1. Welcome

2. RoomTune Products Acoustics Common Problems Typical Solutions The Roomtune Solution Acoustics The Science of Sound The Science of Sound

3. Science of Sound Webster’s defines acoustics as: a science that deals with the production, control, transmission, reception and effects of sound. Sound is an alteration or disturbance which is propagated in an elastic material acting as a carrier. Acoustics

4. Room Acoustics A room is a three-dimensional region containing air. The air has elasticity and mass. The fact that a volume of air possess both mass and elasticity, tells us that vibrations or oscillations are possible. The Power of Sound

5. Room Acoustics Once sounds are produced, they vibrate the mass of air in the room at various frequencies depending on the number of simultaneous sounds and their inherent harmonic structures. The sounds strike objects in the room, as well as the room walls, ceiling, doors, floor, etc. The Power of Sound

6. Room Acoustics If we remember our definition of Acoustics, we realize that we are dealing with the effects of sound when we deal directly with the response of the room to the vibrations. We are also dealing with our reception of the sound after it has been shaped by the room. The Power of Sound

7. What We HEAR….. Frequency (f) is the number of cycles that the periodic signal completes in one second. The frequency unit is Hz (Hertz). We can commonly hear sounds with frequencies of 16 Hz to 20,000 Hz. Sounds that are out of this range can not be heard, regardless of their intensities. The human hearing system (the ears and related perception system in the brain) is more sensitive to frequencies in the range of 1000 Hz-3000 Hz. We can commonly hear sounds with frequencies of 16 Hz to 20,000 Hz. Sounds that are out of this range can not be heard, regardless of their intensities. The human hearing system (the ears and related perception system in the brain) is more sensitive to frequencies in the range of 1000 Hz-3000 Hz.

8. A sound wave has frequencies, therefore, it has what is called wavelength, which is the distance the sound travels in one cycle time. The higher the frequency the shorter the wavelength.

9. What We HEAR….. We assign the term Decibel to the intensity of the sound in relation to the lowest audible sound the human ear can hear at 1000 cycles per second or 1000Hz. Ten decibels or 10db would represent a 10:1 ratio or 10 times the intensity of the lowest audible sound at 1000Hz. Sound in the audible range covers a ratio of sound intensities of over one trillion to one (1,000,000,000,000:1 = 120db.)

10. Threshold of Sound l Comfortable audible sounds fall 20 decibels below the threshold of pain. This means the intensity of the sound is 1000 times lower. l Each intensity measurement of db on this chart represents 20 dbs of difference.

11. Common Problems Rehearsal rooms mask or distort sound, thereby hindering corrective instruction. Students are unable to balance and tune properly, because they cannot hear themselves or others effectively. Acoustical changes when moving from rehearsal room to stage, cause player disorientation.

12. Common Problems Rehearsal rooms that double as lecture halls, auditoriums, cafeterias, gymnasiums, etc. Tall ceilings, intense reverb and delay of sound. Concrete walls and drop-ceilings with inherent “dead spots” and “live spots”

13. Typical Solutions Passive acoustic panels installed on walls Sound-absorbing ceiling panels Floor-to-ceiling curtains Carpeting on walls

14. Problems with Typical Solutions Kills the sound Rooms become too “dead”… no reverb Very difficult to hear the rest of the ensemble Treatments are very expensive and often difficult to maintain

15. RoomTune Acoustics As sound travels in a room, some is reflected back into the room and some is absorbed or transmitted by the material constructing the room. Some of this sound travels across the walls and ceilings, and creates pressure areas at corners and where the ceiling meets wall. This acoustical event is termed Laminar Flow. The Power of Sound

16. RoomTune Acoustics Let us suppose that you took a cup of water and poured it on a table. Some water would splash, but much of it would run along the table. If you turn the table sideways and call it a wall, this is what would happen with the sound waves. The Power of Sound

17. The Acoustical Principle and YOU Mechanical vibration, by playing a musical instrument, creates sound pressure Sound pressure or acoustical energy, travels along the flat surfaces of the room. Acoustical energy is collected at the room’s ceiling and wall seams, creating pressure zones. The Power of Sound

18. The Acoustical Principle and YOU Excess energy builds at these locations, becomes amplified, and is forced back into the room. This causes distortion of the harmonic structure and loss of certain frequencies. The Power of Sound

19. The RoomTune Solution Enhance the Sound

20. The RoomTune Solution Enhance the Sound The Solution is to tune the room. Many modern acoustical applications merely alter the room acoustics. The room itself is an instrument as soon as the first note is sounded. It would seem that just as it is important to tune the instrument it would be even more important to tune the room. RoomTune products do just that, they tune the room! The following slides explain the individual RoomTune products and their application.

21. RoomTune Solution and Sound Enhancement  The Corner Tune  This is placed in the corners of the room.  It slows the travel of energy and provides controlled direction of sound.  The waveforms returning into the room now, are similar in structure to the original sound.  Tonal balance is realized. Corner Tune

22. RoomTune Solution and Sound Enhancement  The Echo Tune  Acoustical energy traveling the ceiling and mid-wall seams builds, creating an “echo” slap effect.  The Echo Tune reduces this pressure zone.  The room becomes less reverberant.  Listening levels become balanced. Echo Tune

23. RoomTune Solution and Sound Enhancement  The TuneStrip  An acoustical event termed Laminar Flow occurs as air pressure travels along the mid-wall portion of the room.  The interaction of old energy and new energy converging, produces further disturbances of the harmonic structure.  TuneStrips prevent this series of sound waves from occurring.  Increases the tonal production of the listening environment. TuneStrip

24. RoomTune Kits for Rehearsal Halls l Place CornerTunes in each corner of the room. l Place EchoTunes centered on each wall at ceiling height. Walls exceeding 32’ must have additional EchoTunes placed at 8’ intervals. l Place TuneStrips into the 45 degree angle of each room corner at equal distance between floor and ceiling. Also place Tunestrips at mid-wall intervals 8’ apart. Tunepak

25. RoomTune Kits for Rehearsal Halls l For tall rooms with ceiling heights above 14 feet, the TuneStrips should be installed as shown.

26. Mini Tunepak Kits for Practice Rooms and offices l The Mini Tunepak is designed specifically for small practice studios, lesson studios and offices. l The products should be installed in a similar fashion as the Tunepak.

27. RoomTune Solution and Sound Enhancement “It is amazing what these products have done for the sound of my band room. Everything from the stereo, to the instruments, to my own voice sounds better. “ Jeremy A. Miller, Director of Bands Heritage Middle School, Middlebury, Indiana

28. Eastman School Of Music “ The acoustical difference is remarkable! A room known for its booming and uneven acoustics has been transformed into a superb multi-purpose space, now effective for a wide range of ensembles, as well as for teaching and lecturing. I am personally astonished at how such a simple and aesthetically appealing addition makes such an amazing difference.” James Undercofler

29. State University of New York Oneonta “What is even more incredible, the ambience of the rehearsal room remains exciting alive and vibrant, rather than being dampened to a lackluster thud that the standard acoustically absorbent materials produce. Plus, the treatments are so simple to install that our custodian was able to do it in less than half a day.” Dr. Robert Barstow

30. Naples Central High School “In the main rehearsal room, I installed (very easily, I might add) the EchoTunes, CornerTunes and TuneStrips. I can now easily identify and place sounds in the room and the whole ensemble sound is much more harmonious. Thank you for an amazing product.” Scott Kickbush, Director of Bands

31. Penfield Central High School “This was truly an educational and “ear-opening” experience. I had not perceived my band room to have especially bad acoustics, but, I knew I was unhappy with what I was able (or unable) to hear. Having experienced the room treated with your products, I am now painfully aware of how the subtle inadequacies of the room in its untreated state, affect rehearsals. Now that I am sensitized to the acoustical problems that plague rehearsal rooms, it is clear that having good acoustics is not a luxury. They are an essential component of a good rehearsal environment. Your products are effective, easy to install and a fraction of the cost of more traditional materials.” Charles Van Buren, Band Director