred. Definition represents the ratio of energy in the first 50 milliseconds to the total energy.
Background Noise

❖Concert halls should meet at least the NC-20 curve

and preferably the NC-15 curve
THANK YOU!