In office spaces, you want to avoid anything that can seem noisy and disturb the concentration of employees. In concert halls, you want to maximize the listening experience where the audience is located. Designing for SoundĪrchitects and civil engineers want to control the sound field by placing absorbers, diffusers, and reflectors in appropriate locations. These are things you want to avoid and be able to predict when designing a room. The room could also have a strong modal behavior (standing waves) at certain critical frequencies that are easily excited. Since all of these processes are frequency dependent, a poorly designed meeting room can, for example, be highly reverberant in a frequency band that is important for speech. At the walls, the sound is reflected, absorbed, and scattered. When sound is emitted inside a room, a listener will perceive the sound as a combination of direct sound from the source as well as sound reflected off the walls. The Acoustics Module of COMSOL Multiphysics has several tools to simulate the acoustics of rooms and other confined spaces. In short, room acoustics is concerned with assessing the acoustics of enclosed spaces. In room acoustics, we want to study this notion of sound quality in a quantitative way. When inside a room - a conference room, concert hall, or even a car - everyone has an opinion of when the “acoustics” are good or bad.
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