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.
Although they did not have the advantage of modern computer modeling, historical attempts to correct the problem including adding absorbing ash to clay pots located in the walls and corners. This solution is primarily based on trial and error, with material added and subtracted until the desired clarity is achieved. Other methods included altering support pillars to redirect echo, or using specially cut stone blocks.
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.
Rather than actually eliminating or blocking certain frequencies, they absorb the excess that confuses the ear. Most construction is fairly simple. There is an inner layer of dampening material surrounded by a rigid frame, and the exterior is covered with a variety of decorative materials. Fillings are commonly made of fiberglass, insulating foam, or newer, less environmentally hazardous materials.
Size depends on the amount of correction necessary. Some are relatively small, less than four feet square, while others cover most of a wall space. Regardless of actual dimensions, each allows individual waves to pass through rather than bouncing back, and any recurring waves are simply absorbed. A similar method is used by recording studios.
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.
Although they did not have the advantage of modern computer modeling, historical attempts to correct the problem including adding absorbing ash to clay pots located in the walls and corners. This solution is primarily based on trial and error, with material added and subtracted until the desired clarity is achieved. Other methods included altering support pillars to redirect echo, or using specially cut stone blocks.
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.
Rather than actually eliminating or blocking certain frequencies, they absorb the excess that confuses the ear. Most construction is fairly simple. There is an inner layer of dampening material surrounded by a rigid frame, and the exterior is covered with a variety of decorative materials. Fillings are commonly made of fiberglass, insulating foam, or newer, less environmentally hazardous materials.
Size depends on the amount of correction necessary. Some are relatively small, less than four feet square, while others cover most of a wall space. Regardless of actual dimensions, each allows individual waves to pass through rather than bouncing back, and any recurring waves are simply absorbed. A similar method is used by recording studios.
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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