Architectural Acoustics Third Printing Corrections

Transcription

1 Architectural Acoustics Third Printing Corrections Acknowledgments The last paragraph reads: Although I have tried to purge the document of errors, there are undoubtedly some that I have missed. I hope that these are few and do not cause undue confusion. Although I have tried to purge the document of errors, there are undoubtedly some that I have missed. Several errors, in earlier printings, were pointed out by Michael Haberman at the University of Texas, Austin and by Herb Kuntz. I hope that those that remain are few and do not cause undue confusion. Page 3 The third paragraph, second line reads in part: La Scalla La Scala Page 3 The third paragraph, fifth line reads in part: (Beranek, 1979) (Beranek, 4) Page 4 The caption for Fig reads: FIGURE 1.15 Theatro Alla Scalla, Milan, Italy (Beranel, 1979) FIGURE 1.15 Theatro Alla Scala, Milan, Italy (Beranek, 4)

2 Page 6 The caption for Fig reads: FIGURE 1.16 Festspielhaus, Bayreuth, Germany (Beranek, 1979) FIGURE 1.16 Festspielhaus, Bayreuth, Germany (Beranek, 4) Page 6 The first paragraph, second line reads in part: (Beranek, 1996) (Beranek, 4) Page 7 The caption for Fig reads: FIGURE 1.17 Concert Hall, Stadt Casino, Basel, Switzerland (Beranek, 1979) FIGURE 1.17 Concert Hall, Stadt Casino, Basel, Switzerland (Beranek, 4) Page 7 The first paragraph, fifth line reads in part: (Beranek, 1996) (Beranek, 4) Page 8 Add a line to the end of the first paragraph: Neues Gewandhaus is no longer standing, having been destroyed during World War II.

3 Page 9 The caption for Fig reads: FIGURE 1.19 Grosser Musikvereinssaal, Vienna, Austria (Beranek, 1979) FIGURE 1.19 Grosser Musikvereinssaal, Vienna, Austria (Beranek, 4) Page 3 The caption for Fig. 1. reads: FIGURE 1. Concertgebouw, Amsterdam, Netherlands (Beranek, 1979) FIGURE 1. Concertgebouw, Amsterdam, Netherlands (Beranek, 4) Page 31 The last paragraph, sixth line reads in part: (Beranek, 1979) (Beranek, 4) Page 3 The caption for Fig. 1.1 reads: FIGURE 1.1 Symphony Hall, Boston, MA, USA (Beranek, 1979) FIGURE 1.1 Symphony Hall, Boston, MA, USA (Beranek, 4)

4 Page 33 The caption for Fig. 1. reads: FIGURE 1. Metropolitan Opera House, New York, NY, USA (Beranek, 1979) FIGURE 1. Metropolitan Opera House, New York, NY, USA (Beranek, 4) Page 34 The caption for Fig. 1.3 reads: FIGURE 1.3 Carnegie Hall, New York, NY, USA (Beranek, 1979) FIGURE 1.3 Carnegie Hall, New York, NY, USA (Beranek, 4) Page 56 Table.3 Current Text The symbol υ in the book text is printed in two different fonts. We need to print it in one consistent font as below. Table.3 Types of Vibrational Waves and their Velocities Compressional Gas Liquid Infinite Solid Solid Bar γ P ρ B ρ E 1 υ ρ 1 υ 1 υ ( ) ( + )( ) E ρ Shear Torsional String (Area S) Solid Bar T E E KB S ρ ρ ( 1 + υ) ρ I 1+ υ ( ) Bending Rayleigh Rectangular Bar Plate (Thickness h) Surface of a Solid E h ω 1/4 1/4 Eh ω ( + υ).385 E.6 1 ρ 1 ρ ( 1 υ ) ρ ( 1 + υ)

5 where P = equilibrium pressure (Pa) γ 5 atmospheric pressure = 1.1 x 1 Pa = ratio of specific heats (about 1.4 for gases) B = isentropic bulk modulus (Pa) K = torsional stiffness (m 4 ) B 4 I = moment of inertia (m ) ρ = mass density (kg / m 3 ) E = Young's modulus of elasticity (N / m ) υ ω = Poisson's ratio.3 for structural materials and.5 for rubber - like materials T = tension (N) = angular frequency (rad / s) Page 83 Figure 3.9 The left axis title has been changed from micro N to micro Pa. The citation was previously changed from (Fletcher and Munson, 1937) to (Robinson and Dadson, 1956):

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7 Page 1 Equation 3.5 reads: L = 1 log 1 eq T T 1.1 L(t) x t= T 1.1 L(t) L eq = 1 log 1 dt T t= Page 16 The current text reads: The US Occupational Safety and Health Administration (OSHA) has set legal standards concerning noise exposure of workers in the workplace. The legal limit is 9 dba (as measured using the slow meter response) for an 8-hour workday with a 5 dba per time halving tradeoff. This means that a worker may be exposed to no more than 85 dba for 16 hours, 9 dba for 8 hours, 95 dba for 4 hours, 1 dba for hours, 15 dba for hours, 11 dba for 1 hour, or 115 dba for any time. The US Occupational Safety and Health Administration (OSHA) has set legal standards concerning noise exposure of workers in the workplace. The legal limit is 9 dba (as measured using the slow meter response) for an 8-hour workday with a 5 dba per time halving tradeoff. This means that a worker may be exposed to no more than 85 dba for 16 hours, 9 dba for 8 hours, 95 dba for 4 hours, 1 dba for hours, 15 dba for 1 hour, 11 dba for.5 hours, or 115 dba for any time. Page 117 Figure 4.3 The bottom left arrow label should be aligned as below:

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9 Page 136 Eq 4.1 The equation is shown as: TNI = 4 ( L L ) + L 3 (dba) (4.1) TNI = 4 ( L 1 L 9) + L 9 3 (4.1) Page 179 Eq 5.19 reads: R S T f = p * h r o L NM. + h h OU QPV W (5.19) where p * = absolute pressure in standard atmospheres h = absolute humidity (% mole ratio) (T /T ) 1.61 k = h r p* h = relative humidity (%) r R S T f = p * h r o L NM. + h h OU QPV W (5.19) where p* = ratio of ambient pressure to reference pressure, p = 1 atm = 11.3 kpa h = absolute humidity (% mole ratio) h r = 1 p* h r = relative humidity (%) T1 = 73.16K (T /T ) k

10 Page 149 second to the last paragraph reads: The modulation reduction factor varies from for no reduction to 1 for 1% modulation reduction. The modulation reduction factor varies from 1 for no reduction to for 1% modulation reduction. Page 5 The text reads as: In terms of the volume in Fig. 6.6, the change in the total pressure P is the acoustic pressure p and the change in volume is S dx. In terms of the volume in Fig. 6.6, the change in the total pressure P is the acoustic ξ pressure p and the change in volume is S dx. x Page 7 Equation 6.33 reads: 1 F 1 1 = r + sin + r r H G I r K J F r sin H G I θ K J θ θ θ r sin φ φ = r + sin θ + r r r r sin θ θ θ r sin θ φ Page 17 Equation 6.5 reads as: R = θ 1 n L N M sin sin Ln π df c τi sin θ λ HG d K JOO NM QP LF π d c τ H G sin I θ NM λ d K JO QP Q P

11 n π d c τ sin sin 1 θ d R = λ θ n π d c τ sin sin θ λ d Page 65 Eq reads as: j ω t j q x p (x) = A e e (7.79) where q = δ + j β is the complex propagation constant within the absorbing material. It is much like the wave number in that its real part, δ, is close to ω / c. However, it has an imaginary part, β, which is the attenuation constant, in nepers/meter, of the sound passing through an absorber. To convert nepers per meter to db/meter, multiply nepers by j ω t q x p (x) = A e e (7.79) where q = δ + j β is the complex propagation constant within the absorbing material. It has a real part, δ, which is the attenuation constant, in nepers/meter of the sound passing through an absorber. To convert nepers per meter to db/meter, multiply nepers by It also has an imaginary part, β, called the phase constant, which is much like the wave number and is close to ω / c. Page 65 Eq. 7.8 reads as: j q x j x p = A e + B e q (7.8) q x q x p = A e + B e (7.8)

12 Page 65 Eq reads as: 1 j x j x u = q q A e B e z w (7.81) 1 x x u = q q A e B e z w (7.81) Page 65 Eq reads as: p = p cos ( qd) j z w u sin ( q d) (7.86) 1 p = p cosh ( qd) + z w u sinh ( q d) (7.86) 1 Page 66 Eq reads as: j = sin ( d) + cos ( d) u 1 p q u q (7.87) z w p u = sinh ( d) + cosh ( d) 1 z q u q (7.87) w

13 Page 66 Eq reads as: δ β = ω c ω c L N M. 7 d si ρ f / r L NM. 595 d si.189 ρ f / r O QP O QP (7.94) (7.95) where zw = complex characteristic impedance of the material w = resistance or real part of the wave impedance x = reactance or imaginary part of the wave impedance q = complex propagation constant δ = real part of the propagation constant ω /c β = imaginary part of the propagation constant = attenuation (nepers/m) 3 c = characteristic acoustic resistance of air (about 41 Ns/m mks rayls) ρ r = specific flow resistance (mks rayls) s d = thickness of the material (m) f = frequency (Hz) j = 1 ( ) ω.595 δ =.189 ρ f / r c s (7.94) ( s ) ω.7 β ρ f / r c (7.95) where z w = complex characteristic impedance of the material w = resistance or real part of the wave impedance x = reactance or imaginary part of the wave impedance q = complex propagation constant δ = real part of the propagation constant = attenuation (nepers/m)

14 β = imaginary part of the propagation constant ω/ c ρ c = characteristic acoustic resistance of air (about 41 Ns/m 3 mks rayls) r = specific flow resistance (mks rayls) s d = thickness of the material (m) f = frequency (Hz) j = 1 Page 7 Figure 7.35 should show as:

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16 Page 73 Equation 7.1 reads as: α n = 4 r ρ c f er + ρ c + m ω ω ω j b / ge j f (7.1) αn = ρ 4 r c f r + c ρ + ( m / ω) ( ω ωr ) f (7.1) Page 77 Equation reads as: ω = F H G ρ c m c d I K J 1 (7.113) ω r = ρ 1 c m d c (7.113) Page 77 Equation reads as: ω 1 ρ c S ρ l V / S V l = = c (7.115) ω 1 ρ c S = r = c ρ l V / S V l (7.115)

17 Page 78 Equation reads as: f = c π π a dl i a V (7.117) c π a f r = π ( l a ) V (7.117) Page 385 The first sentence after Fig reads: m time, τ =, which is the time it takes for the amplitude of the envelope to fall to 1/e c time, τ = m, which is the time it takes for the amplitude of the envelope to fall to 1/e c Page 459 Reference to Equation 13.1 reads: 1 where L W = sound power level (db re 1 Watts) K F = spectral constant which depends on the type of fan (db) shown in Fig Q = volume of air per time passing through the fan (cfm or L/s) Q F REF = reference volume (1 for cfm or.47 for L/s)

18 1 where L W = sound power level (db re 1 Watts) K F = spectral constant which depends on the type of fan shown in Table 13.5 (db) Q = volume of air per time passing through the fan (cfm or L/s) Q F REF = reference volume (1 for cfm or.47 for L/s) Page 5 The sixth paragraph reads: In wood construction the structures are light and stiff. The problem with wood floors for airborne noise isolation is usually in achieving sufficient mass. Lightweightconcrete fill weighs 11 to 115 lbs/cu ft (54-56 kg/sq m) and should be poured to a thickness of 1.5 (38 mm). A hard concrete fill (14-15 lbs/cu ft or kg/sq m) is preferred, however the structural system must be designed to accommodate the additional weight. In wood construction the structures are light and stiff. The problem with wood floors for airborne noise isolation is usually in achieving sufficient mass. Lightweightconcrete fill weighs 11 to 115 lbs/cu ft ( kg/cu m) and should be poured to a thickness of 1.5 (38 mm). A hard concrete fill (14-15 lbs/cu ft or 4-4 kg/cu m) is preferred, however the structural system must be designed to accommodate the additional weight. Page 653 The second paragraph, first line reads in part: (Beranek, 1979, 1996) (Beranek, 1979, 1996, 4) Page 658 The second paragraph, fifth line reads in part: in Beranek s 1996 study

19 In Beranek s 4 study Page 658 The third paragraph, second line reads in part: In Beranek s (1996) In Beranek s (4) Page 658 The fourth paragraph, fifth line reads in part: (Beranek, 1994) (Beranek, 4) Page 66 The first paragraph, second line reads in part: (Beranek, 1996) (Beranek, 4) Page 66 The fourth paragraph, fifth line reads in part: (Beranek, 196) (Beranek, 4)

20 Page 661 The second paragraph, seventh line reads in part: (Beranek, 1996) (Beranek, 4) Page 664 The third paragraph, fifth line reads in part: (Beranek, 1996) (Beranek, 4) Page 665 The fifth paragraph, last line reads in part: (Beranek, 1996) (Beranek, 4) Page 666 The fourth paragraph, sixth line reads in part: (Beranek, 196, 199, 1996) (Beranek, 196, 199, 1996, 4)

21 Page 673 The second paragraph, sixth line reads in part: (Beranek, 1996) (Beranek, 4) Page 674 The fourth paragraph, fifth line reads in part: (Beranek, 1996) (Beranek, 4) Page 676 The first paragraph, forth line reads in part: (Beranek, 1996) (Beranek, 4) Page 731 Figure.A title reads in part: (Architect: Barton Meyers and Associates) (Architect: Barton Myers and Associates)

22 Page 733 Figure.1 title reads in part: Sala Sao Paolo, Sao Paolo. Brazil Longitudinal Section Sala Sao Paulo, Sao Paulo, Brazil Longitudinal Section Page 749 Last paragraph reads: Figure 1.6 contains the results of later experiments that reexamined human reaction to a combination of delay and level, again using speech as the input signal. Figure 1.5 contains the results of later experiments that reexamined human reaction to a combination of delay and level, again using speech as the input signal. Page 75 Third paragraph reads: Figure 1.7 illustrates the differences; although there was forward temporal masking, the nearly horizontal shift in level with delay time measured by Haas was only observed in the case of music. Figure 1.6 illustrates the differences; although there was forward temporal masking, the nearly horizontal shift in level with delay time measured by Haas was only observed in the case of music. Page 75 Paragraph 4 reads: The audibility of reflections is also dependent on the reverberation time. Figure 1.8 shows the results of psychoacoustic studies by Nickson, Muncey, and Dubout, (1954).

23 The audibility of reflections is also dependent on the reverberation time. Figure 1.7 shows the results of psychoacoustic studies by Nickson, Muncey, and Dubout, (1954). Page 795 Paragraph reads: Figure 1.13 shows the relationships between the components, which are characterized in terms of their coefficients. Figure.13 shows the relationships between the components, which are characterized in terms of their coefficients. Page 83 paragraph reads: Some programs (e.g., ODEON, Rindel, ), called hybrid models, use scattering coefficients in the normal way for the first two or three reflections, after which they abandon specular reflections and treat subsequent impacts as diffuse. Some programs (e.g., Naylor and Rindel, 199, and ODEON, Naylor, 1993), called hybrid models, use scattering coefficients in the normal way for the first two or three reflections, after which they abandon specular reflections and treat subsequent impacts as diffuse. Page 815 (References) reads: Beranek (1996). Leo Beranek, How They Sound, Concert and Opera Halls. 1996, Woodbury, NY: Acoustical Society of America. Beranek (1998). Leo L. Beranek and Takayuki Hidaka, Sound absorption in concert halls by seats, occupied and unoccupied, and by the hall s interior surfaces. Reprinted with permission from J. Acoust. Soc. Am., vol. 14, no , Acoustical Society of America: Melville, NY, Dec Beranek (1996). Leo Beranek, How They Sound, Concert and Opera Halls. 1996, Woodbury, NY: Acoustical Society of America. Beranek (4). Leo Beranek, Concert Halls and Opera Houses: Music, Acoustics, and Architecture, nd Ed., New York, NY: Springer-Verlag: 4: Courtesy Leo Beranek. Beranek (1998). Leo L. Beranek and Takayuki Hidaka, Sound absorption in concert halls by seats, occupied and unoccupied, and by the hall s interior surfaces. Reprinted with permission from J. Acoust. Soc. Am., vol. 14, no , Acoustical Society of America: Melville, NY, Dec.1998.

24 Page 83 (References) reads: National Research Council Canada (1966). Sound transmission loss of a Q-Floor assembly with floor tile, fireproofing and suspended ceiling system. rpt. 434-PY, Ottawa, CA: National Research Council, Nov Naylor (1993). G.M. Naylor, ODEON - Another hybrid room acoustical model. Applied Acoustics, vol. 38 nos. -4, National Research Council Canada (1966). Sound transmission loss of a Q-Floor assembly with floor tile, fireproofing and suspended ceiling system. rpt. 434-PY, Ottawa, CA: National Research Council, Nov Naylor (1993). G.M. Naylor, ODEON - Another hybrid room acoustical model. Applied Acoustics, vol. 38 nos. -4, Naylor and Rindel (199). G.M. Naylor and J. H. Rindel, Predicting Room Acoustical Behavior with the ODEON Computer Model. Presented as paper 3aAA3 at the 14 th ASA meeting, New Orleans, November, 199.