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What you need to know about Room Acoustics

In the Southeast Asia region especially, acoustic properties of residential buildings are often neglected by designers, developers, contractors, and even home buyers. Noises from both internal and external environments affects occupants’ daily lives, causing nuisance which can strongly deteriorate one’s living quality as a long-term effect. In this article, we will investigate building/room acoustics, and the actions that can be undertaken to improve the acoustical environment inside a building.

Room acoustics

In general, the acoustics of rooms can be divided into two groups: low frequency and high frequency. Sound in rooms can be highly affected by the reflective properties of the surfaces in the room. This is because multiple reflections may occur if the room surfaces are highly reflective, which then leads to a reverberant field in addition to the direct field from the source especially at higher frequency range. Therefore, at any point in the room, the overall sound pressure level is influenced by the energy contained in both the direct and reverberant fields (Crocker, 2007).

Sound transmissions in buildings

Sound can be transmitted within a building by transmitting through air in the spaces bounded by walls or roofs/ceilings, known as airborne transmission. Another way would be through structural transmission through the structural assemblies of the building, or impacts.

Airborne sound originates from a source that radiates sound waves into the air, which would then impinge on the building surfaces. A good example of airborne sound will be speech, or music from a television or loudspeaker. On the other hand, impact sound is being generated when an object strikes the surface of a building. The commonly heard impact sounds that we can hear in buildings are footsteps, furniture-dragging sounds, cleaning, and other equipment that is used directly on the floor surfaces. To overcome these noises, good sound isolation should be considered for all the possible paths for sound and the junctions between walls and floors, not just at the direct path through common wall or floor.

Sound insulation – airborne and impact

It is imperative to consider the control of airborne and impact sound transmission through the building elements like walls, ceilings, or floors, as stated above. In this case, sound insulation methods will be crucial. Different methods can be implemented for airborne, impact and flanking sounds (Crocker, 2007).

For airborne sound, insulation can be applied at any building element. This is because when sound hits on a surface, a very small fraction of the incident energy will be radiated from the other side. The sound transmission loss (TL), which is the ratio of the incident sound energy relative to the transmitted sound energy is typically measured. TL can be expressed in decibels (dB), and it is sometimes known as sound reduction index (R) in European and ISO standards. The elements to be used in buildings for sound insulation are measured in accordance with standards, where the commonly seen method would be the two-room method. A test specimen would be mounted between a reverberant source room, and a receiver room such that the only significant path for sound to transmit through is the specimen, and other possible transmission paths would be suppressed. As such, it will be useful to determine the TL of the building elements/materials so that one can estimate the airborne sound insulation performance inside the building space.

As for impact sound which typically radiates from a floor into rooms below or horizontally, insulation can be done via floor coverings or floor slabs. This is because the applications of these items can reduce the impact sound pressure levels that travels into the receiver room. The typical methods of insulation are adding soft floor coverings on concrete slab, increasing the thickness of concrete floors, or implementing floating floors.

Single number ratings

To know the acoustic information of an insulation element, the standard method would be to refer to the single number ratings of that element. These ratings would be assigned to building materials based on their sound transmission spectra by the means of reference curves or weighted summation procedures.

The most used single-number rating for airborne sound insulation is the Sound Transmission Class (STC), which is in accordance with the American Society for Testing and Materials (ASTM) E413. There is another equivalent number called the Weighted Sound Reduction Index (Rw), which is based on the International Organization for Standardization (ISO) standard ISO 717.

The figure above shows an example of STC contour fitted to a concrete slab’s data. The differences between data points below the contour line and the value of contour are called the “deficiencies”. According to ASTM E413, the sum of deficiency should not be greater than 32 dB, and each individual deficiency should not exceed 8 dB (also known as the 8-dB rule). The reference contour for ASTM covers the frequency range from 125 Hz to 4000 Hz. The Rw contour from the ISO 717 has the same shape, except that it covers a broader frequency range of 100 Hz to 3150 Hz. Also, there is no 8-dB rule in ISO 717. Comparing both standards, the numbers from both ratings are usually close. However, the weighted summation method developed in ISO 717 accounts for the higher importance of low frequencies in traffic noise and modern music systems. As such, this method allows corrections/spectrum adaptation terms to be produced that can be used in conjunction with the Rw rating.

As for impact sound insulation, the sound pressure levels are often collected using a standard tapping machine and normalised, which will then be used with a reference curve to calculate its rating, typically the Impact Insulation Class (IIC), or the weighted index Ln,w. In fact, these ratings are commonly used in building codes. Again, the rating curves are identical in each standard, but there are some differences among them still. For instance, the ASTM IIC method does not allow any unfavourable deviation to exceed 8 dB. An increasing IIC rating would indicate that the impact sound insulation improves. Conversely, the Ln,w rating would decrease as the impact sound insulation gets better. We can take the relationship between both ratings as follow (assuming that the 8-dB rule is not invoked):

However, there is debate regarding the usefulness of ISO tapping machine data obtained on different types of floors. Therefore, the latest version of ISO 717-2 proposed the use of C1, a spectrum adaptation term to consider low-frequency noise that is normally generated below a lightweight joist floor.  is the unweighted sum of energy in the one-third octave bands (50 or 100 Hz – 2500 Hz) minus 15 dB. According to the standard, this rating is expected to have a better correlation with the subjective evaluation of noise coming below floors, especially for low frequency ones.

The single rating numbers mentioned above are all useful when it comes to determining the level of acoustic insulation a material can provide. With the explanation above about room acoustics and the insulation measures that can be implemented, it will give a better idea on how one should tackle and handle the room acoustics in a building.

References

Crocker, M. J. (2007). Chapter 103: Room Acoustics. In C. H. Hansen, & M. J. Crocker (Ed.), Handbook of Noise and Vibration Control (pp. 1240-1246). Adelaide, South Australia, Australia: John Wiley & Sons, Inc. doi:ISBN 978-0-471-39599-7

Crocker, M. J. (2007). Chapter 105: Sound Insulation—Airborne and Impact. In A. C. Warnock, & M. J. Crocker (Ed.), Handbook of Noise and Vibration Control (pp. 1257-1266). Ottawa, Ontario, Canada: John Wiley & Sons, Inc. doi:ISBN 978-0-471-39599-7

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Acoustic of Small Studio

Studio Acoustic

Small studios are now widely used in the recording industry due to their high feasibility and them being economically friendly, which allows those working in the recording/music industry to be able to work remotely without needing to travel to big studios that much. With a good implementation of acoustic treatments, music recorded in small studios can still be high in sound quality, sometimes even suitable for commercial release.

So, what makes a recording studio good?

In today’s article, we will look into the acoustics of small recording studios, where music is performed as recorded (Everest & Pohlmann, 2015).

Ambient conditions

A quiet environment is a must for a studio to be useful, which is sometimes quite hard to achieve. First, noisy sites should definitely be avoided as many noise and vibration problems will not arise by just choosing a site in a quiet location for your studio. Avoid places near loud areas like train tracks, busy road intersections, or even an airport. The ultimate idea is to reduce the external noise spectrum, then keep the background noise within the criteria goal by implementing sound insulations in the building. However, the construction costs of effective insulation elements like floating floors or special acoustically treated walls/windows/doors may cost greatly. Hence, the best way, that is more cost-effective, will be to choose a quiet site in the first place, rather than isolating a studio located at a noisy place.

The HVAC system, which includes heating, ventilating and air-conditioning systems should be designed such that the acoustics meet the required noise criteria goals. The noise and vibration coming from motors, fans ducts diffusers etc. should be brought to the minimum so that low ambient noise levels can be achieved.

Noise

Similar to any other quiet rooms, a small studio needs to comply with the acoustical isolation rules and standards. It is important to construct the building elements with high transmission loss and decoupled from external noise and vibration sources to ensure that the ambient noise levels are low enough for good recording quality. Not only that, but these constructions will also act as an isolation that prevents loud noise (music) levels in the studio from affecting the neighbouring spaces.

Studio acoustical characteristics

Inside a studio, the types of sound present, and may be picked up by microphones, are the direct and indirect sounds. Direct sound is basically the sound coming from the source (before it hits a surface). Indirect sound follows right after the direct, caused by various non-free field effects characteristic of an enclosed area. In short, everything that is not direct sound is considered as indirect or reflected sound.

It is known that the sound pressure level in an enclosed space will vary according to the distance from a source, while also being affected by the absorbency of the room or space. If all the surfaces in a room are fully reflective, it means that the room is fully reverberant (like a reverberation chamber), therefore the sound pressure level would be the same (as of the sound from the source) everywhere in the room as no sound energy is absorbed. It can also be assumed that there is relatively no direct sound since most of the sounds are reflected, hence indirect. Another component that causes indirect sound comes from the resonances in a room, which is also the result of reflected sound.

Indirect sound also depends on the materials used for room construction (e.g., doors, walls, windows, floors, ceiling etc). These elements can also experience the excitation by the vibration of sound from the source, hence able to decay at their own rate when the excitation is removed.

Reverberation Time

The composite effect of all the indirect sound types is reverberation. Many would say that reverberation time is an indicator of a room’s acoustical quality, but in reality, measuring reverberation time does not directly reveal the nature of the reverberation individual components, giving a small weakness of reverberation time being the indicator. Therefore, reverberation time is often not the only indicator of acoustical conditions.

Reverberation time is, by definition, the measure of decay rate, and is usually known as T60. For example, a T60 of 1 second represents that a decay of 60 dB takes 1 second to finish. Some may say that it is inaccurate to apply the reverberation time concept to small rooms, as a genuine reverberant field may not exist in small spaces. However, it is still practical to utilize the Sabine equation (for reverberation) in small-room design to make estimations on the absorption requirements at different frequencies, provided that limitations of the process are taken into account during the estimation.

It is not good to have it being too long or too short. This is because for a room with reverberation time that is too long, speech syllables and music phrases will be masked hence causing a worsening speech intelligibility and music quality. Conversely, if the reverberation time is too short, speech and music will lose character therefore suffer in quality, whereby music will typically suffer even more. Despite that, there is no specific optimal value for reverberation time that can be applied for any rooms, because too many factors are also involved besides reverberation. Things like the types of sound sources (female/male voice, speed of speech, types of language etc) will all affect the room’s acoustic outcome. However, for practical reasons, there are approximations available for acousticians to refer to, where certain amount of compromise has been implemented to make it usable in many types of recording applications.

Diffusion
A high diffusion room give a feeling of spaciousness due to the spatial multiplicity of room reflections, and it is also a good solution to control resonances effects. To create a significant diffusing effect, the implementation of splaying walls and geometrical protuberances works well. Another way will be to distribute absorbing materials in the room, which also increases the absorbing efficiency of the room apart from diffusion. Typically, modular diffraction grating diffusing elements (e.g. 2- x 4-ft units) can provide diffusion and broadband absorption, and can be easily installed in small studios. Still, there will not be much diffusion in a studio room, in practice.


Examples of acoustic treatment
So, what are the acoustic treatment elements that you can use to improve your studio? These items below can be considered (Studio, 2021):
1. Bass Traps
This is one of the most important tools to have in a studio. Bass traps are normally used to absorb low frequencies, also known as bass frequencies, but in fact they are actually broadband absorbers. This means that they are also good at absorbing mid to high frequencies too.

2. Acoustic Panels
Acoustic panels work similarly like bass traps, but rather ineffective at absorbing the bass frequencies. One thing good about acoustic panels as compared to bass traps is that since they are much thinner, they offer more surface area with less material. Therefore, acoustic panels are capable of providing larger wall coverage with less cost as compared to bass traps.

3. Diffusers
Diffusers may not be as effective as compared to bass traps and acoustic panels if used in small studios. So, this really depends on users, whether they find diffusers useful for their application.
Now, where should the acoustic treatment products be placed at?
There are three key areas of the room to be defined in this case:
– Trihedral corners
– Dihedral corners
– Walls
The priority for coverage goes from trihedral corners, dihedral corners to the walls. This is because acoustic treatments should ideally be placed at areas which have the greatest impact. At trihedral corners, for example, three sets of parallel walls converge, hence if there is absorption material located here, it catches the room modes from all three dimensions, giving three times the initial effectiveness. Same concept goes for dihedral corners and walls, but with two dimensions and one dimension respectively.

 

References
Everest, F. A., & Pohlmann, K. C. (2015). Acoustics of Small Recording Studios. In F. A. Everest, & K. C. Pohlmann, Master Handbook of Acoustics (6th Edition ed.). McGraw-Hill Education – Access Engineering. doi:ISBN: 9780071841047
Studio, E.-H. R. (2021). CHAPTER 3: The Ultimate Guide to Acoustic Treatment for Home Studios. Retrieved from E-Home Recording Studio: https://ehomerecordingstudio.com/acoustic-treatment-101/

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Noise Barriers

Noise barriers are designed to resist the sound waves in the propagation path from source to receiver. In general, the closer the barrier is to the source the more effective it becomes. For simple plane barriers the height and length are the most important factors determining the degree of screening achieved and simple design rules have been developed to determine the reduction in overall noise levels.  These are based on the path difference between the direct path from source to receiver through the barrier and the shortest path passing over the top of the barrier. The greater this path difference the greater the screening. The shadow zone of the barrier is the region where the receiver cannot see the source and here the greatest reductions in noise levels are recorded. Some sound will always be diffracted over the top and around the edges of the barrier into the shadow zone so it is not possible to eliminate all noise from the source. However, typical barriers of a few metres high can achieve a worthwhile noise reduction of the order of 10 dB(A). This corresponds to halving the subjective loudness of the sound.

 

Figure (a)

Figure (b)

For more complex barriers simple methods are not appropriate and numerical methods such as the Boundary Element Method (BEM) have been used to produce accurate solutions.

Many different types of barrier have been installed using a wide variety of materials including wood, steel, aluminium, concrete and acrylic sheeting. Some of these designs have absorptive facings on the traffic side which reduce reflected sound. Barriers over 8 m in height have been used for some applications and novel capped barriers and angled barriers have been tested.

Barriers that may offer improved performance over simple plane barriers can be grouped under the following broad headings.

The above fig (a) shows the Main pathway of the sound propagation from the source to the barrier’s edge for sound walls with or without source-side absorption. Fig (b) shows Absorption material construction.

If smaller vehicles passing by the barrier, the reflection off the vehicle it does not play much of a role. Multiple reflections can only occur if noise barriers are built along both sides of the highway or train tracks.

In the case of large noise emitters, the implementation of source-side absorbent noise barriers can prevent the so-called zigzag effect

  1. Absorptive barriers—that is, barriers incorporating elements on the traffic face that absorb a significant proportion of incident sound and hence reduce reflected sound which could contribute to overall noise levels in the vicinity.
  2. Angled barriers—that is, barriers that are tilted away or have contoured surfaces angled to disperse the noise, the aim being to prevent significant sound reflections into the area where screening is required.

 

ABSORPTIVE BARRIERS

Where a plane vertical barrier is erected on one side of the road then sound reflections to the opposite side take place as illustrated in fig 1(a). In addition, reflections between vehicles and the barrier may lead to loss of screening performance as shown in fig (b). Where plane vertical barriers exist on both sides of the road, as shown in fig(c), they are normally parallel to each other and, in this situation, sound is reflected back and forth between the barriers again leading to a loss in performance. Absorbing panels located on the sides of the barriers facing the traffic can reduce this reflected contribution by absorbing the sound energy from the incident wave.

ANGLED BARRIERS

An alternative to using sound absorptive barriers is to angle the barrier or parts of the barrier away from the road such that the reflected wave from the traffic face of the barrier is deflected upwards, so reducing the contribution to noise at receptor positions relatively close to the ground. The performance of such barriers has been measured at full scale at TRL’s unique Noise Barrier Test Facility (NBTF).  The noise source used consisted of an 800 W speaker that can be positioned in front of the test barrier on a specially laid strip of hot rolled asphalt, thereby representing the traffic source on motorways and all-purpose dual carriageway roads. Microphones can be positioned to measure the noise level in the shadow zone of the test barrier at any point on a wide flat grassland area free of reflecting objects. To measure the acoustic performance of the barrier, recorded noise in a broad frequency range is broadcast and noise levels are measured at standard locations behind the barrier. Corrections can be made for variations in speaker output and wind speed and direction. In this way the screening performance of the barriers for a typical traffic noise source can be evaluated.

The above fig shows angled noise barrier.

Source : Various books and research journal

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The power of trees can reduce noise.

The way most workers need to complete tasks have significantly changed the way companies use their spaces. Quiet spaces are needed for deep, focused work. Technology enabled meeting rooms and collaboration spaces are used for productive meetings. Ideally, an office is designed in such a way that it enables team members to do their best work.

Unfortunately, it can be difficult to make sure a design includes all these aspects. As a result, designers and architects still often have to leave space for cubicles and open office spaces, a big contributing factor to general noise levels.

Did you know? Planting trees in your home or office not only helps to cool the internal temperature, increase the oxygen in the air give a feeling of freshness, and help relax only. But plants can also HELP ABSORB NOISE!

One creative way to both combat office noise and bring biophilic elements to a design is to incorporate plants and greenery into a space. Studies have shown that both plants and living green walls are an effective way to absorb sound and noise pollution.

Beyond their sound absorbing qualities, plants and biophilic elements can help to improve a worker’s overall well-being. Access to natural elements like greenery, natural light, and organic textures have been found to both improve employee productivity and reduce absenteeism. Plants have been found to be a mood booster and a stress reliever for team members, which can in turn, help to improve an employer’s bottom line.

Do Plants Help to Absorb Sound?

There is quite a bit of research on the subject, but the short answer is yes. The flexible and porous nature of indoor house plants acts as natural sound reducers. There are three ways that house plants can reduce the sound in your home or office: deflection, absorption, and refraction.

Most people do not understand the sound absorption benefits of houseplants. However, they really do help with absorption sound.

How Plants Reduce Indoor Noise Levels?

As mentioned above, plants reduce noise levels through three different methods: deflection, absorption, and refraction.

  • Deflection – Sound waves tend to bounce around off hard surfaces. That is where all that added noise comes from. Walls are rigid and will amplify sound, while plants are flexible and help to deaden the sound by breaking up the sound waves into other forms of energy.
  • Absorption – Plants are great at absorbing sound because of the leaves, branches, and wood. Wood is a great sound absorber. Have you ever walked through a forest and been amazed at the silence? That is because the trees are absorption all the ambient noise.
  • Refraction – Refraction is taking away the echoes of the sound bouncing off the hard surfaces. Plants will help to refract this noise and eliminate the echoes which are responsible for much of the added noise in your home or office.

The indoor plants that work best at absorbing sound such as:

  • Ferns: have a lot of surface space to help reduce sound. Their wide leaves spread out and cover quite a bit of area.
  • Baby’s Tears: Baby’s Tears are a dense plant that looks almost like moss. The plant has a way of draping itself over the pot and makes a great sound reducer when elevated off the ground.
  • The Peace Lily: The Peace Lily can absorb some of the sounds with their leaves and do a great job of bouncing the sound to the other plants and is a great sound absorbing plant you can put in your home. Their true noise absorbing properties are in their thick, broad leaves.
  • The Rubber Plant: The beauty of this plant is just how big it can get. Rubber plants cover a large surface area which only serves to enhance their sound absorbing properties.
  • Fiddle Leaf Fig: The fiddle leaf fig is another plant with broad, thick leaves. They can grow tall, and the cupped shape to the leaves make for an effective sound absorber.

Reference :

พลังจากต้นไม้ ลดมลพิษทางเสียง

https://bettersoundproofing.com/best-sound-absorbing-indoor-plants/

The Top Sound Absorbing Plants For The Workplace

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SCOPE OF ARCHITECTURAL ACOUSTIC CONSULTANT’S WORK

What should an architectural acoustic consulting firm do? This question is very commonly asked when an acoustician is asked to submit a work proposal for a project. In this article, we will describe the scope of work of an acoustic consultant with reference to the type of mixed-use high-end building project. Because in this type of project an architectural acoustic consultant is required to be able to describe all the scope of work in one project with high complexity.

Details of the scope of work of acoustic consultants in mixed-use high-end building projects are as follows:

1. Criteria Formulation
At the beginning of the project, the acoustic consultant must recommend design criteria/targets for various rooms and areas within the building such as retail, apartment units both for bedrooms and living rooms, and commercial areas such as meeting rooms, multifunction rooms, spas, fitness, restaurants. , club lounges, etc. These criteria are determined based on studies and summaries of the applicable standards in the country, international standards, client recommendations, and the building operator concerned.

2. Schematic
With so many rooms that fall into the scope of work of an acoustic consultant with this type of project, it is highly recommended that an acoustician provide schematic designs for several important rooms for the attention of other consultants in the early stages of the project. Examples are MEP rooms, building structure connections, placement of HVAC equipment above the ceiling, and draft wall partition configurations.

3. Noise Review from the Environment Around the Building
The acoustic consultant must review potential sources of noise from aircraft, train stations, transportation on highways, outdoor MEP equipment, and all things around the building that have the potential to interfere with audial comfort to the interior of the building to ensure the targeted acoustic criteria are achieved. At this stage the acoustician must be able to convey the results of modeling and simulations for several points around the building in the form of drawings that can be understood by clients and other consultants. At this stage, a building fa konfigurasiade configuration can be recommended that takes into account the noise from the area around the building.

4. Noise HVAC (duct-borne)
Discussion and review of noise from all HVAC be it from air handling unit (AHU), axial and centrifugal fans, fan coil unit (FCU), etc. The ducting system will be analyzed to determine the noise level in the critical room from the nearest diffuser ducting system outlet. From this analysis, the need for silencers, lagging or duct linings will be recommended in order to achieve the acoustic criteria that have been determined. The analysis will be carried out on all HVAC systems without exception, with the greatest attention being on residential areas, spas, hotels, etc.

5. Sound Propagation in Building Structures (Structure-Borne)
All matters relating to the propagation or vibration of sound via the building structure, whether it is due to human footsteps on the top floor or vibrations from the installation of MEP machines above the ceiling or floor. The acoustic consultant must be able to evaluate according to the natural frequency of the building structure and provide recommendations on floor slab elements to meet operator and client standards applied.

6. Machine Vibration Control
The acoustic consultant should conduct an in-depth discussion on the vibration isolator for the installed machines. This is done by taking into account the deflection of the floor slab and its relationship to the static and dynamic loads of the machine (eg chiller, pump, cooling tower, AHU, etc.). In addition, ensuring the insulator is efficient to withstand vibrations to the building structure.

7. Room Insulation
Discussion on the isolation of certain rooms by providing technical calculations both with the “indoor room” and “floating floor” methods so that sound and vibration do not propagate to all elements of the building, especially the room around the isolated area.

8. Acoustic Interior
Reviewing and calculating room acoustic parameters on interior design elements of commercial spaces such as ballrooms, meeting rooms, and other areas where the clarity of speech or music is crucial.

9. Detailed Drawing
The acoustic consultant must provide or recommend specifications for building skin elements such as faades, walls and floor slabs in CAD format on a cut or plan basis. This will make it easier for relevant consultants to apply these specifications in their construction drawings.

10. Noise Isolation Due to Impact
Collisions in the fitness area, whether it’s due to aerobic activity or lifting weights, are a special concern for acoustic consultants. In addition to different forms of acoustic treatment, the time span of these activities must also be included in detailed technical calculations, and of course measurable.

11. Review of Related Consultant Drawings
After all acoustic treatments have been adapted to construction drawings by the relevant consultant, the acoustician must review all these drawings to ensure that all treatments have been described correctly, before entering the tender phase.

12. Coordination with Selected Contractors
The acoustic consultant must allocate time to coordinate the design and answer questions from the selected contractor and sign all forms related to material approval if it is in accordance with the acoustic intentions.

13. Final assessment
Before handing over the project to the next party, the acoustic consultant must conduct a final assessment of the building elements designed by the consultant. Next, compare the measured value to the design target and pre-determined criteria.

by Ramadhan Akmal Putra 

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Accelerometer mounting

One of the challenges in measuring vibration using accelerometer is how to mount the accelerometer on the surface of the object that is being measured. Choosing the proper mounting can affect both to the measurement results and practicality when we are conducting the measurement.

 

Accelerometer mounting affects the measurement results because it can shift the resonance frequency of the accelerometer. Accelerometers have a significant amplification factor at its resonance frequency. This implies that in conducting measurements using accelerometer, it is important to choose mounting techniques that does not shift the resonance frequency into our frequency of interest.

 

Generally, there are four ways to mount accelerometer which are:

  1. Stud mounting: this technique is done by bolting the accelerometer into the object. This option is often considered as the mounting technique that produces the best measurement result compared to other options. Stud mounting has a high resonance frequency that in most cases a lot higher than our frequency of interest. To increase the performance of stud mounting, coupling fluid such as oil, petroleum jelly or beeswax can be used.

The downside of this technique is that not all object has a possible location to be bolted at the surface. If this is the case, then we will need to modify the surface and might leave a hole on the object.

  1. Adhesive: there are few adhesives that are commonly used to mount accelerometers such as epoxy (usually chosen for permanent mounting), wax, glue, and double-sided tape. Use of adhesive has lower resonance frequency compared to stud mounting, but in majority of cases still high enough that it does not affect the measurement at the frequency of interest. Of course, this depends on the type of adhesive that is being used as well.

Usage of adhesive however, especially for temporary mounting, has its own problem which is it can leave stain on the surface of the object that we are measuring, as well as on the accelerometer itself.

Another option of mounting related with adhesive is to use adhesive mounting pad, which is a pad that can be mounted on the surface that we want to measure using adhesive, and then we can mount the accelerometer on the pad. This will allow us to move one accelerometer to few locations more easily. From practicality perspective, adhesive mounting pad has an advantage if we want to repeat the measurement. Also, by using adhesive mounting pad, we avoid direct contact of adhesive to the accelerometer so that it will not need cleaning.

  1. Magnet: For metal surfaces, one of the options that is easy and does not leave stain is by using magnetic mounting base on the accelerometer so that we can attach the accelerometer to metal. This is the reason magnetic base is one of the best options especially for short-term and temporary measurement on metal.

However, this mounting technique produces lower resonant frequency compared to the other two options that we have discussed above. If the frequency that we want to measure is high enough, say above 1 kHz, this mounting technique might influence the measurement results.

  1. Handheld: In some of the cases, the three options above are not possible to be chosen, and it leaves us with the last option which is holding the accelerometer by hand. In this kind of cases, a probe tip can be used so that we can put pressure by hand on the surface that we are measuring easier.

We will have to pay more attention to the frequency range that we are measuring if this mounting technique is used. Because this option will reduce our frequency range significantly, generally only in the range of 10 – 100 Hz. 

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Helmholtz Resonator

Helmholtz resonator
Helmholtz resonator

Resonate absorbers are the most powerful of low-frequency absorption technologies. Pound for pound and square foot per square foot, resonant absorbers can not be matched for low-frequency absorption. They are sometimes called resonance absorbers. We are speaking about real low-frequency absorption which represents all frequencies below 100 Hz. Resonant absorbers are different than other absorbers. They work best in areas of high room sound pressure not high sound velocity areas like porous absorbers that handle middle and high frequencies.

Vibrations & Sound Pressure
A resonant absorber is a vibrational system that “runs” on sound pressure. As vibrational science will tell us a resonant absorber is a mass vibrating against a spring. The mass is the cabinet and front wall or diaphragm. The spring is the air inside the cavity of the resonant absorber. If you change the vibrating mass and stiffness of the spring, you can control and tune the resonant absorber to the resonant frequency of choice. The internal mass or cabinet depth determines design frequency. The spring or internal air and cavity are used for achieving the rate of absorption above the unit’s designed for resonant frequency. There are three types of resonant absorbers: Helmholtz and Diaphragmatic and Membrane.

Helmholtz resonator

Helmholtz / Membrane
A Helm resonator is a box or tube with an opening or slot at its mouth. Air enters the slot which has a calculated width, length, and depth. The slot is attached to a cabinet or cylinder of different widths and depths. A glass coke bottle is a good example of a Helmholtz resonator. It is a resonant absorber or as some would term a resonance absorber. The frequency or resonance is determined by the slot dimensions along with the cabinet or cylinder depth. Helms are frequency specific and narrow frequency band coverage. A membrane absorber works similar to a diaphragmatic. It has a membrane than vibrates in sympathy to sound pressure. This vibrating membrane is attached to a cabinet which has a certain depth and fills material. A diaphragmatic absorber works similar to a membrane with more performance per square foot.

 

Calculate Resonant frequency of Helmholtz Slot Absorber

Resonant Frequency Formula
fo = 2160*sqrt(r/((d*1.2*D)*(r+w)))
fo = resonant frequency
r = slot width
d = slat thickness
1.2 = mouth correction
D = cavity depth
w = slat width
2160 = c/(2*PI) but rounded
c = speed of sound in inch/sec
If the gaps vary say 5mm, 10mm, 15mm, 20mm and the wall is angled as shown below, a broad band low mid resonator is created that still keeps the high frequencies alive.

Remember the cavity behind must be airtight!
By working out the different slat widths and slat gaps you can create a broadband low mid resonator at specific frequencies.

Credit : mh-Audio.nl , acousticfields

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Virtual Data Room

Your best option of The Data Room For Your Business

Fog up technology can be described as convenient atmosphere for holding and processing information, combining hardware, licensed software, interaction channels, in addition to technical support meant for users. Operate the “clouds” is aimed towards reducing prices and maximizing the effectiveness of corporations. A feature associated with cloud technology is the lack of attachment to the hardware platform and physical area, the potential of scalability. Your client can work using cloud services from all over the world and from any gadget with Internet access, quickly interact to changing business tasks belonging to the enterprise together with market demands.

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online data rooms

Why are data room providers used during banks?

The competition amongst banks is certainly huge but not everyone can hold up against during times of desperate. Such banks are beginning to put on innovative solutions to reduce costs. Cloud storage services are aimed at robotizing financial processes. As a result, there is an increase in typically the efficiency of credit corporations by lowering the cost of confirming. It is important to remember that since there is a new risk of thieves entering the particular cloud storages, they do not retail outlet customer data.

In virtual data rooms , there is a make sure all documents with which you worked usually are saved in fact: employees cannot accidentally or perhaps intentionally erase them, if an error was made in the kept changes, they could always be rolled back to the previous version with the file. Many services not just save replicates of documents, but also the entire folder construction that users are used to seeing on their pcs. The number of gizmos that we utilization in everyday life is growing: computers, laptop computers, tablets, cell phones. Often all of us use units from distinctive manufacturers with different software fillings. For the operational solution regarding business complications, it is necessary to get access to relevant working documentation via any of the gadgets of different suppliers.

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Should I spend money on data room providers?

To be able to use all of the features of some sort of virtual data room (automatic your own, uninterrupted functioning during product updates, higher availability of apps under basket full, etc . ), you are best ordering an enterprise move to the particular cloud out of international service providers. This will allow anyone to properly design the infrastructure required for your own product, make it along with minimal expense and automate its preservation to ensure optimum efficiency.

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