`
`EXHIBIT 2014
`
`
`
`EXHIBIT 2014EXHIBIT 2014
`
`

`

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`THX Ltd. Exhibit 2014 Page 1
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`GLOSSARY OF SYMBOLS
`
`This list identifies some symbols that are not necessarily defined every time they
`appear in the text.
`
`a
`
`ag
`
`A
`AG
`b
`
`b(9, gb)
`B
`
`BL
`933
`973T
`
`C
`cg
`CF
`C
`
`Cop
`
`cg»
`
`CV
`CV
`
`acceleration; absorption
`C0€ffiCi€I1t
`(dB_ Per
`:1::t:rI;:tei£"if;b1ne
`random-incidence energy
`absorption coefficient
`Sound absorption
`array gain
`loss per bounce; decay
`parameter
`beam pattern
`magnetic field;
`Suseeprarree
`bottom loss
`adiabatic bulk modulus
`isothermal bulk modulus
`
`speed of sound
`group speed
`phase Speed
`electrical capacitance;
`acoustic compliance;
`heat capacity
`heat capacity at constant
`pressure
`
`specific heat at constant
`pressure
`
`heat capacity at constant
`spregifienrfeat at constant
`
`volume
`
`d’
`D
`DI
`D_NL
`DT
`92)
`(3
`E
`Ek
`Ep
`EL
`%
`
`%,
`
`f
`
`fl
`fur fl
`
`F
`
`P;
`
`g
`
`detectabilitv index
`directivity; dipole strength
`directivity index
`detected nolse level
`derecrlon threshold
`diffraction factor
`specific energy
`rerar energy
`kinetic energy
`potential energy
`echo level
`time—aVeraged energy
`density
`instantaneous energy
`density
`
`instantaneous force;
`rrequerrey (HZ)
`resonance frequency
`upper! lower r‘arr'P0Wer
`trequencles
`peak force amplitude;
`frequency (kHz)
`effective force amplitude
`
`spectral density of a
`transient function;
`
`acce era 101’1 o
`
`¢‘¢f,’Fadi€ft1t}
`50‘~1r}d“S§€€d
`aperture functign
`Y
`
`ravi
`
`;
`
`G
`
`conductance
`
`community noise
`CNEL
` d (CPBA)
`d
`detection index
`
`adiabatic shear modulus
`9%
`h s
`H (B, 45)
`directional factor
`
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`H(TK)
`I
`
`Inf
`
`I(t)
`
`11C
`IL
`ISL
`5*
`
`.S5(t)
`
`5,
`k
`I;
`kg
`kw km
`49
`L
`LA
`
`LC
`
`La
`
`La“
`
`L‘.
`
`L“,
`
`L”
`
`LEW
`
`L;,
`
`L1
`
`L N
`L,,
`
`population function
`time—averaged acoustic
`intensity; current,
`effective current
`amP1it11de
`reference acoustic
`intensity
`instantaneous acoustic
`mtenslty
`impact isolation class
`intensity level
`intensity spectrum level
`time—averaged spectral
`density of intensity
`instantaneous spectral
`density of intensity
`impulse
`wave number
`propagation Vector
`Boltzmann's constant
`Coupling Coefficients
`discontinuity distance
`inductance
`A_weighted Sound level
`(dBA)
`C—weighted sound level
`(dBC)
`daytime average Sound
`level (dBA)
`day_night averaged Sound
`level (dBA)
`evening average sound
`level (C13A)
`equivalent continuous
`sound level (dBA)
`
`noise exposure level
`(dBA)
`effective perceived noise
`1eVel
`hourly average sound level
`(dBA)
`intensity level re 1042
`W/m2
`loudness level (phon)
`night average sound level
`(dBA)
`
`LTPN
`
`Lx
`
`LNP
`m
`in,
`M
`
`tone—corrected perceived
`noise 1eVe1
`x—percentile—exceeded
`sound level (dBA, fast)
`noise pollution level (dBA)
`mass
`radiation mass
`aeeuetie inertaneel,
`bending moment;
`molecular Weight;
`acoustic Mach number,
`fl0W MaCh number
`microphone 5en5ifiVitY
`M
`Jl/LEE microphone sensitivity
`level
`reference microphone
`sensitivity
`loudness (sone)
`balanced noise criterion
`Curves
`noise exposure forecast
`Home level
`noise reduction
`noise spectrum level
`acoustic pressure
`peak acpusfic pressure
`amplitude
`effective acoustic pressure
`amP11t“de
`reference effective acoustic
`Pwf
`pressure amplitude
`.
`Privacy rating
`PR
`Prandtl number
`Pr
`PSL
`PTS
`permanent threshold shift
`
`Jl/lmf
`
`N
`NCB
`
`NEF
`NL
`NR
`NSL
`p
`P
`
`Pg
`
`9}’
`9})
`
`q
`
`hydrostatic pressure
`equilibrium hydrostatic
`pressure
`charge; source strength
`density; thermal energy;
`scaled acoustic pressure
`(P/P052)
`quality factor; source
`strength (amplitude 0t
`Vetume Vetec-H3L)
`(continued on back endpapers)
`
`Q
`
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`FUNDAMENTALS OF
`
`ACOUSTICS
`
`Fourth Edition
`
`LAWRENCE E. KIN SLER
`
`Late Professor Emeritus
`Naval Postgraduate School
`
`AUSTIN R. FREY
`
`Late Professor Emeritus
`Naval Postgraduate School
`
`ALAN B. C QPPEN S
`Black Mountain
`
`North Carolina
`
`JAMES V. SANDERS
`
`Associate Professor of Physics
`Naval Postgraduate School
`
`New York
`
`John Wiley Er Sons, Inc.
`Chichester
`Weinheim
`Brisbane
`
`Singapore
`
`Toronto
`
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`With grateful thanks to our wives,
`Linda Miles Coppens and Marilyn Sanders,
`for their unflagging support and gentle patience.
`
`AC EDITOR
`
`Stuartioimson
`
`MARKETING MANAGER
`
`Sue Lyons
`
`PRODUCTION EDITOR
`
`Barbara Russiello
`
`SENIOR DESIGNER
`
`Kevin Murphy
`
`ELECTRONIC ILLUSTRATIONS
`
`Publication Services, Inc.
`
`This book was set in 10/ 12 Palatino by Publication Services, Inc. and printed and bound by Hamilton
`Press. The cover was printed by Hamilton Press.
`
`This book is printed on acid—free paper.
`
`00
`
`Copyright 2000© Iohn Wiley & Sons, Inc. All rights reserved.
`No part of this publication may be reproduced, stored in a retrieval system or transmitted in any
`form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise,
`except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either
`the prior written permission of the Publisher, or authorization through payment of the appropriate
`per—copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (508)
`750-8400, fax (508) 750-4470. Requests to the Publisher for permission should be addressed to the
`Permissions Department, Iohn Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012,
`(212) 850~6011, fax (212) 850~6008, E-mail: PERMREQ@WILEY.COM. To order books or for customer
`service please call (8001-225-D9713.
`
`Library of Congress Cataloging-in—Publication Data:
`Fundamentals of acoustics / Lawrence E. Kinsler. . .[et al.].—4th ed.
`p.cm.
`Includes index.
`
`1. Sound—waves. 2. Sound—Equipment and supplies. 3. Architectural acoustics. I.
`Kinsler, Lawrence E.
`
`534—dc21
`
`QC243 .F86 2000
`ISBN 0-471-84789-5
`Printed in the United States of America
`10 9 8 7 6 5 4 3 2
`
`99-0/19667
`
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`340
`
`CHAPTER 12 ARCI-IITECTURAL ACOUSTICS
`
`Further discussions of these and other formulas for reverberation times are
`available.5
`
`12.5 SOUND ABSORPTION MATERIALS
`
`Table 12.5.1 provides absorptivities and absorptions for various materials. For more
`information, refer to the bulletin ”Performance Data: Architectural—Acoustic Ma-
`
`terials," published annually by the Acoustical and Insulating Materials Associa-
`tion, and to the sources cited in footnote 2.
`
`Sound absorbers important in acoustic design can be loosely classified as (1)
`porous materials, (2) panel absorbers, (3) cavity resonators, and (4) individual
`people and items of furniture.
`
`1. Porous materials, such as acoustic tiles and plasters, mineral wools (fiberglass),
`carpets, and draperies are networks of interconnected pores within which
`viscous losses convert acoustic energy into heat. The absorptivities of such
`materials are strong functions of frequency, being relatively small at the lower
`frequencies and increasing to relatively high values above about 500 Hz. The
`absorptivities increase with increasing material thickness. Low-frequency ab-
`sorption can be increased by mounting the material away from the wall. Painting
`acoustic plasters and tiles will invariably result in a substantial reduction in
`effectiveness.
`
`2. A nonporous panel mounted away from a solid backing vibrates under the
`influence of an incident sound, and the dissipative mechanisms in the panel
`convert some of the incident acoustic energy into heat. Such absorbers (gyp-
`sum sheetrock, plywood, thin wooden paneling, etc.) are quite effective at
`low frequencies. The addition of a porous absorber in the space between the
`panel and the wall will further increase the efficiency of the low-frequency
`absorption.
`
`3. A cavity resonator consists of a confined volume of air connected to the room
`by a narrow opening. It acts like a Helmholtz resonator, absorbing acoustic
`energy most efficiently in a narrow band of frequencies near its resonance.
`These absorbers may be in the form of individual elements, such as concrete
`blocks with slotted cavities. Other forms consist of perforated panels and wood
`lattices spaced away from a solid backing with absorption blankets in between.
`Besides allowing for free architectural expression, these provide useful absorp-
`tion over a wider frequency range than is possible with individual cavity ele-
`ments.
`
`4. Table 12.5.1 also includes the sound absorption per item for clothed people,
`upholstered seats, and wooden furniture. Wooden furniture includes chairs
`with very little upholstery, school desks, and tables (a table providing work
`space for five people counts as five tables). For widely dispersed audiences with
`wooden desks, tables, or chairs (as are found in sparsely filled classrooms and
`many lecture halls), it may be more appropriate to use the absorption per body
`and per article of furniture rather than the audience absorptivity.
`
`“A good starting point is the Encyclopedia of Acoustics, ed. Crocker, Wiley (1997): in particular, the
`chapters by Tohyama (Chap. 77), Kuttruff (Chap. 91), and Bies and Hansen (Chap. 92).
`
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`12.5
`
`SOUND ABSORPTION MATERIALS
`
`341
`
`Table 12.5.1 Representative Sabine absorptivities and absorptions
`
`Description
`
`Occupied audience, orchestra, chorus
`Upholstered seats, cloth-covered, perforated bottoms
`Upholstered seats, leather-covered
`Carpet, heavy on undercarpet
`(1.35 kg /m2 felt or foam rubber)
`Carpet, heavy on concrete
`Acoustic plaster (approximate)
`Acoustic tile on rigid surface
`Acoustic tile, suspended (false ceiling)
`Curtains, 0.48 kg/m2 velour, draped to half area
`Wooden platform with airspace
`Wood paneling, 3/ 8-1 /2 in. over 2-4 in. airspace
`Plywood, 1/4 in. on studs, fiberglass backing
`Wooden walls, Tn.
`Floor, wooden
`Floor, linoleum, flexible tile, on concrete
`Floor, linoleum, flexible tile, on subfloor
`Floor, terrazzo
`Concrete (poured, unpainted)
`Gypsum, 1/2 in. on studs
`Plaster, smooth on lath
`Plaster, smooth on lath on studs
`Plaster, 1 in. damped on concrete block, brick, lath
`Glass, heavy plate
`Glass, windowpane
`Brick, unglazed, no pai.nt
`Brick, smooth plaster finish
`Concrete block, no paint
`Concrete block, painted
`Concrete block, smooth plaster finish
`Concrete block, slotted two-well
`Perforated panel over isolation blanket, 10% open area
`Fiberglass, 1 in. on rigid backing
`Fiberglass, 2 in. on rigid backing
`Fiberglass, 2 i.n. on rigid backing, 1 in. airspace
`Fiberglass, 4 in. on rigid backing
`
`Frequency (Hz)
`
`125
`
`500
`
`250
`5 Z
`
`.
`
`H
`
`1000
`.
`
`.
`
`2000
`
`4000
`
`0.40
`0.20
`0.15
`0.08
`
`0.02
`0.07
`0.10
`0.40
`0.07
`0.40
`0.30
`0.60
`0.171
`0.15
`0.02
`0.02
`0.01
`0.01
`0.30
`0.14
`0.30
`0.14
`0.18
`0.35
`0.03
`0.01
`0.35
`0.10
`0.12
`0.10
`0.20
`0.08
`0.21
`0.35
`0.45
`
`0.55
`0.35
`0.25
`0.25
`
`0.06
`0.17
`0.25
`0.50
`0.30
`0.30
`0.25
`0-30
`0.10
`0.1 1
`0.03
`0.04
`0.01
`0.01
`0.10
`0.10
`0.15
`0.10
`0.06
`0.25
`0.03
`0.02
`0.45
`0.05
`0.09
`0.90
`0.90
`0.25
`0.50
`0.65
`0.90
`
`0.80
`0.55
`0.35
`0.55
`
`0.14
`0.40
`0.55
`0.60
`0.50
`0.20
`0.20
`0.10
`
`0.10
`0.03
`0.05
`0.02
`0.02
`0.05
`0.06
`0.10
`0.07
`0.04
`0.18
`0.03
`0.02
`0.30
`0.06
`0.07
`0.50
`0.90
`0.45
`0.75
`0.80
`0.95
`
`0.95
`0.65
`0.40
`0.70
`
`0.35
`0.55
`0.65
`0.75
`0.75
`0.17
`0.17
`0.09
`
`0.07
`0.03
`0.05
`0.02
`0.02
`0.04
`0.04
`0.05
`0.05
`0.03
`0.12
`0.04
`0.03
`0.30
`0.07
`0.05
`0.45
`0.90
`0.75
`0.90
`0.90
`1.00
`
`0.90
`0.60
`0.35
`0.70
`
`0.60
`0.65
`0.65
`0.70
`0.70
`0.15
`0.15
`0.09
`
`0.06
`0.03
`0.10
`0.02
`0.02
`0.07
`0.04
`0.04
`0.05
`0.02
`0.07
`0.05
`0.04
`0.40
`0.09
`0.05
`0.45
`0.85
`0.75
`0.85
`0.85
`0.95
`
`Sound Absorption A in 1712
`
`0.85
`0.60
`0.35
`0.75
`
`0.65
`0.65
`0.60
`0.60
`0.60
`010
`0.10
`0.09
`
`0.07
`0.02
`0.05
`0.02
`0.02
`0.09
`0.03
`0.05
`0.05
`0.02
`0.04
`0.07
`0.05
`0.25
`0.08
`0.04
`0.40
`0.85
`0.65
`0.80
`0.80
`0.85
`
`Single person or heavily upholstered seat (i0.10 m2)
`Wooden chair, table, furnishing, for one person
`
`0.40
`0.02
`
`0.70
`0.03
`
`0.85
`0.05
`
`0.95
`0.08
`
`0.90
`0.08
`
`0.80
`0.05
`
`Proper choice of the amounts and distributions of these classes of absorbers can
`tailor the behavior of the reverberation time with frequency to obtain almost any
`desired acoustic environment. Since the optimum reverberation time depends on
`the use of the room, it is possible to design multipurpose rooms with sliding or
`rotating panels that expose surfaces of different absorption properties. However,
`artificial reverberation introduced electronically can be a less expensive and more
`flexible solution, especially in large rooms.
`
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`

`342
`
`CHAPTER 12 ARCHITECTURAL ACOUSTICS
`
`12.6 MEASUREMENT OF THE ACOUSTIC OUTPUT
`OF SOUND SOURCES IN LIVE ROOMS
`
`The most accurate methods of measuring the acoustic output of sound sources
`require an anechoic chamber with wa I Is as completely absorptive as possible I his
`is the closest approximation of an unbounded, homogeneous space that can be
`obtained in the laboratory. However, source outputs can be measured with accept-
`able accuracies in reverberant rooms. When the sound energy in such a room is
`completely diffuse, the acoustic power output is given by (12.2.7). If P,(°0) were truly
`uniform throughout the room, one measurement of its magnitude would be suffi—
`cient. When it is not, either a number of measurements can be made and averaged
`or the microphone can be rotated on an arm (over a distance of at least a quarter-
`wavelength) to measure an averaged pressure. The only other unknown parameter
`in (12.2.7) is the total sound absorption A of the room. If the absorptivities of the
`walls of the room are known, A may be computed from the equations presented
`earlier. If not, it may be determined from (12.3.2) by measuring the reverberation
`time T of the room. Combination of (12.2.7) with (12.3.2) to eliminate A yields
`
`11 = 13.9(P3/p0c2)V/T = 9.7 x 10‘5P3V/T
`
`(12.6.1)
`
`(If P, is in p.bar instead of Pa, replace 13.9 with 0.139 and the exponent -5
`with -7.)
`
`12.7 DIRECT AND REVERBERANT SOUND
`
`Whenever a continuous source of sound is present in a room, two sound fields
`are produced. One, the direct sound field, is the direct arrival from the source. The
`other, the reverberant soundfield, is produced by the reflections. The energy density
`
`
`
`
`
`
`
`
`
`ed = (II/c)/47712
`
`(12.7.1)
`
`where r is the radial distance from the effective center of the sound source and
`
`H is the acoustic power output of the source. The energy density %(0o) of the
`reverberant field is obtained from (12.2.7) and the total field is %d + %(0°). The ratio
`of reverberant to direct energy densities is
`
`<@(w)/tad = (r/rd)2
`
`(12.7.2)
`
`where rd = i ,/A / 77 is the distance at which the direct field has fallen to the same
`value as the reverberant field. This equation shows that for locations very close
`to the source (r << rd) the shape or acoustic treatment of the room will have little
`influence on measured sound pressure levels. By contrast, at distances for which
`r >> rd, the sound pressure level will be reduced by 3 dB for each doubling of the
`total sound absorption A.
`For example, a worker near a noisy machine will receive little benefit from
`increasing the total absorption of the room. However, the acoustic exposure
`of other workers at some distance from the machine will be reduced by such
`treatment. As another example, when two people are alone in a quiet room and
`relatively close together, the acoustic characteristics of the surroundings have
`i‘
`=
`;i
`v i“."vi‘3‘i'V“; i’
`ivv=v=
`";'v
`
`
`
`
`
`
`
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