Music and speech are both improved by a small amount of reverberation, but at higher levels it can make both seem annoying and garbled. The choir and sermon are an integral part of many services, but become meaningless when the congregation is unable to hear singing or distinguish words normally. Acoustic sound panels for churches focus amplified waves and natural vibrations, making them more meaningful and pleasant to listeners.
Although there are European cathedrals famous for their fantastic echoes, a fine dividing line separates noise from distortion. Echoes occur when the vibrations that make waves bounce repeatedly back and forth from hard, reflective surfaces. Some buildings are fortunate to include acoustic considerations in the original plans, but many churches today are housed in structures originally designed for other uses.
Even without the benefit of modern computer analysis, there have been several methods historically used to correct the problem. Some included the addition of ash to clay pots located at strategic points withing a room. They were moved about, and burnt material was added or removed to dampen specific reverberations. Support pillars that dominated some buildings were specifically altered, and stone blocks specially sized to inhibit echo.
Today, solutions range from installing carpeting in strategic areas to using high-tech electronic reverberation systems that create a variety of listening environments. Both are effective, but neither can completely solve echo or muffling problems that are actually a product of the original building design. For many structures, a mixture of methods that also emphasizes special flat baffles creates the best results.
These structures are not used to block or eliminate words or music, but rather to absorb unwanted excess, usually within a single room. Most incorporate the same basic design method, featuring an inner filling made of absorbent material, a frame, and a covering. The filling may consist of various synthetic foams or fiberglass, or may utilize newer, more environmentally friendly substances.
Their size depends the extent of the echo and distortion. Some are as small as four square feet, while others may be nearly wall-sized, and most solutions require combinations. No matter their dimensions, they allow vibrations to pass through the exterior material rather than bouncing off, and any waves that return are re-absorbed. This principle is the same one used by music studios to emphasize accuracy, and can be easily adapted to churches.
Far from appearing to be an industrial or high-tech intrusion, these structures easily blend with most modern church decors. They can mirror the patterns and colors of existing stained glass, or can tie a room together by adopting patterns or colors on existing walls and ceilings. While a plain baffle is not particularly attractive, in many cases they end up looking like a part of the intended interior design.
While it is possible to place these baffles in a hall with acoustic precision using sophisticated microphones and computers, the best method of making a final determination is simply by listening critically. What seems within acceptable range to a machine may not to a human ear. When installed properly, they do not inhibit high frequencies or decrease volume, but instead increase the clarity of both speech and music.
Although there are European cathedrals famous for their fantastic echoes, a fine dividing line separates noise from distortion. Echoes occur when the vibrations that make waves bounce repeatedly back and forth from hard, reflective surfaces. Some buildings are fortunate to include acoustic considerations in the original plans, but many churches today are housed in structures originally designed for other uses.
Even without the benefit of modern computer analysis, there have been several methods historically used to correct the problem. Some included the addition of ash to clay pots located at strategic points withing a room. They were moved about, and burnt material was added or removed to dampen specific reverberations. Support pillars that dominated some buildings were specifically altered, and stone blocks specially sized to inhibit echo.
Today, solutions range from installing carpeting in strategic areas to using high-tech electronic reverberation systems that create a variety of listening environments. Both are effective, but neither can completely solve echo or muffling problems that are actually a product of the original building design. For many structures, a mixture of methods that also emphasizes special flat baffles creates the best results.
These structures are not used to block or eliminate words or music, but rather to absorb unwanted excess, usually within a single room. Most incorporate the same basic design method, featuring an inner filling made of absorbent material, a frame, and a covering. The filling may consist of various synthetic foams or fiberglass, or may utilize newer, more environmentally friendly substances.
Their size depends the extent of the echo and distortion. Some are as small as four square feet, while others may be nearly wall-sized, and most solutions require combinations. No matter their dimensions, they allow vibrations to pass through the exterior material rather than bouncing off, and any waves that return are re-absorbed. This principle is the same one used by music studios to emphasize accuracy, and can be easily adapted to churches.
Far from appearing to be an industrial or high-tech intrusion, these structures easily blend with most modern church decors. They can mirror the patterns and colors of existing stained glass, or can tie a room together by adopting patterns or colors on existing walls and ceilings. While a plain baffle is not particularly attractive, in many cases they end up looking like a part of the intended interior design.
While it is possible to place these baffles in a hall with acoustic precision using sophisticated microphones and computers, the best method of making a final determination is simply by listening critically. What seems within acceptable range to a machine may not to a human ear. When installed properly, they do not inhibit high frequencies or decrease volume, but instead increase the clarity of both speech and music.
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