In Theater

Tune adjustable acoustic systems for each program use
In an ideal world, each type of performance, whether amplified popular music, speech drama, ballet, opera,
romantic symphony or baroque ensemble, chamber music or a capella choir, would be performed in an
optimally designed acoustics environment used only for that specific art form. However, today's auditoria
must be able to acoustically accommodate a truly staggering range of performances - and every audience
member expects to enjoy each in optimal conditions.
adjustable acoustics systems range from motorized sound absorptive cloth systems to coupled volumes and
motorized boundary surfaces. Working together, the acoustics characteristics of the auditorium can be easily
adjusted to suit the nature of the performance. Depending on the specific expected range of uses and the
available resources, Artec will recommend the most appropriate forms of adjustable acoustics systems.
Set the orchestra shell for each program use
In theater, a shell (also known as an acoustical shell, choral shell or bandshell) is a curved,
hard surface designed to reflect sound towards an audience.Often shells are designed to be
removable, either rolling away on wheels or flying into a flyspace. Shells are most commonly
used for orchestras, bands and choirs, although they can also be used in any application that
requires passive sound amplification. Shells are generally made of hard materials because they
are designed to absorb as little sound as possible.
Measure RT60 and other architectural acoustical parameters
The time it takes for a signal to drop by 60dB is the

reverberation time.RT60 is the time required for
reflections of a direct sound to decay 60 dB.
Reverberation time is frequently stated as a single
value, if measured as a wide band signal (20 Hz to
20kHz), however, being frequency dependent, it can
be more precisely described in terms of frequency
bands (one octave, 1/3 octave, 1/6 octave, etc.). Being frequency dependent, the reverb time
measured in narrow bands will differ depending on the frequency band being measured. For
precision, it is important to know what ranges of frequencies are being described by a
reverberation time measurement
Measure background sound levels for conformance to criteria
In atmospheric sounding and noise pollution, ambient noise level (sometimes called background noise
level, reference sound level, or room noise level) is the background sound pressure level at a given location,
normally specified as a reference level to study a new intrusive sound source.
Ambient noise level is measured with a sound level meter. It is usually measured in dB relative to a
reference pressure of 0.00002 Pa, i.e., 20 Pa (micropascals) in SI units. A pascal is a newton per square
meter. The centimeter-gram-second system of units, the reference sound pressure for measuring ambient
noise level is 0.0002 dyn/cm2. Most frequently ambient noise levels are measured using a frequency
weighting filter, the most common being the A-weighting scale, such that resulting measurements are
denoted dB(A), or decibels on the A-weighting scale.
Make recommendations if necessary to resolve problems
How We Measure Sound Isolation
The ANSI standard method of measuring the noise attenuation of hearing protectors and earphones is to
compare the quietest sound that can be heard with the earphones in place to the quietest sound that can be
heard with the ears open. This Real-Ear-Attenuation-at-Threshold (REAT) method is the basis for all OSHA
Noise Reduction Ratings (NRR). ER-4 and ER-6 earphones were measured with the REAT method at E-ARCALsm Laboratory, Indianapolis, IN. Virtually identical results were obtained on these earplugs by the TNO
laboratory in the Netherlands.
Probe Microphone Measurement Method
Active noise-canceling earphones cannot be measured with the REAT Method because their circuit noise
interferes with the measurement. ER-4 and ER-6 earphones were compared to active noise-canceling
earphones using a probe microphone method: A calibrated 84 dB SPL broad-band pink noise was generated in
a reverberation room using four uncorrelated noise sources. The sound pressure developed in the ear was
measured with a 2.5 mm microphone located deep in the ear canal. The noise reduction of each earphone was
calculated as the difference between the noise level in the open ear and the noise level with the earphone in
place.
Measure sound isolation for conformance to criteria
The graph gives very useful information. However for

specifications, sound isolation is often boiled down to a single
figure. (This is not ideal when low frequency performance is
important, as the standard single- figure measures do not cover
low frequencies.)
Unfortunately most quantities in acoustics are in decibels, and
this causes confusion. (If all electrical quantities were specified in
decibels, you would still want to distinguish between watts, volts
and amps!) You may come across several measures for sound
isolation (all in decibels of course):
1.
2.
STC (US) or Rw (Europe). The performance of a material or product (for example, a wall
structure or door) as measured under standard conditions. These measures allows different
products to be compared without having to take account of the conditions of use. There is a
tendency to quote STC - could it be because the STC is usually about a decibel better than the
Rw?
NIC (US) or Dw (Europe). This is the result, or predicted result, of a measurement on a pair of
real rooms. It is getting nearer to what you would really like to know: if there is noise at a level
of 100 dB next door, what will be the sound level in my studio?
Make recommendations if necessary to resolve problems
How We Measure Sound Isolation
The ANSI standard method of measuring the noise attenuation of hearing protectors and earphones is to
compare the quietest sound that can be heard with the earphones in place to the quietest sound that can be
heard with the ears open. This Real-Ear-Attenuation-at-Threshold (REAT) method is the basis for all OSHA
Noise Reduction Ratings (NRR). ER-4 and ER-6 earphones were measured with the REAT method at E-ARCALsm Laboratory, Indianapolis, IN. Virtually identical results were obtained on these earplugs by the TNO
laboratory in the Netherlands.
Probe Microphone Measurement Method
Active noise-canceling earphones cannot be measured with the REAT Method because their circuit noise
interferes with the measurement. ER-4 and ER-6 earphones were compared to active noise-canceling
earphones using a probe microphone method: A calibrated 84 dB SPL broad-band pink noise was generated in
a reverberation room using four uncorrelated noise sources. The sound pressure developed in the ear was
measured with a 2.5 mm microphone located deep in the ear canal. The noise reduction of each earphone was
calculated as the difference between the noise level in the open ear and the noise level with the earphone in
place.
Tune the audio system and verify speaker aim and positioning,
settings, and controls
The 38% Rule

(by Wes Lachot)
Calculate 38% of
your rooms
length, and put a
mark 38% back
from the front
wall, centered
widthwise
between the left
and right
sidewalls. This is
the first spot I
recommend you
try as a listening
position
From the reference

point, look straight
forward and draw two
imaginary lines: one
angled 30 degrees to the
left, one to the right.
Place your left and right
speakers on these lines,
with the tweeter of each
speaker on axis to the
line.
Anywhere you position
your speakers along these
axes, they will form an
equilateral triangle with
the reference point
behind your head.
Height and tilt when
positioning studio monitor
speakers
Your studio reference
monitors should be at least 47 inches (120 cm) off the floor. Also, dont let your tweeters sit in
the vertical center of the room, even if it means you have to orient your tweeters slightly off axis
with your ears.
ITU Standard Monitor Heights: For free standing studio monitors that are not tilted down,
typical height is 47-55 inches (120-140 cm). You want the tweeters to be firing right at your
ears in the listening position.
If youre hell-bent on tilting your speakers toward the listening position, dont angle them more
than 15 degrees from vertical. And be warned! If your speakers are tilted down and you move
slightly forward or backward, the frequency response changes.
Main Monitor Heights: For recording studio control rooms with flush-mounted main monitors
(that are not tilted down), the mid-range drivers are often located 57-58 (145-148 cm) above
the floor .
Train system users
LEARNING OBJECTIVES:
This is an essential step for any technician or engineer wanting to work with L-ACOUSTICS systems.
The participant learns to:
Identify the elements of a K system, and understand how they complement one another.
Prepare and install a K system so that it is ready for operation.
Level 1 is a prerequisite for modules of higher levels (in development), which covers the advanced
methodologies and tools for sound design, as well as the theoretical principals necessary for an expert
mastering of the systems.

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Tune adjustable acoustic systems for each program use

Set the orchestra shell for each program use

Measure RT60 and other architectural acoustical parameters

The time it takes for a signal to drop by 60dB is the

Measure background sound levels for conformance to criteria

Make recommendations if necessary to resolve problems

How We Measure Sound Isolation

Measure sound isolation for conformance to criteria

The graph gives very useful information. However for

Make recommendations if necessary to resolve problems

How We Measure Sound Isolation

The 38% Rule

From the reference

Train system users

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