A good sound requires a good acoustics: the acoustics arquitectura

Is a well known fact by professionals from audiovisual ambit that a good sound requires good acoustics. Therefore, it is important counting with a range of criteria at the time of installating, for example, a sound equipment in Ibiza. It must be combined the acoustics aspects and the esthetic ones, it should be define the dimensions in function of the times of reverberation and the capacity of the room we are talking about.

Characteristics to keep in mind for good acoustics

At the time of transmiting the sound in a homogeneous way to an audience, the ceiling is determinant because of the big area that takes. The high which it is dispossed is key for the acoustics, because it affects directly in the quality of the transmission towards the whole audience. For example, in a concert room where we are looking for taking advantage of the high fidelity, it is common to install reflective sound plates behind the orquestra and also on the ceiling for projecting sound waves towards the audience.

The floor design is also determinant. It should have a shape that limit as much as possible the phenomenon of diffraction, that is the diversion of the sound waves in the audience heads. If it is possible to maintain as much as possible the line of sight of the scenario for each listener, it will be obtained an improvement of the auditive perception. As a ideal disposition for an audience, for keeping the vision lines, usually it is used aproximations from the curves in the logaritmical spiral.

Rules to obtain a good acoustic

Althought the Acoustic Arquitecture is still a developping area, it exists already a serial of basic rules to obtain the best sound:

• To avoid the origin of echo or the acumulation of sound in specific places, the way, material and orientation of the surfaces needed should be modified.
• Always look for the even distribution of the sound and the enough sound intensity for the whole room.
• Avoid the production of background sounds, wether they are external or internal.
• Look for the favor of the reflection from the sound waves in the scenario so that these propagate with the minimum delay with respect to the direct sound.
• Always design, if it is possible, rooms that mix the sounds, looking for the sounds to the left ear of each listener to be different from those perceived by the right ear.

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