How do you decorate a hall?

I'm an audio engineer by trade, not an official "engineer" per se, by I can tell that sound in general is very complex. Sound involves physics principles, but also involves psychoacoustic anomalies concerning how we as humans perceive sound. What I would suggest is that you contact an accredited Acoustician. They use technical equipment and experience to identify trouble spots, aka, room modes, taking into account room size, texture and construction material, etc...and design a sound controlling scheme that works. Its a science, that IMO, should be left to professionals. Russ Berger Design Group comes to mind. That said, rigid fiberglass boards, e.g. Owens and Corning 703/705 at thicknesses of at least 2" can absorb a great amount of mid to high frequency sound wave energy (converting it to heat). I use 703 and Rockwool in my music studio, as do many others... The implementation of materials, i.e. placement and amount would need to be determined by someone who knows whats what. FWIW, Andrew AfaraWayland

Thank you very much for your detail explain. I know sometimes the audio is hard more processing than vedio, because of it long wave. thats why I hope to know how people out there generally decorate their hall and what absorb sound material is using?

obviously your studio require more aborb for recording, but for hall, its another way, depend on its purpose, perfermance, conference or speech, they have different absorb amount and diffuse for sound

I shall check the shape of the board.

It will generally depend on what kind of freqs you want to absorb, the shape of the hall, and the location of the audio source. Complex stuff that can be figured out most efficiently using DAQ equipment and acoustic simulation software.

wow, your pic is too terrible but its impressed.

yes we can use verious instrument to test, for example noise generator, burst signal etc, but how to select suitable material is a problem. it concern price, quality etc. so i think it s neccessory to exchange idea of how to select material.

Use silk screened fabric of famous paintings stretched over acoustic foam and framed. There are a lot of creative ways to make asthetically pleasing sound absorbers. glenpoland@yahoo.com

You will also want to look into diffusing panels. Depending on what type of music the hall is designed for, you'll want to adjust absorption area and amount of diffusion to acheive optimal reverberation times. For example, there's a hall in Copenhagen that has adjustable walls to optimize for various types of performances. For a serious study, buy a copy of Odeon.

I am an audio, lighting, video engineer and a rigger. I have hung sound and lighting for over 150 fortune 500 companies and at the largest venues in the USA. Disney, Universal Studios, Madison Square Garden, The Super Bowl, to name a few.

We fly truss with theatrical drapes hanging from them... or use telescoping aluminum up-rights with base plates and cross-bars, threaded throught the goods, (if pocketed for such craoss-bars). Most drapes tie on. We sometimes use pipes and wheels mounted to the steel beams and tie off to something heavy, back stage.

My past rigging partner has used fibermesh panels for overhead sound deadening in major venues such as the Energy Dome. They drape between panel points of the super structure, but you need very high ceilings for such accoustical treatments, as they hang low and are very expensive to install.

You can stop slap-back by hanging cloth covered panels, checkerboarded through out the roof truss, also. Using reliable rigging becomes very important and expensive.

Ceiling height is always a concern.

99.9995 of times, we do not use overhead sound baffles.

We usually hang small distributed speakers, agled to the floor, so we can shoot the sound towards the carpeted floor, and therefore alleviate the slap-back. There is also delay incurred between each row of speakers as we get further away from the stage.

We have typical methods of performing these tasks which will amaze you. You will wast many hours trying to develope the systems we use, daily.

You will waste your money with an accoustical engineering firm, in my opnion, unless you are attempting to build a very high quality permanant system. The varous testing is very esoteric. Chances are, I have a team who will beat your cost projections and perform beyond expectation.

We black boxed every manufacturer of speaker and built four configurations of stadium clusters for a test at Disney and the best we could get in central array collusium sound was 1 out of every 11 seats to sound good, no matter what we did to the central array. Keep in mind, we use TEFT and had very expensive microphones every 24 inches. I think the tests cost over $300K.

Quality comes from "distribution" of high grade equiptment and the experiance of the crew. Email me if you would like a consultant. I have worked with the largest entertainment rental corporation in the world for years. We use a variety of speakers and sound re-enforcement tools to meet every requirement and budget.

You get what you pay for with accoustics. Hire a pro who install temporary systems every day of his life, and you won't be sorry.

My associates have installed and designed the audio and rigging systems for Disney China. mattymoto@nym.hush.com

Special purpose hall need huge bedget and wonderful decoration like you dealing with.

I know lots of people use electro audio tech to reduce acoustic processing price, I was told Englishmen do it very good in the world. Many new methods to offset fail of acoustic design.

btw, what is TEFT? Is it MOSFET mic of made in Gernany? or some software can implement FFT?

I agree that modern hall has to take account of audio, lighting and vedio equipments simutaneously and their affection to each other.

In china, we still use some expensive import products for high grade decoration. but as matter of fact, some of them are not very expensive abroad.

I understand the basic materials may be inexpensive, yet the standard and quality of the drapes I am portending are very thick and as such; are costly to provide.

They are designed to be fire retardant, acoustically effective, light diffusing and have strong ties to hold the extensive weight of the goods. The fabric is designed for years of temporary re-use; assuming you may have a show again some day.

Generally, we do not buy what we can rent from within the group, so others are afforded the cost sharing of maintenance and storage. It makes for a nice economic structure, over time.

You can use burlap bags, if that's all you have; but we are drifting away from quality at an accelerated speed, aren't we? Guess what happens if there is a fire?

Same with lighting... sure you can use inexpensive fixtures; but you may pay a very high price, in the end should a guest kick a light and a fire result.

Yes the world class British firms are very expensive and quite thorough. I'll be happy to contact the gentlemen and ladies I work with from Tate Towers for you. I work with them all the time. Your show will be world class and you may be able contract Sting, Aerosmith or Madonna, to show up for the gig. (They probably won't show up, unless you contract such a production firm, as they usually have standards for the quality of the stage, with no exceptions.)

Quality is rarely "cheap" but can be made affordable. I suggest you stick with quality if you are planning a major event. I would plan on saving money where labor is concerned. I'm sure you have a distinct advantage, in that regard.

I think you'll find; "It is much easier to lower your standards than to raise them".

Again, should you require a consultant and like a referral to one of the several quality companies who can handle any event, world wide; let me know.

Moto

Thank you very much at the same.

I can manage it, I want to find and share experience with the people out there. Everyone may has more better methods to do it. I think I can learn more from them.

if you can show me more useful bbs abou it, that will be more helpful to my visit.

I designed/built a sound stage lo these many years ago. We employed acoustics engineers to design out the ambient sound; and when the stage was completed, were left with a lovely space; but the die-away time on the sound within it was close to three seconds! Ouch! One of the engineers gave us the following tip, which worked.

Choosing the largest reflective wall surfaces, we began by putting up corner curtains (to have them be generally out of the way) and large cloth hangings. These had the effect of reducing the wall's effectiveness in reflecting the sound back into the room as the sound went through it on the way to the wall, and then again on the way back. The idea was not, of course, to kill all sound, just to reduce it to a liveable attenuation time--in our case around 0.3 seconds, as I recall. No special backings were used on the hangings and curtains. The curtains were only about 14' high and none of the hangings was bigger than about 8' X 8'. We just kept putting them up until the acoustics were acceptable to us, which was surprisingly soon. I think we only put up maybe half a dozen of these reflection inhibitors before we were completely satisfied. One of them was a scrim curtain which had the additional benefit of allowing more special visual effects in the room.

Mark

Yes I have to agree in this instance size and shape will be the deciding factors on how you remodel the space.

I also agree that while absorption of mid and high freqs will help with ambience/RT 60 time, diffuse implemented in along with absorption may help even more. But, again, this is why you hand over issues like this to the professionals. Note, controlling room modes and low frequency sounds is more difficult than controlling mid and high frequency sounds.

low frequency about lower than 150Hz will be the main object to process. most of time colored tones ar e them.

most of people use helmholtz resonance method to reduce it by installing a cavum plate, which can reduce fee.