In some large buildings musical tones fade away in a pleasant echo, while speech is nearly impossible to understand. Even though religious music plays an important role during services, a congregation must also hear the spoken message without having to unnaturally strain. Acoustic sound panels for churches solve this problem by focusing the individual vibrations, making them easier for people to hear and understand.
Some European cathedrals are noted for their lush reverberation, but a very fine line separates a pleasant echo from a noisy, irritating mix of garbled words. Most reverberation is caused by noise bouncing off of hard surfaces such as walls and ceilings. Although there are some buildings that take acoustics into account in their original design, many churches are located in structures that have been re-purposed.
Even without the benefit of modern computer analysis, there have been several methods historically used to correct the problem. Some included the addition of ash to clay pots located at strategic points withing a room. They were moved about, and burnt material was added or removed to dampen specific reverberations. Support pillars that dominated some buildings were specifically altered, and stone blocks specially sized to inhibit echo.
In modern buildings, solutions vary from adding thick carpeting in specific spaces, or using software to create individual and changeable reverberation shapes based on other acoustically famous interiors. Both methods work up to a point, but cannot completely overcome structural obstacles that are part of the original building plans. Many structures benefit most from flat baffles in front of walls or on ceilings.
These structures are not used to block or eliminate words or music, but rather to absorb unwanted excess, usually within a single room. Most incorporate the same basic design method, featuring an inner filling made of absorbent material, a frame, and a covering. The filling may consist of various synthetic foams or fiberglass, or may utilize newer, more environmentally friendly substances.
Dimensions are dictated by the amount of distortion or echo. Some may be as large as an entire wall or ceiling, while others only cover a four square foot area. Regardless of size, each allows waves to pass through rather than bouncing off a hard surface, and any returning echo is re-absorbed. This method uses the same principles as music studios to reproduce vocal and instrumental tones accurately.
Instead of seeming like an ugly industrial installation, these baffles easily adapt to the desired interior look of a church. Some re-create the existing patterns of stained glass in the windows, or can mimic or repeat patterns or colors in ceilings and walls. While they are visually uninteresting without decoration, a professionally designed grouping normally fits in well, and can even feel like part of the original decor.
While it is possible to precisely position or arrange them for the best absorption and diffusive characteristics using computer analysis, most are placed using the expert imaging made possible by the human ear. Once that sweet spot has been found, they are permanently attached. Rather than deadening volume or preventing certain frequencies from being heard, these structures clarify music and speech.
Some European cathedrals are noted for their lush reverberation, but a very fine line separates a pleasant echo from a noisy, irritating mix of garbled words. Most reverberation is caused by noise bouncing off of hard surfaces such as walls and ceilings. Although there are some buildings that take acoustics into account in their original design, many churches are located in structures that have been re-purposed.
Even without the benefit of modern computer analysis, there have been several methods historically used to correct the problem. Some included the addition of ash to clay pots located at strategic points withing a room. They were moved about, and burnt material was added or removed to dampen specific reverberations. Support pillars that dominated some buildings were specifically altered, and stone blocks specially sized to inhibit echo.
In modern buildings, solutions vary from adding thick carpeting in specific spaces, or using software to create individual and changeable reverberation shapes based on other acoustically famous interiors. Both methods work up to a point, but cannot completely overcome structural obstacles that are part of the original building plans. Many structures benefit most from flat baffles in front of walls or on ceilings.
These structures are not used to block or eliminate words or music, but rather to absorb unwanted excess, usually within a single room. Most incorporate the same basic design method, featuring an inner filling made of absorbent material, a frame, and a covering. The filling may consist of various synthetic foams or fiberglass, or may utilize newer, more environmentally friendly substances.
Dimensions are dictated by the amount of distortion or echo. Some may be as large as an entire wall or ceiling, while others only cover a four square foot area. Regardless of size, each allows waves to pass through rather than bouncing off a hard surface, and any returning echo is re-absorbed. This method uses the same principles as music studios to reproduce vocal and instrumental tones accurately.
Instead of seeming like an ugly industrial installation, these baffles easily adapt to the desired interior look of a church. Some re-create the existing patterns of stained glass in the windows, or can mimic or repeat patterns or colors in ceilings and walls. While they are visually uninteresting without decoration, a professionally designed grouping normally fits in well, and can even feel like part of the original decor.
While it is possible to precisely position or arrange them for the best absorption and diffusive characteristics using computer analysis, most are placed using the expert imaging made possible by the human ear. Once that sweet spot has been found, they are permanently attached. Rather than deadening volume or preventing certain frequencies from being heard, these structures clarify music and speech.
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