IES 2000

About IES
 

IES 2000  

For detailed product specs see our NEW site at

http://www.artusaindustries.us

Team IES is committed to enhancing the living and working environment by reducing human exposure to the harmful effects of noise, mist, dust, and smoke.

It is our goal to be an effective, responsible, and profitable company by meeting and or exceeding our customers expectations with timely, quality, cost effective solutions.

Our team is a family of customers, vendors, partners, and employees.

The ABC’s of Noise

Absorb (IES Absorber Products)

Sound absorbers are soft, porous, open-celled materials such as foam sheets, curtains or blankets and baffles that reduce the reflection of sound waves.  A “NRC” number-Noise Reduction Coefficient rates their sound absorption efficiency.  The HIGHER the NRC rating, the more EFFICIENT the product is at absorbing noise.

Barrier (IES Blocker Products)

Noise Barriers combine mass, flexibility and limpness to block noise from t transmitting from one area to another.  Flexible mass-loaded vinyl sheeting has replaced thin lead sheets as the noise barrier of choice. Noise Barriers are rated by a “STC” number- Sound Transmission Classification.  The HIGHER the STC rating, the more EFFICIENT the product is at blocking noise. 

Composite

Acoustical Composites are products that combine both Noise Barrier & Sound Absorber materials.  Typically, they offer the most significant overall noise reduction.  Acoustical Composites are rated in both “NRC” and “STC” numbers

Damping

Damping materials are paint on or sheet materials utilized to reduce structure-born noise and resonant vibration.  They are designed to take the “ring” out of sheet metal or ductwork or similar radiating surfaces.

  *NRC is a sound absorption rating.  It measures a percentage of how much sound will not be reflected back from where it came.  Based on a range from .05 to 1.0, where a NRC of 1.0 means that all the sound energy that hits that product passes thru it and does not bounce back to its source.  A NRC of .60 would reflect 40% of the sound back to the source, and let 60% of the noise passthru it.  

*STC is a noise barrier rating.  It measures how much noise will be prevented from passing through aproduct.  Based on a range typically between 1 and 60, where an STC of 30 (in a laboratory) would stop 30 dB of noise.  If it were 100 dB on the noise source side of a complete noise barrier with an STC of 30, it would be 70 dB on the other side.

For a more complete NOISE CONTROL Glossary go to the bottom of this page.

NEWS and Applications

Moulder noise and dust get busted - New ALL ACCESS aluminum and steel systems for generators and pumps - Bagger noise gets bagged - Conference room conversations stay in the conference room - PEA Hosting a big success - Aluma-A-Frame improvements - Successful hybrid application - Great Show in Atlanta -  Improvements on our 2 story system

   

 

Before 85-90dBA After 75-80dBA

No more noisy blower. No more noisy chiller next door.

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New hybrid systems technology by IES 1/4 the weight, twice as effective acoustically, easier to operate and more cost effective.

   

 

 

More units roll out of the fulfillment center

 

Gas Compressor enclosures

 

Power  Generation enclosures 

 

IES is ally to the Navy and Marines -3 Day installation makes for a better testing and speaking environment for NAS  The addition of sound absorbing baffles not only cut reverb in half and reduced the ambient noise by 5dB it actually brightened the area reflecting more light from windows and fixtures.

   

OSHA Gets Serious About Hearing Loss (Proposed new regulations for 2003)

A record keeping change has some safety experts keeping a close watch on their hearing conservation programs.

by James L. Nash

Why do experts in government and out in the field expect a huge rise in OSHA recordables for hearing loss this year? Jim Weaver, senior risk control administrator at Hallmark Cards, has an answer to that question.

Last year, out of approximately 5,000 employees at its Kansas City, Mo., headquarters complex, Hallmark had just one recordable case involving a standard threshold shift (STS) of 25 decibels (dBs).

Weaver said that if OSHA's revised record keeping rule, scheduled to take effect Jan. 1, were in place today, he would be looking at 28 recordable cases of occupational hearing loss. That's because the revision requires employers to record a change in hearing threshold of just 10 dB, averaged at 2,000, 3,000 and 4,000 hertz. Hallmark is in the process of gathering more data on hearing loss, and the company will soon make moves to strengthen its hearing conservation program (HCP).

Many safety and health professionals agree with Weaver's assessment of what OSHA's new definition of STS will mean. John Franks, chief of the hearing loss prevention section at the National Institute for Occupational Safety and Health (NIOSH), foresees a "huge spike" in hearing loss recordables across the nation as the revised recordkeeping standard goes into effect , in part because many companies have not been recording hearing loss at all.

Why So Many HCPs Don't Work

In view of OSHA's more stringent definition of STS, which is coupled with a new column on the Form 300 just for hearing loss, some safety and health managers are taking another look at their hearing protection efforts. That is a good idea, according to one leading NIOSH researcher who believes too many worksites have no HCP, while other programs are not working nearly as well as they should be.

"There are some programs that look good on paper, but when you look at their records, it seems like they're just documenting hearing loss," said Carol Merry, a NIOSH specialist in hearing loss prevention.

Merry and other experts believe they know why so many programs are failing: Workers are not wearing hearing protection devices.

"The fundamental problem here is that hearing conservation programs have been viewed as something done for the worker," said Lee Hager, executive vice president of James, Anderson & Associates, a hearing loss prevention consulting firm in Lansing, Mich. "Workers never took this on as their own personal responsibility. They see it as 'something management does for me.'"

In her research, Merry encountered a good deal of resistance to the wearing of hearing protectors because they are seen as uncomfortable and inconvenient. In addition, workers sometimes argue that these devices represent "the easy way out" for management. Merry found many workers who complained and would say, "Instead of trying to make the worksite quieter, they just throw these hearing protectors at us."

Although noise controls are generally preferable to hearing protectors, these controls are not always practical and carry with them their own set of problems. Elliott Berger, senior scientist in auditory research at E-A-R in Indianapolis, argues it is often difficult to achieve 10 dB of noise reduction with a retrofit noise control application. Ten dB is what the better kinds of hearing protector devices (HPDs) can provide when used properly.

Most engineering controls require maintenance and periodic adjustment to remain effective. These problems can be avoided by cutting noise at its source through redesigning equipment, or "buying quiet," but this solution is not always feasible.

Still, Merry's research suggests that for a company to have an effective HCP, it should at least make an effort to reduce noise and to communicate this effort to workers.

Checklist for a Good HCP

A substantial body of research has established the various elements needed to have a successful HCP, according to The Encyclopedia of Occupational Health and Safety. In an article published in this resource, Larry Royster, a professor at North Carolina State University, and Julia Doswell Royster, president of Environmental Noise Consultants in Raleigh, N.C., organized this research into a checklist of good HCP practices.

Included in this checklist are five phases of an effective program:

The Roysters' research indicates that the best strategy for making these five phases work together is to unite them under the supervision of one "key individual" who oversees the entire HCP. They note that one of the problems at large companies is that too many staff members become involved in the HCP, leading to a fragmentation in the effort.

The choice of the key individual can be critical to the success of the program. The Roysters contend that genuine interest in hearing protection is the most important qualification for this position. Keeping accurate records of sound surveys and hearing tests, and doing regular program evaluations are important functions for the key individual.

The five phases of a good program listed above can be seen as a kind of "chain" of protection, but the entire HCP may be only as strong as the weakest links in that chain -- workers who are not using hearing protection.

There are signs that the safety and health community is forming new alliances and taking bold steps to attack the problem.

Getting to Yes with HPDs

In February 2000, the National Safety Council (NSC) and NIOSH collaborated on two publications that feature hearing protection.

The material was largely the result of research of Merry and Mark Stephenson, a research audiologist at NIOSH. NSC distributed 95,000 copies of "Today's Supervisor" and 42,000 copies of "Safeworker," according to Todd Briggs, NSC's government relations program specialist.

Briggs explained that NSC signed on to the unprecedented project because it was clear "people weren't getting the message about hearing loss."

Hager thought the joint effort was on target. "Strategically, this is exactly the right thing to do," he said. The reason HCPs often do not work, according to Hager, is because workers have not internalized the value of protecting their hearing. "The attempt to communicate these issues of risk and appropriate self-protection to the workers and to their first-line supervisors is absolutely key to effectiveness."

"Today's Supervisor" states that, no matter what kind of HPD is used, employees' acceptance and use of hearing protection depends on four Cs:

Comfort is the No. 1 concern voiced by employees, according to the authors. No one is going to wear anything for hours at a time if it is uncomfortable. Because of individual differences, employers must make a range of sizes and models available.

Joe Durst, director of field services and communications for the United Brotherhood of Carpenters, agrees. "You can't just have a one-size-fits-all hearing protector, hand it out and have it work."

Fortunately, there are more than 200 HPDs marketed in the United States, ranging from disposable earplugs to custom electronic earmuffs. Yet, according to Merry, the crucial importance of letting workers choose their HPDs is a message many employers have simply failed to hear.

"I can't tell you how many places we've been to where there's just one option -- a box of earplugs," she said.

Allowing workers to have a hand in choosing their HPDs has another advantage: It increases their sense of participation in protecting their hearing, making it more likely they will take the time and trouble to wear the devices.

This gets at two of the other Cs: communication and cost. Because we are social beings, workers will want HPDs that allow them to exchange comments with co-workers from time to time. The answer here is to find protectors that block out noise but do not overprotect.

According to NIOSH's Stephenson, the most important message of the booklet is captured by "cost," which means letting workers know the cost of not protecting their hearing.

"I wish I had a nickel for every time I heard someone say, 'My Dad lost his hearing, and I will too," he said. "For the average worker, there's no reason to have a hearing impairment."

 

Form 300 and Hearing Loss: Government and Business Reaction

"What's important about the new Form 300, as compared to the 200, is hearing loss is recorded as a separate entity in column 6. Before, it was lost under 'physical agents' or 'repetitive exposures,'" explains John Franks, chief of the hearing loss prevention section at the National Institute for Occupational Safety and Health.

After a big uptick in 2002, Franks expects to see numbers concerning hearing loss that mean something. Over time, this will reveal which hearing conservation programs (HCPs) are effective.

The Bush administration is reviewing all regulations issued in the final days of President Clinton, including OSHA's recordkeeping standard. OSHA officials could not comment on the rule, nor confirm that the new rule will, as expected, take effect next year.

Jim Weaver of Hallmark Cards is not waiting to find out. Hallmark goes beyond OSHA regulations by implementing its HCP at 83 decibels (dBs) instead of 85. In some Hallmark facilities, employees are required to wear hearing protection devices (HPDs) at 83 dBs. Weaver is assessing the situation and thinks the company will move in the direction of requiring all of its workers to wear HPDs at lower noise levels. He said he will also explore noise engineering solutions.

Despite the possible need to make these adjustments, Weaver said, he welcomes the new standard because it simplifies the burden of recordkeeping.

Marcia Kram, CIH, is a specialist in hearing conservation at Air Products and Chemicals, based in Allentown, Pa. She agrees with Weaver that the new rule will lead to a significant increase in recordable cases of hearing loss. Kram oversees a program with approximately 4,000 workers in plants around the country. Like Weaver, she welcomes the new rule because it will make recordkeeping easier.

"I'm glad they got rid of the 25 standard threshold shift (STS), so now there's just one number we have to keep track of," she said. Because some state programs required follow-up when a worker had an STS of 10, Kram had to keep two databases for every worker to keep track of both STSs. "It was very confusing to the people in our plants who had to manage this program," she said.

Kram is not anticipating any major changes to her HCP at this point, but added that "we will be monitoring the program very carefully in the months ahead because of the recordkeeping requirements."

One part of her program that Kram said has proven to be quite effective is the practice of conducting hearing tests on site at the larger plants. Doing this means less lost time for the company and cuts down on the number of inaccurate tests. Kram said that, with onsite testing, any time an STS of 10 or more is detected, the worker can be re-tested at once to confirm the result.

Because an STS of 10 now means an OSHA recordable, making sure the audiometric test is accurate is more important than ever.

  A Case of Creative Sound Masking by our Armed Forces

SIRKANKEL, Afghanistan  -- The al-Qaeda mortar position to the west of Alpha Company wasn't just dangerous, it was annoying. 

The four al-Qaeda fighters there knew their business. As soon as they heard the sound of incoming U.S. aircraft, or the bang of Alpha Company firing a mortar in their direction, they would run from the ridge to take cover, reappearing after the U.S. ordnance had landed. Then they'd wave defiantly and send a shell Alpha Company's way.

Knowing that if any of the al-Qaeda rounds found their targets, he could lose several of his 100 soldiers, Capt. Kevin Butler needed a plan.

''I was trying to come up with a way of sneaking the round in quietly,'' he said later. He settled on an approach. The captain ordered Sgt. Corey Daniel to call in an airstrike.

Butler told his mortar crews to fire several rounds at the moment they heard an explosion from the close air support. ''I thought maybe we could mask the sound of the 60mm mortars firing with the sound of the close air support,'' he said.

As the booms from the Air Force bombing echoed across the valley Sunday, Butler's crews went to work.

''The boys were just hanging rounds like nobody's business,'' Butler said. Seven rounds flew toward the ridgeline. It would take them about 30 seconds to reach the target. Watching through his binoculars, Daniel saw the four al-Qaeda troops reappear. The deception must have worked. As they taunted the American troops, all seven rounds came down on the al-Qaeda fighters. All four are surely dead.  

When faced with a decision always ask "What would be the most fun?"

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Noise Reduction Systems

           

 

   

     

    

The information provided in this part of our website is presented in an effort to help you understand acoustics (the science of sound) and how it affects you in everyday life. Knowing the basics of sound and noise control will help you select products and methods to better solve your acoustical problems. 

As always, you may contact one of our sales representatives by phone at 1-888-454-6975 or by email at ies2000fa@aol.com to answer your questions and help you build a solution that best fits your needs.

IES Glossary of Noise Control Terms

ABSORPTION. A property of materials that allows a reduction in the amount of sound energy reflected. The introduction of an absorbent into the surfaces of a room will reduce the sound pressure level in that room by not reflecting all of the sound energy striking the room's surfaces. The effect of absorption merely reduces the resultant sound level in the room produced by energy that has already entered the room. 

ABSORPTION COEFFICIENT. A measure of the sound-absorbing ability of a surface. It is defined as the fraction of incident sound energy absorbed or otherwise not reflected by a surface. Unless otherwise specified, a diffuse sound field is assumed. The values at the sound-absorption coefficient usually range from about 0.01 for marble slate to almost 1.0 for long absorbing wedges often used in anechoic rooms. 

ACCEPTABLE SOUND LEVELS

Acceptable sound levels in different location such as kindergartens, auditoriums, libraries, cinemas ...according to the ETB
Type of Area NR value Lp
dBA
Kindergartens 30 35
Auditorium 25 30
Library 30 35
Cinema 30 35
Concert hall 20 25
Court room 25 30
Theatre 25 30
Store, retail 35 40
Supermarkets 40 45
Hospital, corridor 30 35
Hospital, operating theatre 25 30
Hospital, private room 20 25
Hotel, lobby 35 40
Hotel, restaurant 40 45
Hotel, ballroom 30 35
Church 25 30
Office 30 35
School, lecture room 25 30
School, corridor 30 35
School, gymnasium 30 35
Swimmingpool 35 40
Studio, record 20 25
Studio, radio 15 20
Studio, television with audience 25 30
Studio, television without audience 20 25



ACOUSTICS. (1) The science of sound, including the generation, transmission, and effects of sound waves, both audible and inaudible. (2) The physical qualities of a room or other enclosure (such as size, shape, amount of noise) that determine the audibility and perception of speech and music within the room. 

ACOUSTIC TRAUMA. Damage to the hearing mechanism caused by a sudden burst of intense noise, or by a blast. The term usually implies a single traumatic event. 

AIRBORNE SOUND. Sound that reaches the point of interest by propagation through air. 

AMBIENT NOISE. The total of all noise in the environment, other than the noise from the source of interest. This term is used interchangeably with background noise. 

ANECHOIC ROOM. A room in which the boundaries absorb nearly all the incident sound, thereby, effectively creating free field conditions. 

ANSI. The American National Standards Institute. 

ARTICULATION INDEX (AI). A numerically calculated measure of the intelligibility of transmitted or processed speech. It takes into account the limitations of the transmission path and the background noise. The articulation index can range in magnitude between 0 and 1.0 . If the AI is less than 0.1, speech intelligibility is generally low. If it is above 0.6, speech intelligibility is generally high. 

ATTENUATION. The reduction of sound intensity by various means (e.g., air, humidity, porous materials...). 

AUDIO FREQUENCY. The frequency of oscillation of an audible sound wave. Any frequency between 20 and 20,000 Hz

AUDIOGRAM. A graph showing individual hearing acuity as a function of frequency. 

AUDIOMETER. An instrument for measuring individual hearing acuity. 

A-WEIGHTED SOUND LEVEL. A measure of sound pressure level designed to reflect the acuity of the human ear, which does not respond equally to all frequencies. The ear is less efficient at low and high frequencies than at medium or speech-range frequencies. Therefore, to describe a sound containing a wide range of frequencies in a manner representative of the ear's response, it is necessary to reduce the effects of the low and high frequencies with respect to the medium frequencies. The resultant sound level is said to be A-weighted, and the units are dBA. The A-weighted sound level is also called the noise level. Sound level meters have an A-weighting network for measuring A-weighted sound level. 

BACKGROUND NOISE. The total of all noise in a system or situation, independent of the presence of the desired signal. In acoustical measurements, strictly speaking, the term "background noise" means electrical noise in the measurement system. However, in popular usage the term "background noise" is often used to mean the noise in the environment, other than the noise from the source of interest. 

BAND. Any segment of the frequency spectrum. 

BAND PASS FILTER. A wave filter that has a single transmission band extending from a lower cutoff frequency greater than zero to a finite upper cutoff frequency. 

BROADBAND NOISE. Noise with components over a wide range of frequencies. 

CALIBRATOR (ACOUSTICAL). A device which produces a known sound pressure on the microphone of a sound level measurement system, and is used to adjust the system to Standard specifications. 

COCHLEA. A spirally coiled organ located within the inner ear which contains the receptor organs essential to hearing. 

CUTOFF FREQUENCIES. The frequencies that mark the ends of a band, or the points at Which the characteristics of a filter change from pass to no-pass. 

CYCLE. The complete sequence of values of a periodic quantity that occurs during one period. 

CYCLES PER SECOND. A measure of frequency numerically equivalent to hertz. 

CYLINDRICAL WAVE. A wave in which the surfaces of constant phase are coaxial cylinders. A line of closely-spaced sound sources radiating into an open space produces a free sound field of cylindrical waves. 

DAMPING. The dissipation of energy with time or distance. The term is generally applied to the attenuation of sound in a structure owing to the internal sound-dissipative properties of the structure or to the addition of sound-dissipative materials. 

dBA. Unit of sound level. The weighted sound pressure level by the use of the A metering characteristic and weighting specified in ANSI Specifications for Sound Level Meter, S1.4-1983. dBA is used as a measure of human response to sound. 

Comparing decibel A, B and C.

Relative response (dB)

Frequency (Hz)

31,5

63

125

250

500

1000

2000

4000

8000

dBA

-39,4

-26,2

-16,1

-8,6

-3,2

0

1,2

1

-1,1

dBB -17 -9 -4 -1 0 0 0 -1 -3

dBC

-3

-0,8

-0,2

0

0

0

-0,2

-0,8

-3


Sound Decibel A, B, C



DECIBEL. A unit of sound pressure level, abbreviated dB. 

The Decibel

is equal to ten times the logarithm to base 10 of the ratio of two quantities.

L = 10 log (E1 / E2)

where

E1 and E2 are the two quantities.

How to calculate changes in sound and power pressure levels.
 

If the power from the source doubles,
the sound power level increase with 3 dB.


Adding equal sound power levels

Lw(total) = Lw(single source) + 10 log N

where

N = number of sources

Number

Increase in sound power level
dB
Increase in pressure level
dB
2 3 6
3 4,8 9,6
4 6 12
5 7 14
10 10 20
15 11,8 23,6
20 13 26

Adding equal sound power levels


 

Adding equal sound pressure levels

Lp(total) = Lp(single source) + 20 log N

 

 



Adding different sound levels
Difference between
two levels, dB
Add to higher level,
dB
0

3

1 2,5
2 2
3 2
4 1,5
5 1
6 1
7 1
8 0,5
9 0,5
10 or more 0

Adding different sound levels

 

DIFFRACTION. A modification which sound waves undergo in passing by the edges of solid bodies. 

DIRECTIVITY INDEX. In a given direction from a sound source, the difference in decibels between (a) the sound pressure level produced by the source in that direction, and (b) the space-average sound pressure level of that source, measured at the same distance. 

DOPPLER EFFECT (DOPPLER SHIFT). The apparent upward shift in frequency of a sound as a noise source approaches the listener or the apparent downward shift when the noise source recedes. The classic example is the change in pitch of a railroad whistle as the locomotive approaches and passes by. 

DOSIMETER. A device worn by a worker for determining the worker's accumulated noise exposure with regard to level and time according to a pre-determined integration formula. 

ECHO. A wave that has been reflected or otherwise returned with sufficient magnitude and delay, so as to be detected as a wave distinct from that directly transmitted. 

EQUIVALENT A-WEIGHTED SOUND LEVEL (Leq). The constant sound level that, in a given time period, would convey the same sound energy as the actual time-varying A-weighted sound level. 

FAR FIELD. Describes a sound source region in free space where the sound pressure level obeys the inverse-square law (the sound pressure level decreases 6 dB with each doubling of distance from the source). Also, in this region the sound particle velocity is in phase with the sound pressure. Closer to the source where these two conditions do not hold constitutes the near field region. 

FILTER. A device for separating components of a signal on the basis of their frequency. It allows components in one or more frequency bands to pass relatively unattenuated, and it attenuates components in other frequency bands. 

FREE SOUND FIELD (FREE FIELD). A sound field in which the effects of obstacles or boundaries on sound propagated in that field are negligible. 

FREQUENCY. The number of times per second that the sine wave of sound repeats itself, or that the sine wave of a vibrating object repeats itself. Now expressed in hertz(Hz), formerly in cycles per second (cps). 

An introduction to the nature of sound with frequency, wavelength and octaves.


Sound energy is transmitted through air (or other particles) as a traveling pressure wave. In air the displacement wave amplitude may range from 10-7 mm to a few mm per second.


Frequency

The frequency (cycles per second) of a sound is expressed in hertz (Hz).

f = 1/T (Hz)

The range for human hearing is from 20 to 20.000 Hz. By age 12-13.000 Hz are the limit for many people.

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Wavelength

The wavelength of sound is the distance between analogous points of two successive waves.

l = c / f

where

c = speed of sound (m/s)
f = frequency (Hz)


Octave


Octave 1 2 3 4 5 6 7 8
Frequency (Hz) 63 125 250 500 1K 2K 4K 8K
Wavelength in air (m) 5,46 2,75 1,38 0,69 0,34 0,17 0,085 0,043

 

HAIR CELL. Sensory cells in the cochlea which transform the mechanical energy of sound into nerve impulses. 

HARMONIC. A sinusoidal (pure-tone) component whose frequency is a whole-number multiple of the fundamental frequency of the wave. If a component has a frequency twice that of the 

fundamental it is called the second harmonic, etc... 

HEARING. The subjective human response to sound. 

HEARING LEVEL. A measured threshold of hearing at a specified frequency, expressed in decibels relative to a specified standard of normal hearing. The deviation in decibels of an individual's threshold from the zero reference of the audiometer. 

HEARING LOSS. A term denoting an impairment of auditory acuity. The amount of hearing impairment, in decibels, measured as a set of hearing threshold levels at specified frequencies. Types of hearing loss are: 1. Conductive: A loss originating in the conductive mechanism of the ear; 2. Sensor-neural: A loss originating in the cochlea or the fibers of the auditory nerve; 3. Noise induced: A sensor-neural loss attributed to the effects of noise. 

HEARING THRESHOLD LEVEL (HTL). Amount (in decibels) by which an individual's threshold of audibility differs from a standard audiometric threshold. 

HERTZ (Hz). Unit of measurement of frequency, numerically equal to cycles per second 

IMPACT INSULATION CLASS (IC). A single-figure rating that compares the impact sound insulating capabilities of floor-ceiling assemblies to a reference contour. 

IMPACT SOUND. The sound produced by the collision of two solid objects. Typical sources are footsteps, dropped objects, etc., on an interior surface (wall, floor, or ceiling) of a building. 

IMPULSIVE NOISE, a) Either a single sound pressure peak (with either a rise time less than 200 milliseconds or total duration less than 200 milliseconds) or multiple sound pressure peaks (with either rise time less than 200 milliseconds or total duration less than 200 milliseconds) spaced at least by 200 millisecond pauses, b) A sharp sound pressure peak occurring in a short interval of time. 

INFRASONIC. Sounds of a frequency lower than 20 hertz. 

INTENSITY. The sound energy flow through a unit area in a unit time. 

INVERSE SQUARE LAW. A description of the acoustic wave behavior in which the mean-square pressure varies inversely with the square of the distance from the source. This behavior occurs in free field situations, where the sound pressure level decreases 6 dB with each doubling of distance from the source. 

ISO. The International Organization for Standardization. 

LEVEL. The logarithm of the ratio of a quantity to a reference quantity of the same kind. The base of the logarithm, the 

reference quantity, and the kind of level must be specified. 

LOGARITHM. The exponent that indicates the power to which a number must be raised to produce a given number. For example, for the base 10 logarithm, used in acoustics, 2 is the logarithm of 100. 

LOUDNESS. The subjective judgment of intensity of a sound by humans. Loudness depends upon the sound pressure and frequency of the stimulus. Over much of the frequency range it takes about a threefold increase in sound pressure (a tenfold increase in acoustical energy, or, 10 dB) to produce a doubling of loudness. 

LOUDNESS LEVEL. Measured in phons it is numerically equal to the median sound pressure level (dB) of a free progressive 1000 Hz wave presented to listeners facing the source, which in a number of trials is judged by the listeners to be equally loud. 

MASKING. 1. The process by which the threshold of audibilty for a sound is raised by the presence of another (masking) sound. 2. The amount by which the threshold of audibility of a sound is raised by the presence of another (masking) sound.

MASKING NOISE. A noise that is intense enough to render inaudible or unintelligible another sound that is also present. 

MEDIUM. A substance carrying a sound wave. 


NEAR FIELD. The sound field very near to a source, where the sound pressure does not obey the inverse square law and the particle velocity is not in phase with the sound pressure. 

NIOSH. The National Institute for occupational Safety and Health. 

NOISE, 1. Unwanted sound. 2. Any sound not occurring in the natural environment, such as sounds emanating from aircraft, highways, industrial, commercial and residential sources. 3. An erratic, intermittent, or statistically random oscillation. 

NOISE ISOLATION CLASS. (NIC). A single number rating derived in a prescribed manner from the measured values of noise reduction between two areas or rooms. It provides an evaluation of the sound isolation between two enclosed spaces that are acoustically connected by one or more paths. 

NOISE LEVEL. For airborne sound , unless specified to the contrary, it is the A-weighted sound level. 

NOISE REDUCTION (NR). The numerical difference, in decibels, of the average sound pressure levels in two areas or rooms. A measurement of "noise reduction" combines the effect of the sound transmission loss performance of structures separating the two areas or rooms, plus the effect of acoustic absorption present in the receiving room. 
An introduction to the Noise Rating (NR) curves developed by the International Organization for Standardization (ISO).

The Noise Rating (NR) curves are developed by the International Organization for Standardization (ISO).

Noise rating graphs are plotted of Sound Pressure Level at frequency to show how acceptable sound levels varies with frequency.

What is acceptable varies with the room and the use of it. There is a different curve obtained for each type of use.
Each such curve is obtained by an NR number. 


Noise rating and applications
Noise rating curve Application
NR 25 Concert halls, broadcasting and recording studios, churches
NR 30 Private dwellings, hospitals, theatres, cinemas, conference rooms
NR 35 Libraries, museums, court rooms, schools, hospitals operating theaters and wards, flats, hotels, executive offices
NR 40

Halls, corridors, cloakrooms, restaurants, night clubs, offices, shops

NR 45 Departement stores, supermarkets, canteens, general offices
NR 50 Typing pools, offices with business machines
NR 60 Light engineering works
NR 70 Foundries, heavy engineering works

Noise rating curves

 

Noise rating curve

Octave band mid-frequence, Hz  (dB refrence 0,00002 N/m2)

31,5

62,5

125

250

500

1000

2000

4000

8000

NR 0

55

36

22

12

5

0

-4

-6

-8

NR 10

62

43

31

21

15

10

7

4

2

NR 20

69

51

39

31

24

20

17

14

13

NR 30

76

59

48

40

34

30

27

25

23

NR 40

83

67

57

49

44

40

37

35

33

NR 50

89

75

66

59

54

50

47

45

44

NR 60

96

83

74

68

63

60

57

55

54

NR 70

103

91

83

77

73

70

68

66

64

NR 80

110

99

92

86

83

80

78

76

74

NR 90

117

107

100

96

93

90

88

86

85

NR 100

124

115

109

105

102

100

98

96

95

NR 110

130

122

118

114

112

110

108

107

105

NR 120

137

130

126

124

122

120

118

117

116

NR 130

144

138

135

133

131

130

128

127

126



Noise rating diagram

Noise Rating NR

 

NOISE REDUCTION COEFFICIENT (NRC). A measure of the acoustical absorption performance of a material, calculated by averaging its sound absorption coefficients at 250, 500, 1000 and 2000 Hz, expressed to the nearest multiple of 0.05. 

NON-IMPULSIVE NOISE. all noise not included in the definition of impulsive noise. 

OCTAVE. The interval between two sounds having a frequency ratio of two.- There are 8 octaves on the keyboard of a standard piano. 

OCTAVE BAND. A segment of the frequency spectrum separated by an octave. 

OCTAVE BAND LEVEL. The integrated sound pressure level of only those sine-wave components in a specified octave band. 

OSCILLATION. The variation with time, alternately increasing and decreasing, of (a) some feature of an audible sound, such as the sound pressure; or (b) some feature of a vibrating solid object, such as the displacement of its surface. 

OSHA The Occupational Safety and Health Administration. 

PEAK SOUND PRESSURE. The maximum absolute value of the instantaneous sound pressure in a specific time interval. Note: in the case of a periodic wave, if the time interval considered is a complete period, the peak sound pressure becomes identical with the maximum sound pressure. 

PERIOD. The duration of time it takes for a periodic wave form (like a sine wave) to repeat itself. 

PERMANENT THRESHOLD SHIFT (PTS). A permanent decrease of the acuity of the ear at a specified frequency as compared to a previously established reference level. The amount of permanent threshold shift is customarily expressed in decibels. 

PHON. The unit of measurement for loudness level. 

PINK NOISE. Noise with constant energy per octave band width. 

PITCH. The attribute of auditory sensation that orders sounds on a scale extending from low to high. Pitch depends primarily upon the frequency of the sound stimulus, but it also depends upon the sound pressure and wave form of the stimulus. 

PLANE WAVE. A wave whose wave fronts are parallel and perpendicular to the direction in which the wave is traveling. 

PRESBYCUSIS. The decline in hearing acuity that is attributed to the aging process. 

PURE TONE. A sound for which the sound pressure is a simple sinusoidal function of the time, and characterized by its singleness of pitch. 

RANDOM NOISE. An oscillation whose instantaneous magnitude is not specified for any given instant of time. It can be 

described statistically by probability distribution functions giving the traction of the total time that the magnitude of the noise lies within a specified range. 

REFLECTION. The return of a sound wave from a  surface. 

REFRACTION. The bending of a sound wave from its original path, either because it is passing from one medium to another or by changes in the physical properties of the medium, e.g., a temperature or wind gradient in the air. 

RESONANCE. The relatively large amplitude of vibration produced when the frequency of some source of sound or vibration "matches" the natural frequency of vibration of some object, component, or system. 

RESONATOR. A device that resounds or vibrates in sympathy with a source of sound or vibration. 

REVERBERANT FIELD. The region in a room where the reflected sound dominates, as opposed to the region close to the noise source where the direct sound dominates. 

REVERBERATION. The persistence of sound in an enclosed space, as a result of multiple reflections, after the sound source has stopped. 

REVERBERATION ROOM. A room having a long reverberation time, especially designed to make the sound field inside it as diffuse (homogeneous) as possible. 

REVERBERATION TIME (RT). The reverberation time of a room is the time taken for the sound pressure level to decrease 60 dB from its steady-state value when the source of sound energy is suddenly interrupted. It is a measure of the persistence of an impulsive sound in a room as well as of the amount of acoustical absorption present inside the room. Rooms with long reverberation times are called live rooms. 

RMS SOUND PRESSURE. The square root of the time averaged square of the sound pressure. 

ROOM SOUND PROPAGATION Indoor

The sound in a room will propagate to the receiver by direct sound and reverberant sound.
 

SoundPropagationIndoors

For a continuing source in a room, the sound level is the sum of direct and reverberant sound and is given by

Lp = Lw + log (D / (4 p r2) + 4 / R) (dB)

where


D = directivity coefficient
R = room constant (m2)
r = distance from source (m)

Room constant

R = S am / (1-am) (m2)

where

S = total surface of the room (m2)
a = absorption coefficient
a
m = mean apsorption coefficient for the room


Absorption coefficient

a = Ia / Ii

where

Ia = sound intensity absorbed
Ii = incident sound intensity


The rooms total absorption, m2 Sabine

Am = S S a (m2 Sabine)

The mean apsorption coefficient for the room am = Am / S


The sound level as a sum of direct and reverberant sound for a source in a room.

 

 

For a continuing source in a room, the sound level is the sum of direct and reverberant sound and is given by

Lp = Lw + log (D / (4 p r2) + 4 / R)        (dB)

where

D = directivity coefficient
R = room constant    (m2 Sabine)
r = distance from source (m)

sounddirectivitycoefficient Directivity coefficient

The figure can be used to estimate the directivity coefficient D.

wpe2A.gif (15724 bytes)

The figure permits calculation of theoretical sound pressure levels Lp, from both direct and reverberant sound, at a given distance (r) from a source inside room of sound power level Lw. R is the room constant.

An introduction to propagation of sound outdoor.



 

 

 

When the distance from the the power source  doubles,
the sound pressure level decrease with 6 dB.

This relationship is also known as the inverse square law.

Lp = Lw - 20 log r + K'       

where

r = distance from source   (m)
K' = constant      

When source radiates hemispherically with the source near ground K' = - 8.
When source radiates spherically  K' = - 11.

Other factors affecting the radiation of sound might be direction of the source, barriers and atmospheric conditions. The eq. can be modifyed as

Lp = Lw - 20 log r + K' + DI - Aa - Ab     

where   

DI = directivity index
Aa = attenuation due to atmospheric conditions
Ab = attenuation due to barriers

Ambient sound level in different rural and urban environments.
Conditions Octave band centre frequency, Hz
63 125 250 500 1000 2000 4000 8000
Night-time                
Rural, no nearby traffic of concern 42 37 32 27 22 18 14 12
Suburban, no nearby traffic of concern 47 42 37 32 27 23 19 17
Urban, no nearby traffic of concern 52 47 42 37 32 28 24 22
Business or commercial area 57 52 47 42 37 33 29 27
Daytime                
Business or commercial area 62 57 52 47 42 38 34 32
Industrial or manufacturing area 67 62 57 52 47 43 39 37
                 
Within 300 ft (91 m) of continuous heavy traffic 72 67 62 57 52 48 44 42


ROOT-MEAN-SQUARE (RMS). 1. The root-mean-square value of a time-varying quantity is obtained by squaring the function at each instant, obtaining the average of the squared values over the interval of interest, and then taking the square root of this average. For a sine wave, if you multiply the RMS value by the square root of 2, or about l.41, you get the peak value of the wave. The RMS value, also called the effective value of the sound pressure, is the best measure of ordinary continuous sound, but the peak value is necessary for assessment of impulsive noises. 2. A term' describing the mathematical process of determining an 'average' value of a complex signal. 

SABIN. A measure of the sound absorption of a surface; it is the equivalent of one square foot of a perfectly absorptive surface. 

SHIELDING. The attenuation of a sound, achieved by placing barriers between a sound source and the receiver 

SONE. The unit of measurement for loudness. One sone is the loudness of a sound whose loudness level is 40 phons. Loudness is proportional to the sound's loudness rating, e.g., two sones are twice as loud as one sone. 

SOCIOCUSIS. Loss of hearing caused by noise exposures that are part of the social environment, exclusive of occupational-noise exposure, physiological changes with age, and disease. 

SOUND. 1. An oscillation in pressure, stress, particle displacement, particle velocity, etc., in an elastic or partially elastic medium, or the superposition of such propagated alterations. 2. An auditory sensation evoked by the oscillation described above. Not all sound waves can evoke an auditory sensation: e.g. ultrasound. 

SOUND INTENSITY, power per unit area, vary substantially with distance from source, and also diminish as a result of intervening obstacles and barriers, air absorption, wind and other factors.  

The intencity from a source pasing a spherical surface around the source can be expressed as

I = W / A = W / 4 p r2    (W/m2)

In a progressing leveled wave the intensity can be expressed as

I = W / A = p2 / r c   (W/m2)

where

I = intensity of sound      (W/m2)
W = power    (W)
A = area   (m2)
r = radius in the spherical surface  (m)
p = root mean square pressure  (N/m2)
r = density     (kg/m3)
c = velocity of sound   (m/s)   

Sound intensity expressed in dB

LI = 10 log (I / I0) (dB)

where

I0 = reference intensity   (W/m2)

The normal reference level is 10-12 W/m2.

 


SOUND LEVEL. The weighted sound pressure level obtained by the use of a sound level meter and frequency weighting network, such as A, B, or C as specified in ANSI specifications for sound level meters (ANSI Sl.4-1971, or the latest approved revision). If the frequency weighting employed is not indicated, the A-weighting is implied. 

SOUND LEVEL METER. An instrument comprised of a microphone, amplifier, output meter, and frequency-weighting networks which is used for the measurement of noise and sound levels. 

SOUND POWER. The total sound energy radiated by a source per unit time. The unit of measurement is the watt. 

Sound power level

Sound power level are connected to the sound source and independent of distance. Sound power are indicated in decibel.

Lw = 10 log (W / W0)

where

W0 = reference power    (W)            

The normal reference level is 10-12 W which is the lowest sound persons of excellent hearing can discern. Note that older american litterature may contain sound power level data referenced to 10-13 W.



SOUND PRESSURE. The instantaneous difference between the actual pressure produced by a sound wave and the average or barometric pressure at a given point in space. 

SOUND PRESSURE LEVEL (SPL). 20 times the logarithm, to the base 10, of the ratio of the pressure of the sound measured to the reference pressure, which is 20 micronewtons per square meter. In equation form, sound pressure level in units of decibels is expressed as SPL (dB) = 20 log p/pr. 

Sound pressure level

Since sound measuring instruments respond to sound pressure the "decibel" is generally associated with sound pressure level.

Sound pressure level quantify in decibels the intensity of given sound sources. Sound pressure level vary substantially with distance from source, and also diminish as a result of intervening obstacles and barriers, air absorption, wind and other factors.   

Since I = p2 / r c then

Lp = 10 log (p2 / p20) = 20 log (p / p0)

where

p = root mean square pressure  (N/m2)

The usual reference level po is 20x10-6 N/m2.

Note that the noise from fans, machines etc. in general are documented in sound power level.

If the sound pressure doubles,
the sound pressure level increase with 6 dB.

The lowest sound level that people of excellent hearing can discern has an acoustic sound power about 10-12 W, 0 dB

The loudest sound generally encountered is that of a jet aircraft with a sound power of 105 W, 170 dB


SOUND TRANSMISSION CLASS (STC). The preferred single figure rating system designed to give an estimate of the sound insulation properties of a structure or a rank ordering of a series of structures. 

SOUND TRANSMISSION LOSS (STL). A measure of sound insulation provided by a structural configuration. Expressed in decibels, it is 10 times the logarithm to the base 10 of the reciprocal of the sound transmission coefficient of the configuration. 

SPECTRUM. The description of a sound wave's resolution into its components of frequency and amplitude. 

SPEECH-INTERFERENCE LEVEL (SIL). A calculated quantity providing a guide to the interference of a noise with the reception of speech. The speech-interference level is the arithmetic average of the octave band levels 

of the interfering noise in the most important part of the speech frequency range. The levels in octave bands centered at 500, 1000, and 2000 Hz are commonly averaged to determine the speech-interference level. 

SPEED (VELOCITY) OF SOUND IN AIR. 344 m/sec (l128 ft/sec) at 70 degrees F in air at sea level. 

SPHERICAL DIVERGENCE. The condition of propagation of spherical waves that relates to the regular decrease in intensity of a spherical sound wave at progressively greater distances from the source. Under this condition the sound pressure level decreases 6 decibels with each doubling of distance from the source. 

SPHERICAL WAVE. A sound wave in which the surfaces of constant phase are concentric spheres. A small (point) source radiating into an open space produces a free sound field of spherical waves. . 

STEADY-STATE SOUNDS. Sounds whose average characteristics remain relatively constant in time. A practical example of a steady-state sound source is an air conditioning unit. 

TEMPORARY THRESHOLD SHIFT (TTS). A temporary impairment of hearing acuity as indicated by a change in the threshold of audibility. 

THIRD-OCTAVE BAND. A frequency band whose cutoff frequencies have a ratio of 2 to the one-third power, which is approximately 1.26. The cutoff frequencies of 891 Hz and 1112 Hz define the 1000 Hz third-octave band in common use. 

THRESHOLD OF AUDIBILITY (THRESHOLD OF DETECTABILITY). The minimum sound pressure level at which a person can hear a specified frequency of sound over a specified number of trials. 

THRESHOLD OF PAIN. The minimum sound pressure level of a sound outside the ear that will produce a transition from discomfort to definite pain. 

THRESHOLD SHIFT. A change in the threshold of audibility at a specified frequency from a threshold previously established. The amount of threshold shift is customarily expressed in decibels. 

TIMBRE. An attribute of auditory sensation allowing a subject to judge that two sounds similarly presented and having the same loudness and pitch are dissimilar, e.g., trumpet vs. violin. 

TINNITUS. Ringing in the ear or noise sensed in the head. Onset may be due to an acoustic trauma and persist in the absence of acoustical stimulation (in which case it may indicate a lesion of the auditory system). 

TONE. A sound of definite pitch. A pure tone has a sinusoidal wave form. 
TRANSDUCER. A device capable of being actuated by waves from one or more transmission systems or media and supplying related waves to one or more other 

transmission systems or media. Examples are microphones, accelerometers, and loudspeakers. 

ULTRASONIC. Sounds or a frequency higher than 20,000 hertz. 

VIBRATION. An oscillatory motion of solid bodies described by displacement, velocity, or acceleration with respect to a given reference point. 

VIBRATION ISOLATOR. A resilient support for vibrating equipment designed to reduce the amount of vibration transmitted to the other structures. 

WAVE. A disturbance that travels through a medium by virtue of the elastic properties of that medium. 

WAVELENGTH. For a periodic wave (such as sound in air), the distance between analogous points on any two successive waves. The wavelength of sound in air or in water is inversely proportional to the frequency of the sound. Thus, the lower the frequency, the longer the wavelength. 

WEIGHTING. Prescribed frequency filtering provided in a sound level meter. 

WHITE NOISE. Noise whose energy is uniform over wide range of frequencies, being analogous in spectrum characteristics to white light. 

WINDSCREEN. A porous device used to cover the microphone of a sound level measurement system which is designed to minimize the effects of winds and wind gusts on the sound levels being measured. Typically made of open cell polyurethane foam and spherically shaped.