NOISE CONTROL

MEANS OF NOISE CONTROL:

A. EXTERNAL NOISES
B. INTERNAL NOISES

Following means of protection are available against external noise:

1. Distance
2. Avoiding zones of directional sound
3. Screening
4. Planning: using non-noise sensitive parts of the building as
barriers
5. Positioning of openings away from the noise source
6. Noise insulating building envelope
 NOISE CONTROL
Following means of protection are available against internal noise,
i.e., noise generated inside the building:
1. Reduction at source
2. Enclosing and isolating the source, or use of absorbent screens
3. Planning: separating noisy spaces from quiet ones, placing
indifferent areas in between
4. Placing noisy equipment in in the most massive part of the
building (e.g., in the basement)
5. Reduce impact noises by covering surfaces with resilient
materials
6. Reduce noise in the space where it is generated by absorbent
surfaces
7. Reduce airborne sound transmission by air tight & noise
insulating construction
8. Reduce structure borne sound by discontinuity
DISTANCE:
If there is a noise source to one side of the site (e.g., a busy road) it
is advisable to place the building as far from the noise source as
possible.

Every doubling of the distance will reduce the noise level by 6 dB.
E.g., if 65 dB is measured at the boundary, 5 m from the centre of
the road (the source) it will reduce to:
59 dB at 10m
53 dB at 20m
47 dB at 40m

Some sources are strongly directional - it may occur that there is

band of maximum noise across the site (particularly if it is a large
site) - buildings should then be placed away from such noise
bands.
SCREENING:
Screening effect of walls, fences, plantation belts etc., can be utilised to
reduce the noise reaching the building.

These should be
positioned in such
a way as to fit in
with any
advantageous
effect of local
topography.
SCREENING:
A given barrier will be most effective when it is as near to the source as
possible.
Second best position will near the building to be protected.
Least effective half-way between the source & the building.
Screening can
rarely be relied
on as a positive
means of noise
protection.
Diffraction: the
bending of waves
around small
obstacles. The fact
that we can hear
sounds around
barriers involves
both diffraction and
reflection of sound.
PLANNING:
Planning of building is governed by a number of factors noise
protection should be one such factors.
Importance of noise control aspect will depend on the particular design
task: e.g., dominant in case of a school class room near motor highway.

External noises can be controlled by planning in two ways:

1. Separating areas which are not noise-sensitive, where noise would
not cause disturbance placing them on the side of the building (in
a separate block or wing if possible) nearest to the noise source
thus the block/areas will provide screening & protection to the more
critical areas.
2. Positioning / orientating the major openings away from the noise
source. In the external envelope of a building the openings are the
weakest points for noise penetration.
REDUCTION AT OR NEAR SOURCE:
Very often the source is some vibrating machinery.
General principle of noise control: the nearer to the source , the easier
the protective measure will be.
Best to place the vibrating machinery on flexible mountings, which will
isolate it from the building structure so that the vibration is not
transmitted. Airborne sound emitted
by a source can also be
tackled near the source
source could be
surrounded/covered by an
insulating enclosure, e.g.,
a machine could be
covered by a box.
Box should be of massive construction, with absorbent lining on the
inside to prevent the buildup of reverberant noise level it could be
removable for access to the machine, or if larger could have a door.
REDUCTION WITHIN A SPACE:
Noise in the space where the source is located can be divided into two
components:
Direct noise
Reverberant noise

1. Direct noise can be reduced by placing a screen between the source

& the listener the closer the screen is to the source, the better the
result will be.
2. Reverberant noise can be reduced by using absorbent materials on
critical surfaces of the room.
Absorbent qualities of different materials vary with the
frequency four basic types of absorbents can be distinguished.
TYPES OF SOUND ABSORBENTS:

All materials have some sound absorbing properties. A materials

sound absorbing properties can be described as a sound absorption
coefficient in a particular frequency range. The coefficient can be viewed
as a percentage of sound being absorbed, where 1.00 is complete
absorption (100%) and 0.01 is minimal (1%).

Incident sound striking a room surface yields sound energy comprising

reflected sound, absorbed sound and transmitted sound.

Most good sound reflectors prevent sound transmission by forming a

solid, impervious barrier. Conversely, most good sound absorbers readily
transmit sound. Sound reflectors tend to be impervious and massive,
while sound absorbers are generally porous, lightweight material.
SOUND ABSORPTION:
When a sound wave strikes a surface, a part of its energy is absorbed
by the surface.
Sound generated in an auditorium / hall is absorbed in four ways:
(i) In the air, (ii) by the audience, (iii) in furniture & furnishing,
(iv) at the boundary surfaces.

Absorption in the air

Mainly due to the friction between the oscillating molecules when
sound waves travel through it.
This absorption is extremely small.
Absorption by the audience
Sound energy absorbed by the clothing of the audience.
Depends on the number of audiences.
Absorption is more in winter, than in summer, because of heavy
clothing.
 Absorption in furniture & furnishings:
Furniture, curtain, carpets etc. also absorb sound energy to a fairly
good extent.
Absorption by boundary surfaces:
When sound waves strike the boundary surfaces, e.g., walls, floors,
ceilings, absorption due to the following factors:
(i) Penetration of sound into porous materials
(ii) Resonant vibration of panel materials
(iii) Molecular damping in soft absorbing materials
(iv) Transmission through structures
TYPES OF SOUND ABSORBENTS:
1. POROUS ABSORBENTS:
When sound waves strike the surface of porous material, a part of the
waves get reflected while a part enters the pores of the material, where
the sound energy is converted into heat energy.
Common porous absorbers include carpet, spray-applied cellulose,
aerated plaster, fibrous mineral wool and glass fiber, open-cell foam,
perforated fibreboards.
Thickness plays an important role in
sound absorption by porous
materials. Fabric applied directly to a
hard, massive substrate such as
plaster / gypsum board does not
make an efficient sound absorber
due to the very thin layer of fiber.
Thicker materials generally provide
more sound absorption or damping.

Efficient for absorbing high

frequency sound.
 2. PANEL (MEMBRANE) ABSORBENTS:
an impervious surface mounted over an airspace.
Absorbent material is fixed on framing (usually timber) with an air-
space left out between the framing & the wall.
Most efficient for absorbing sound waves at low frequency.

Dampening
effect of this
system can be
improved
appreciably by
placing a
porous
material in the
air space.
3. CAVITY RESONATORS / RESONANT ABSORBERS:
A cavity resonator is virtually a container with a small opening in
which absorption takes place by resonance of air in the chamber.
The classic example of a resonator is the Helmholtz resonator, which
has the shape of a bottle.

Resonance is the tendency of a system to oscillate at a greater

amplitude at some frequencies than at others.
4. COMPOSITE ABSORBERS:
Combine the functions of all the previously mentioned absorbers.
Consists of a perforated panel fixed over an airspace containing
porous absorbent (e.g., mineral wool).
Area of the holes in the panels should vary between 10 to 20% of
the total area of the panel.
Type of absorbents to be used must be selected according to the
frequency of sound which is to be reduced.
Most likely surface to receive
absorbent treatment is
ceiling:
If low & extensive spaces,
the sound would cause
multiple reflections of sound.
Most absorbents are
vulnerable least exposed to
mechanical damage is ceiling.
SOUND INSULATION:
Sound insulation is the measure by which transmission of sound /
noise from inside to outside or vice-versa or from one room to the
other is prevented.

NOISE CLASSIFICATION:
From the origin point of view, noise may be of two types:
(a) Outdoor noises: caused by road traffic, railways , aero
planes, lifts, moving machinery, machines in nearby factory/building
etc.

(b) Indoor noises: caused either in the same room or in

adjacent rooms e.g., conversation of people, moving of people
or furniture, crying of babies, playing of radios or other
instruments, noise of type writer, banging of doors etc.
Noise may be alternatively classified as follows:

(1) Air borne sound: sounds which are generated in air & which
is transmitted in air directly to human ear. Such a sound travels from
one part of the building to the other, or from outside the building to
inside by (i) openings, or by (ii) forced vibrations set up in walls,
ceilings etc. possess less power continues for a long duration.

(2) Structure borne sound or Impact sound: which

originate & progress on the building structure caused by structural
vibrations originated due to impact e.g., foot steps, movement of
furniture, dropping of utensils on floor, hammering, drilling,
operation of machinery. more powerful propagate over long
distance - persist for a short duration.
TRANSMISSSION OF NOISE:
Noise is transmitted in the following ways:
(i) Through air

(ii) By vibrations of structural members: when sound waves strike

on thin structural members such as doors, partition walls,
membrane walls etc. these structural members vibrate & in turn
set up secondary sound waves.

(iii) Through structural members: when sound waves consisting of

compression & rarefaction are transmitted from particle to particle
of the structural member e.g. mechanical vibrations such as in
factories, workshops, etc.
TRANSMISSION COEFFICIENT (t):
Used to describe the noise insulating qualities of an element.
It is a decimal fraction expressing the proportion sound energy
transmitted.

TRANSMISSSION LOSS (TL):

When sound is transmitted from the source/origin to the adjoining
room/area, reduction in sound intensity takes place. This is known
as Transmission Loss (TL).
TL is expressed in terms of loss of sound intensity (expressed in
decibels).
If 60dB & 40 dB are the sound levels are measured on either side of
a wall: TL = 60 40 = 20 dB
TL offered by a structure depends upon the materials used &
method of construction.

NOISE CONTROL REQUIREMENTS:

The performance required of a noise barrier depends on two factors:
1. sensitivity of the space to be protected, depending on type of use
acceptable noise levels for various room usage.
2. Magnitude of noise which is to be excluded, whether external or in
an adjoining room.
Acceptable indoor noise level:
S. No. Type of building Noise level (dB)
1 Radio & TV studios 25 30
2 Music Room 30 35
3 Hospital & Auditorium 35 40
4 Apartments, Hotels & Homes 35 40
5 Conference rooms, small offices & libraries 35 40
6 Court rooms & Class rooms 40 45
7 Large public offices, banks & stores 45 50
8 Restaurants 50 55
9 Factories 55 - 65
REFLECTION OF SOUND:
The behaviour of the reflected sound plays an important role in
acoustical design of an enclosed space. The two main defects that may
be caused due to reflection of sound waves:
(a) Echoes and (b) Reverberation
ECHOES:
An echo is produced when the reflected sound wave reaches the ear
just when the original sound from the same source has been already
heard thus there is repetition of sound.
The sensation of sound persists for 1/10th of a second after the
source has ceased thus if a sound reaches the ear 1/10th of a
second after the direct sound, then echo may be distinguished as
separate. Drawn out
Taking the velocity of sound as 340m/s sound must come after
traversing a distance of 34m, i.e., the minimum distance of the
reflecting surface from the source must be half of this, i.e., 17m.
If distance of reflecting surface is less than 17 m the sound will appear
to be prolonged/extended.

Multiple echoes may be heard when a sound is reflected from a

number of reflecting surfaces suitably placed e.g., two parallel cliffs,
reflections of thunder from a number of reflecting surfaces such as
clouds, mountains, rocks etc.

Echoes are also formed when the shape of the hall/auditorium/room is

curved with smooth character this defect can be removed by selecting
proper shape of the hall / by providing rough & porous interior surfaces.
REVERBERATION
In pubic halls & auditoriums, the sound persists even after the source
of sound has stopped. This persistence of sound is called Reverberation.
It is due to multiple reflections in an enclosed space.

Familiar phenomenon in Cathedras, new halls/rooms without furniture

where even after sound source stops the reverberation is heard even
upto 10 seconds.

A certain amount of reverberation is desirable for giving richness to

music but too much reverberation is undesirable.

The time during which the sound persists is called reverberation time
of sound in the hall it is the period of time in seconds, which is
required for sound energy to diminish by 60 dB after the sound source
has stopped.
SABINES EXPRESSION FOR REVERBERATION TIME:
Prof. W. C. Sabine found that reverberation time of a room varies
inversely as the effective surface area and directly as the volume of the
room.
This time is independent of the position of the source and the listener
and the shape of the room.
t= 0.16V
s + s + ..

t = 0.16 V = 0.16 V
s A
Where,
t = reverberation time in seconds
, ,.= absorption coefficient of individual units (walls, floor, ceiling)
s, s,..= area of individual absorbing surfaces
A = Total absorbing power in expressed m sabines
 REVERBERATION TIME & ACOUSTICAL QUALITY

Reverberation time in seconds Acoustical Quality

0.5 to 1.50 Excellent

1.50 to 2.00 Good

2.00 to 3.00 Fairy good

3.00 to 5.00 Bad

Above 5.00 Very bad

OPTIMUM REVERBERATION TIME & AUDIENCE FACTORS FOR
ACOUSTICAL DESIGN

Type of building Optimum reverberation Audience factor

time (seconds)

1. Cinema theatres 1.3 Two-thirds

2. Churches 1.8 to 3 Two-thirds
3. Law courts, Committee rooms, 1 to 1.5 One-third
Conference halls

4. Large halls 2 to 3 Full

5. Music concert halls 1.6 to 2 Full
6. Parliament house, Assembly hall, 1 to 1.5 Quorem
Council chamber

7. Public lecture hall 1.5 to 2 One -third

 SOUND INSULATION
Sound insulation or sound proofing is a measure used to reduce the
level of sound when it passes through the insulating building
components.

It has different function than sound absorption.

Function of a sound absorbent material to absorb & thus reduce

sound reflected from a surface.

Function of sound insulating construction to reduce sound passing

through it.

Sound absorbers mostly of porous material - poor sound insulators.

Whereas, hard materials used for sound insulation are poor absorbers.
 SOUND INSULATION BETWEEN INDIVIDUAL ROOMS
S. No. Situation Overall Insulation in dB
1 Between living room in one house or flat & the living 50
room & bed rooms in another
2 Elsewhere between houses or flats 40
3 Between one room & another in the same house/flat 30
4 Between teaching rooms in a school 40
5 Between one room & another room in an office 30
6 Between one ward & another ward in a hospital
(a) Normal wards 40
(b) extra-quiet special wards 45
 SOUND INSULATING MATERIALS
(A) NON POROUS RIGID PARTITIONS:
Sound insulation of non porous rigid constructions, e.g., plastered
solid brick masonry walls varies as the logarithms of weight per unit
area.
Relation between the weight of partition & its sound insulation is
such that every time the weight is doubled there is an increase in
sound insulation of 4 to 5 dB.
Weight per m of Average TL Weight per m of Average TL
wall area (kg) wall area (kg)
5 22.8 350 50
25 33.2 400 50.9
50 37.6 450 51.6
100 42 500 52.3
200 46.4 550 52.9
250 47.9 600 53.6
300 49.1
(B) POROUS RIGID MATERIALS:
Porous rigid materials e.g., porous concrete masonry, cinder concrete
etc. they provide 10% higher insulation than the non-porous variety of
same weight because of their sound absorptive properties.
To secure best insulation - recommended to have plaster at least on
one side & if possible on both sides.

(C) NON RIGID OR FEXIBLE POROUS MATERIALS:

E.g., felt, mineral wool, quit etc. They provide low sound insulation as
compared to rigid materials.
Generally not used for the purpose of noise reduction.
A composite construction employing a combination of rigid materials
and porous absorbers may be used where weight is an important factor.
Such a construction produces better insulation per unit weight of
partition.
VERTICAL BARRIERS: WALL INSULATION
Walls & partitions are the vertical barriers to noise proper design &
construction may insulate sound to the desired level.

TYPES OF VERTICAL BARRIERS:

(a) Rigid homogeneous walls: stone, brick or concrete
masonry construction , well plastered on one or both sides. The
sound insulation of these rigid walls depends upon their weight per
unit area sound insulation increases with the increase in thickness.

(b) Partition walls of porous materials: porous materials may be

rigid or non-rigid - rigid porous materials (e.g., porous concrete
masonry, cinder concrete etc.), the insulation increases about 10%
higher than the non-porous rigid material (e.g., felt, mineral wool) -
partition walls of non rigid porous materials offer very low sound
insulation - can be used in combination with rigid materials with
added advantage.
(c) Double wall partition:
Consists of plaster boards / fibre boards / plaster on laths on both
the faces, with sound absorbing blanket in between.
Staggered wooden studs are provided as support.
This is an example of a partition wall of rigid & non-rigid porous
material.
(d) Cavity wall construction:
Ideal construction from the point of view of sound proofing.
Gap between the two leaves may be left air filed or else filled with
some resilient material, e.g., quilt.

Two faces of the

wall may be fixed
with celotex or other
insulating board.

Width of the cavity

should be at least 5
cm.
 TYPICAL INSULATION VALUES FOR DIFFERENT TYPES OF WALS
Type of construction Approx. weight in Average TL in
kg/m dB
1. One brick thick wall 485 - 490 50
2. One & half brick thick wall 705 710 53
3. Cavity wall having two leaves each of half 485 490 50 - 53
brick thickness with 5 cm cavity
4. Half brick wall with 13 mm thick plaster on 268 270 45
both sides
5. 20 cm thick hollow dense concrete block wall 185 45
with 13 mm thick plaster on both sides
6. Partition wall made with gypsum board fixed 68 70 45
on timber frame work
7. 76 mm thick hollow clay block wall with 13 108 - 110 36
mm thick plaster on both sides
HORIZONTAL BARRIERS: FLOOR & CEILING INSULATION
Insulation to both airborne as well as impact sound.

Floors or ceiling made of R.C.C. or stone offer excellent insulation

against airborne sound but not that good against impact / structure-
borne sound.

1. Use of resilient surface material on floors:

Provide thin concrete screed as the R.C.C. floor slab, then providing
soft floor finish or covering of resilient material, e.g., linoleum,
insulation board, cork, asphalt, carpet etc.

Offers insulation against impact noise but has no appreciable

effect on air-borne sound.

Extra 5 to 10 dB is obtained over a base concrete floor.

2. Concrete floor floating construction:
An additional floor is constructed and isolated or floated from the
existing concrete floor.
Resilient material, e.g., quilted mineral/glass wool is laid over R.C.C.
floor.
A water proof paper is then laid over it and then 5 cm thick concrete
screed is provided.

Such a
construction
provides good
insulation against
impact sound.
2. Timber floor floating construction:
Floors constructed of wooden joists sound insulation becomes
more difficult particularly in case of heavy mechanical impact sound.

Figure shows
the method of
insulating
existing
wooden
floors.

A further
improvement
in the
insulation of
such floors is
achieved by
sand pugging.
3. Timber floor floating construction:
Figure (below) shows the method of insulating new timber floors.
A further improvement in the insulation of such floors is achieved by
pugging or deadening material in the air space between the wooden
joists.
Either sound absorbent
type materials , e.g.,
mineral wool or other
materials like sand
/ashes are used.
Efficiency of pugging
depends on the weight
of the material used.
Sand pugging - atleast
100 kg/mis used.
Mineral wool pugging
ateast 15 kg/m is used
thin wall of 10 cm thk.
4. Timber floor with suspended ceiling and air space:
Helps to improve insulation of both air-borne & structure-borne
sound.

For
concrete
floors metal
hangers/
acoustic clips
may be used
to support
the floor
below.
WINDOWS:
Weak points in building envelope from noise insulation point of view
(same as thermally).
Their performance can be
improved by :
Ensuring airtight
closure by using
gaskets
Using double (triple)
glazing
Placing absorbent
material in the space
between the two
panes distance
between two panes
should be minimum
150 mm and
preferably 200 mm.
VENTILATORS
Ventilators can also create problem in sound insulation.
The ventilating duct is curved or shaped in such a way that there is
no direct straight line path left for the sound.
As the shape induces multiple sound reflections within this duct, all
internal surfaces are lined with a highly absorbent material.

To further increase the

number of reflections &
the total absorbent
surface available,
absorbent baffles can
be placed inside the
duct.