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Acoustical Modeling
I've used acoustical modeling for years in my practice, starting
out with physical models, investigated with light and sound. For the
last six years or so, I have been using the computer-modeling program
EASE. Modeling is a powerful tool, increasingly powerful. But like
all tools, it has its limitations.
Here is a (pre-digital) photo of a model using light, as well as
sound waves to model the inside of an auditorium. (Click to see enlarged
versions of all the graphics.)
H.S. Auditorium looking from stage to audience
Models serve several purposes:
- The process of building a three dimensional model of a room, gives
me hands-on understanding of the room beyond what I get from looking
at drawings.
- I use models for acoustical calculations, such as reverberation
time, clarity, speech intelligibility, noise levels and loudspeaker
coverage.
- Models allow me to visually inspect how sound behaves in the room,
using ray tracing.
- Using auralization, I can listen to how model sound behaves in
the model room.
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Architectural acoustics consultant and orchestral musician Brooks describes the fundamentals of acoustics and the factors to be considered when constructing a room or building with good sound quality. Aimed at practicing architects and the interested lay reader, the guide covers topics such as...
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All of these tools allow me to experiment with and compare options as
I try to work out the best approach for each individual project.
Auralization
The ultimate goal of acoustical
modeling is to model sound in the room so that you can hear it. A
computer model can't really allow you to hear how the finished room
will actually sound. It is, after all, a model; and there are many
differences between real sound and modeled sound.
- Real sounds are pressure waves in air. Sound is modeled as rays
or mirrored sources.
- Real sound bends around objects (diffraction). Work is being done
on diffraction, but it is not fully incorporated into practice.
- Real surfaces diffuse and scatter sound. Although scattering is
included in the model, data on scattering is scarce.
- Real sources have dimensions. Model sources are points. A real
orchestra, for instance, is spread out over a large plane and comprises
many instruments, each with its particular directionality, and each
moving around as it is being played. Model sources are directional,
but they don't move about as real sound sources do.
Physical scale models have fewer of these limitations since they use
real sound. However, physical models are vastly more expensive to build
and test than computer models.
The limitations on computer modeling are being stretched by researchers
in what is perhaps the hottest field in architectural acoustics. Of
course the most that anyone can wish for would be an equivalence between
modeled sound and a recording of sound in a real space. That would
be amazing, but of course nothing can compare with listening to real
performers in a real space.
Isn't that why we build them?
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Christopher Brooks now works for:
Acoustic Dimensions
145 Huguenot Street, Suite 406
direct phone: 717.291.9123
- main office phone: 914.712.1300 - email: cbrooks@acousticdimensions.com
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All materials Copyright 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007 2008 Christopher Brooks.
All Rights Reserved. Do not reprint, or distribute without express written permission.
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