Page 295 - The Master Handbook Of Acoustics
P. 295

270   CHAPTER THIRTEEN



                           general, the smoothness of the decay increases as frequency is
                           increased. The reason for this, as explained in Chap. 7, is that the
                           number of modes within an octave span increases greatly with fre-
                           quency, and the greater the mode density, the smoother their average
                           effect. Beats in the decay are greatest at 63 Hz and 125 Hz. The decays
                           of Fig. 7-10 indicate that the diffusion of sound in this particular stu-
                           dio is about as good as can be achieved by traditional means. It is the
                           beat information on the low-frequency reverberation decay that
                           makes possible a judgment on the degree of diffusion prevailing.
                           Reverberation-time measuring devices that yield information only on
                           the average slope and not the shape of the decay pass over informa-
                           tion that most consultants consider important in evaluating the dif-
                           fuseness of a space.


                           Exponential Decay

                           A truly exponential decay is a straight line on a level vs. time plot,
                           and the slope of the line can be described either as a decay rate in
                           decibels per second or as reverberation time in seconds. The decay
                           of the 250-Hz octave band of noise pictured in Fig. 13-2 has two
                           exponential slopes. The initial slope gives a reverberation time of
                           0.35 second and the final slope a reverberation time of 1.22 seconds.
                           The slow decay that finally takes over once the level is low enough
                           is probably a specific mode or group of modes encountering low
                           absorption either by striking the absorbent at grazing angles or strik-
                           ing where there is little absorption. This is typical of one type of
                           nonexponential decay, or stated more precisely, of a dual exponen-
                           tial decay.
                              Another type of nonexponential decay is illustrated in Fig. 13-3.
                           The deviations from the straight line connecting the beginning and
                           end of the decay are considerable. This is a decay of an octave band of
                           noise centered on 250 Hz in a 400-seat chapel, poorly isolated from an
                           adjoining room. Decays taken in the presence of acoustically coupled
                           spaces are characteristically concave upward, such as in Fig. 13-3, and
                           often the deviations from the straight line are even greater. When the
                           decay traces are nonexponential, i.e., they depart from a straight line
                           in a level vs. time plot, we must conclude that true diffuse conditions
                           do not prevail.
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