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.
Some European cathedrals are noted for their lush reverberation, but a very fine line separates a pleasant echo from a noisy, irritating mix of garbled words. Most reverberation is caused by noise bouncing off of hard surfaces such as walls and ceilings. Although there are some buildings that take acoustics into account in their original design, many churches are located in structures that have been re-purposed.
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.
Current solutions range from high-tech reverberation systems that are able to create interchangeable custom acoustic environments, to simply installing thick carpeting in specific areas. These are not ineffective, but neither solves problems of muffling or echo that are a result of the original and unalterable interior building design. For many rooms, the best solution incorporates flat, standing or attached wall panels that inhibit waves.
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.
Dimensions are dictated by the amount of distortion or echo. Some may be as large as an entire wall or ceiling, while others only cover a four square foot area. Regardless of size, each allows waves to pass through rather than bouncing off a hard surface, and any returning echo is re-absorbed. This method uses the same principles as music studios to reproduce vocal and instrumental tones accurately.
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 precisely position or arrange them for the best absorption and diffusive characteristics using computer analysis, most are placed using the expert imaging made possible by the human ear. Once that sweet spot has been found, they are permanently attached. Rather than deadening volume or preventing certain frequencies from being heard, these structures clarify music and speech.
Some European cathedrals are noted for their lush reverberation, but a very fine line separates a pleasant echo from a noisy, irritating mix of garbled words. Most reverberation is caused by noise bouncing off of hard surfaces such as walls and ceilings. Although there are some buildings that take acoustics into account in their original design, many churches are located in structures that have been re-purposed.
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.
Current solutions range from high-tech reverberation systems that are able to create interchangeable custom acoustic environments, to simply installing thick carpeting in specific areas. These are not ineffective, but neither solves problems of muffling or echo that are a result of the original and unalterable interior building design. For many rooms, the best solution incorporates flat, standing or attached wall panels that inhibit waves.
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.
Dimensions are dictated by the amount of distortion or echo. Some may be as large as an entire wall or ceiling, while others only cover a four square foot area. Regardless of size, each allows waves to pass through rather than bouncing off a hard surface, and any returning echo is re-absorbed. This method uses the same principles as music studios to reproduce vocal and instrumental tones accurately.
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 precisely position or arrange them for the best absorption and diffusive characteristics using computer analysis, most are placed using the expert imaging made possible by the human ear. Once that sweet spot has been found, they are permanently attached. Rather than deadening volume or preventing certain frequencies from being heard, these structures clarify music and speech.
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