Outdoor Noise Barrier Basics

If you have a problem with noise propagation outdoors then an outdoor sound barrier may be the solution. Outdoor sound barriers attenuate sound between an outdoor sound source and receiver.

Outdoor sound barriers provide sound attenuation between a sound source and a receiver through multiple mechanisms. The illustration below shows what happens to sound when a barrier is placed between a source and receiver. The noise barrier interrupts the direct path from the source to the receiver.

Depending on the noise barrier material and surface treatment, a portion of the source sound energy is reflected or scattered back towards the source. The remaining sound energy is absorbed by the barrier material, transmitted through the barrier and diffracted at the top edge of the barrier.

Sound Barrier Geometry

The level of the attenuation provided by an outdoor sound barrier is based on the geometry of the barrier relative to the source and receiver. In general, the taller and wider the barrier, the greater the attenuation. The maximum theoretical sound transmission loss of any outdoor sound barrier is 20 dB.

The material that the noise barrier is composed of should have a transmission loss of 30 dB in the frequencies of concern. The barrier should not have any holes that would allow sound to pass directly through.

The sound reflected from the noise barrier (described above) can create new noise issues. If this is a problem, the sound barrier should be designed with a sound absorbing surface. Because this is a common issue, there are sound barrier products that also incorporate sound absorption. If a standard wall construction is used then sound absorbing panels should be added to provide absorption.

Non-acoustical design issues that should be considered when designing sound barriers include aesthetics and structural integrity. Wind loads should also be considered.

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Sound Attenuating Transfer Duct

A sound attenuating transfer duct is a duct used to allow air to flow through a sound wall, but not sound.  It is a necessity in buildings that have a return air plenum and full-height sound walls.

The duct should be constructed according to SMACNA HVAC Duct Construction Standards with no turning vanes in the elbows.

Line duct with 1” thick fiberglass with a coated surface equal to Johns Manville Linacoustic RC.

I typically layout transfer air ducts to provide multiple parallel paths of airflow from each space back to the air handling unit return air duct.  This minimizes pressure drop and provides for a good air balance.

transfer duct installation
Dimensions H and W are the clear dimensions from liner surface to liner surface.  H and W are calculated as required to achieve an airflow velocity of approximately 500 fpm (HxW=CFM/500).  H may be limited by space constraints in the plenum.

Dimension A should be equal to or greater than W.

Dimension B should be equal to or greater than 1.5 x W.

transfer duct

If you have a question or comment about sound attenuating transfer air ducts or their application, please leave it below.

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What Everybody Should Know About IIC

impact insulation class (IIC) tapping machine

Impact Insulation Class (IIC) is a single-number rating that quantifies the impact insulation provided by a floor-ceiling assembly vertically dividing two rooms (in multi-story buildings).  Higher IIC ratings indicate better impact sound insulation.  The typical code minimum rating used for condominiums, timeshares and apartments (dwelling units) is IIC-50.

IIC ratings are based on acoustical measurements made in a laboratory.  The rating assesses the impact sound transmission performance at a range of frequencies from 100Hz to 3150Hz.  Laboratory testing is conducted According to ASTM Standard E492 “Test Method for Laboratory Measurement of Impact Sound Transmission Through Floor-Ceiling Assemblies Using the Tapping Machine”.

The IIC rating system is also used for field-tested assemblies, in which case the rating is called Field Impact Insulation Class or FIIC.  Field-testing is conducted according to ASTM Standard E1007 “Test Method for Field Measurement of Tapping Machine Impact Sound Transmission Through Floor-Ceiling Assemblies and Associated Support Structures”.

Tapping machines (pictured above) are standardized and calibrated instrumentation used to continuously strike the floor while sound level measurements are being recorded.  They have a number of cylindrical hammers that are actuated by a cam or set of solenoids.

The sound pressure level resulting from the hammer strikes is measured in the room directly below with a sound level meter.  These levels are analyzed according to ASTM Standard E989 “Standard Classification for Determination of Impact Insulation Class (IIC)” to determine the IIC or FIIC.

If you require the services of an acoustical engineer, please contact me.

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Noise Criteria Calculator is Now Available for Use Online

noise criteria calculatorI am pleased to announce the release of the Noise Criteria Calculator.  This calculator is provided free of charge to anybody with web access.

The Noise Criteria Calculator is an online application that calculates single number ratings and generates graphs based on your sound pressure levels.  The criteria calculated are the traditional noise criteria (NC), the extended NC (eNC) based on ANSI S12.2-2008, the room criteria (RC Mark II), A-weighted level (dBA) and C-weighted level (dBC).

For more information about the calculator and its technical specifications, please see the documentation.

If you have any questions or comments about the calculator please post them here.

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High-Rise Hotel Ventilation Shaft Crosstalk

hotel room experienceWhen it comes to the guest experience in a five-star hotel, everything must be the best, including the acoustics.  Your hotel room is a haven away from home and you expect privacy and quiet (when you want it).

Following is a case study about mitigating crosstalk from guestroom to guestroom through a ventilation shaft; a problem that affected 2,000 guestrooms.

A Bad Guest Experience

Soon after opening, the client began receiving complaints from guests about hearing voices emanating from the ventilation grilles.  The voices appeared to be from other guestrooms.  Based on the shear number of complaints, the client realized that this issue was negatively affecting guests’ experience.

Not only was the noise disturbing sleep, but it also called into question guest privacy.  If they could hear other guests then couldn’t the other guests hear them?

This is not the kind of experience a resort owner wants for their guests, especially at a five star hotel.  The resort owner called me in to help them fix the problem.

Ventilation Shaft Crosstalk

The guestrooms in the 54-story tower are ventilated with fresh air distributed by vertical shafts.  Air is discharged into each guestroom through a single grille located high on the wall.  Stacked guestrooms are served by the same shaft.

Sound (voices, TV, music) from a guestroom enters the ventilation shaft through the grille and travels up and down the shaft.  The sound then radiates into the guestrooms rooms above and below through the grilles in those rooms.  This phenomenon is called crosstalk.

Thinking Out of the Box

To improve the guest experience my objective was twofold:

  1. Mitigate the sound transmission through the existing ventilation shaft.

  2. Maintain the design airflow into the guestrooms to:

    1. comply with ventilation codes

    2. preserve the air balance in the guestrooms for the smoke control system

When I am involved with a project during the design phase, I have more flexibility implementing acoustical measures.  Existing buildings, however, provide many constraints and require solutions that are more creative.

I explored the following options:

  • Lining the short duct from the shaft to the grilles would not have been effective.  It was a very short length and the fire-smoke damper takes up most of the space.

  • Adding a “sound attenuator” between the shaft and the grilles was not possible for the same reasons.

  • Lining the existing shaft duct with a spray-in sound absorbing material was not possible because there is not a product that would work in this situation.  I discussed it with an expert in that field and found out that the application requires a 36″ spray distance.  The duct was smaller than that so we could not spray it through the grille openings.  Spraying from the end of the shaft would not coat the entire length.

  • Lining the existing shaft duct with 10′ long (one-story) by 4″ wide strips of self-adhesive sound absorbing material that could be applied through the grilles.  This turned out to be physically impossible because of the shaft dimensions and the difficulty of working with 10’ long adhesive strips.

  • Replacing the existing grille with a sound attenuating grille.

The Solution

The only solution that seemed possible was to add a sound attenuating grille to replace the existing grille.  This had two requirements:

  1. It could not extend back into the duct because of the fire-smoke damper there.

  2. The visible portion of the grille had to compliment the interior design of the room.  (The grille was mounted to a wall with a mirror finish.)

I searched for a product that would satisfy these requirements and could not find anything.  I decided to design a custom grille.  The finished design sat about a half inch from the wall surface and completely covered the existing grille opening.

I sent CAD drawings of the custom grille to the owner who hired a contractor to make a few prototypes.  We installed them in three stacked rooms to test.  Hotel management also had to approve the aesthetics.

Result = Good Guest Experience

The owner liked the design.  It actually looked better than the original off-the-shelf grille.  The new grilles didn’t affect the ventilation rates or smoke control systems.  Most importantly, sound transmission from guestroom to guestroom was reduced to a level that was not perceptible.

When it comes to the guest experience in a five-star hotel, everything must be the best, including the acoustics.

sound attenuating grille

If you require the services of an acoustical engineer, please contact me.
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What is Sound Insulation? An Acoustical Experience

Sound insulation, also called transmission loss (TL), is the property of a sound barrier (wall, partition, floor-ceiling assembly, etc.) that allows it to block sound. Whoa…I can see you ready to click away. Please stay with me, it will be fun and you can use it to impress your friends. We will approach this two ways:

One, I will show you how to experience sound insulation. Architectural acoustics is ultimately about our experience of sound in buildings. I know you have already experienced sound insulation thousands of times. After you read this, you will be able to give that experience a name.

Two, I will share the official sanitized and double-cross-checked engineering definition. If you just want the experience and not this exciting engineering definition then skip down to the experience zone marked below. Here it is:

The sound insulation of a partition (wall, floor, etc) is the difference in decibels between the sound pressure levels in a reverberant source room and a receiving room plus ten times the logarithm to the base ten of the ratio of the area of the common partition to the total Sabine absorption in the receiving room at a specified frequency or frequency band.

Did you actually read that? Please let me know if you did. For me it is like reading poetry, but much more exciting.

Experience Zone!!!

  1. Go into a room that has a door and a stereo, TV or a computer with good speakers.
  2. Turn on your stereo, TV or computer and turn up the volume to a comfortable level.
  3. Close your eyes and take in the sound. Block out everything but the sound.
  4. Open your eyes, leave the room and close the door.
  5. Now, focus on the sound again.

Do you hear the change in sound level? Can you hear how some frequencies are reduced more than others?

You just experienced the sound insulation of that door and the wall. The wall and the door cause the reduction in sound. And the sound insulation varies from frequency to frequency.

What did you experience?

If you require the services of an acoustical engineer, please contact me.
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6 Surefire Ways to Improve the Design of Stud Sound Walls

sound wallThere are many myths about how to improve sound walls.  Just like most myths, they are based on anecdotal evidence and hearsay.  When you are designing a building, you want to be sure that the occupants will have the privacy and noise levels that they expect.  That is the measure of success.

Following is a summary of 6 surefire ways to improve the acoustical performance of stud sound walls.  Laboratory test data shows them to be reliable and effective.  If you need a good sound wall, here is how to design it.

1. Add Sound Absorbing Material in the Cavities

Adding sound absorbing material to the cavity of a stud wall is the most basic method of improving the soundproofing performance of the wall.  Sound absorbing material should always be included in a wall design when there is a concern about sound transmission between spaces in a building.

The most common sound absorbing material to use in sound walls is fiberglass batting.  Mineral wool batts and cellulose are less commonly used.  Cellulose does not perform as well as fiberglass or mineral wool batts, but has the advantage that is can be sprayed into an existing wall.

Performance Improvement: A stud wall composed of one layer of 5/8” gypsum board, 3-5/8”, 25 gauge steel studs 16” on center and one layer of 5/8” gypsum board on the other side (a typical commercial stud wall) has a sound transmission class rating less than STC-38.  Add 3” fiberglass batts and the rating will increase to STC-47.

2. Add Gypsum Board

Adding gypsum board to a sound wall increases the mass of the wall.  The soundproofing performance (transmission loss) improves with the addition of mass.  This relationship is so important it is called the Mass Law.

Performance Improvement: Add a layer of 5/8” gypsum board to the STC-47 wall described above and the performance will increase to STC-52.  Add another layer to the other side of the wall and the performance will increase to STC-55.

3. Use Staggered Studs

The studs in a sound wall create a rigid connection between the wallboard on each side of the wall.  This bridge conducts sound energy through the wall better than the air cavities.  Designing a wall with staggered studs reduces this direct connection.

Performance Improvement: Replace the single stud in the STC-47 wall described above with staggered studs having a total cavity depth of 6” and the performance will increase to STC-53.  Add a layer of 5/8” gypsum board on either side of the wall and the performance rating will increase to STC-57.

4. Use Double Studs

Staggered studs share the same top and bottom plates (tracks).  Double studs don’t share the same top and bottom plates.  Double stud walls provide better performance because they completely decouple the two sides of the wall.

Performance Improvement: Replace the single stud in the STC-47 wall described above with double studs having a total cavity depth of 6” (2-1/2” studs with a 1” air gap) and the performance will increase to STC-55.  Add a layer of 5/8” gypsum board on either side of the wall and the performance rating will increase to STC-61.

5. Add Resilient Elements

The original resilient element was the resilient channel (RC).  RC channel is still in use today and is the most widely known resilient element.  I don’t recommend RC for two reasons.  One, because RC is usually not installed correctly.  Two, the market is saturated with products called resilient channel of various designs that are untested.  Be very careful in your specifications and field observation if you plan to use RC.  (This topic deserves its own post.)

New products have been developed that are more reliable and are more effective than RC.  Two notable products are the PAC International RSIC clip and the Kinetics Noise Control Isomax clip.  Reputable companies manufacture these products and third party data is available to verify the reported performance.

Performance Improvement: Add resilient clips to the STC-52 wall described above (one layer of 5/8” gypsum on one side and two layers on the side with the clips) and the performance will increase to approximately STC-58.  Adding clips will increase the thickness of the wall by 1.32” to 1.63” depending on the product used.

6. Use Engineered Wallboard

Engineered wallboard takes the place of gypsum board in the design of a wall.  It is specifically engineered to have a high sound transmission loss.  Most are composed of layers of various materials that provide more mass and/or more acoustic damping than typical gypsum wallboard.

There are many verities of engineered wallboard available.  These have different levels of performance, cost and ease of use.  Tight specifications should be used if you are counting on the performance of one of these products.

Two manufacturers who provide engineered wallboard for acoustical applications are Serious Materials and Supress Products.  They manufacture wallboard from 0.5” to 1” or more that exceed the performance of standard gypsum board.  Acoustic data (available on the manufacturer’s websites) should be reviewed with respect to your project.

Performance Improvement: Replace the gypsum board on one side of the STC-47 sound wall described above with Serious Materials QuietRock 525 (also 5/8” thick) and the performance increases to approximately STC-55.  Other wallboard products manufactured by both companies provide even greater performance.

Other Ways to Improve the Design of Stud Sound Walls?

There are other ways to improve the design of sound walls.  This post focuses on the most effective verifiable (surefire) methods.  I have excluded other methods that provide very small performance improvements or are not verifiable with reliable data.  I have also excluded methods that are not performance enhancers as much as fixes for performance detractors.

If you have any further information on surefire ways to improve the design of stud sound walls, please post a reply.

If you require the services of an acoustical engineer, please contact me.
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Sound Absorbers vs. Sound Barriers

sound absorberSound absorbing materials and sound barrier materials are both critical in the acoustical design of buildings.  Without them we could do very little to control sound in the built environment.  Fortunately, there are good sound absorbers and sound barriers in common construction materials.  Unfortunately, the acoustical difference between these two categories of materials is often confused.

I often find myself in project coordination meetings explaining how these acoustical materials work and how they are different.  A clear understanding of these two categories of materials is necessary for proper application.  I hope that this post will help.

Brief definitions of these two acoustical material categories:

Sound Absorbing Material = A material with the ability to absorb sound

Sound Barrier Material = A material with the ability to reflect or block sound

Sound absorbing materials are typically porous and lightweight like fiberglass and mineral wool.  Sound barrier materials are typically dense and nonporous like concrete and gypsum board.  Ideally, sound barrier materials should also be limp like lead or mass loaded vinyl (MLV), but this is not required.

The ability of a material to absorb sound is typically quantified by the sound absorption coefficient.  The sound absorption coefficient is symbolized by a Greek alpha (α).  A material with no absorption (reflective) has a sound absorption coefficient of 0.  A high sound absorption coefficient is 1.  It is possible to have a sound absorption coefficient that is greater than 1, but not much higher.  I will write a more detailed post about sound absorption coefficients later.

The ability of a material to block sound is typically quantified by transmission loss (TL).  A material with a TL of 0 does not block sound.  There is no theoretical limit to how high TL can be.  I will write a more detailed post about transmission loss later.

Most construction materials are typically not both good sound absorbers and barriers.  Further, we can generalize that materials with a high transmission loss (concrete, gypsum board, sheetmetal) also have a low sound absorption coefficient.  Conversely, materials with a high sound absorption coefficient (thick carpet, drapes, fiberglass batts) typically have low transmission loss.  However, we can combine materials to achieve the acoustical characteristics that are required for various applications.

So, how have sound absorbing or sound barrier materials improved your project or environment.  I would love to read your comments.

If you require the services of an acoustical engineer, please contact me.
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