If you are an event manager, musician or dancer you know how important a room`s acoustics is. If you try and perform in a room with bad acoustics the chances of the audience not hearing you are much higher. How much do you about how to maximize the acoustics of different room shapes? Test yourself by taking the quiz below.
Diffuser
Active trap
Diffusive trap
Helmholtz resonator
Resonant absorber
The brain's ability to eliminate things it doesn't want to hear.
The brain's ability to adjust your hearing both in frequency response and sound pressure level to help protect your hearing mechanism.
The brain's ability to enhance things it doesn't want to hear.
The brain's ability to separate one sound amoungst many.
Nano-Webers
Sabins
MicroFarads
Pascalls
STC
A negative value of absorption co-efficient
An absorption co-efficient greater than 1
A high absorption co-efficient
A low absorption co-efficient
None of the above
Lenghten the reverb time.
Minimize transmission noise
Give an even distribution of room modes
Encourage standing waves
Eliminate the need for amplification
A diffuser
A disperser
An acoustic evener
A decoupler
A concave surface
Room modes
Tuning
Decoupling or floating
Dispersive silencing
Absolution
A reverberation or echo chamber
A totally air tight room
An isolated, reflection-free space
A room used to store tape machines
None of the above
The same as the distance between two surfaces
Half of the distance between two surfaces
One third of distance between two surfaces
One quater of the distance between two surfaces
All of the above
Has a reflective front and absorbtive rear
Has an dead front and a dead rear
Has a reflective front and absorbtive rear with no low frequencies
Has a dead front and live rear with early reflections eliminated
Has a reflective front and rear panel absorbers
Membrane absorber
Helmholtz resonator
Porous absorber
Low mode absorber
Tyner trap
To minimise the transmission of outside airbourne and structural noise into the recording area
To allow heat detention to ensure an even studio temperature
To obtain correct room ratio's for realistic RT 60 time
To allow enough space between outer and inner walls to construct bass traps
To allow for a more natural room mode structure
A negative value of absorption co-efficient
An absorption co-efficient greater than 1
A high absorption co-efficient
A low absorption co-efficient
A sliding absorption co-efficent
Low mid frequency range
High frequency range
Upper-mid range
Free range
A and c
STC
Sabines Co-efficient
Transmission Loss
AES
Mass Law
Isolate our space from structural noise
Maintain a constant reverb time for all audio frequencies
Isolate our space from electrical noise
Provide even distrubution of room modes
Provide a pathway for little people in our studio
Louder
Direct
High Freq
Quieter
Low Freq
The amount of time it takes a reverberant field to decay 20 dB
The amount of time it takes a reverberant field to decay 60 dB
The amount of time it takes a reverberant field to decay 10 dB
The amount of time it takes reverberant field to decay 6 dB
The amount of time it takes reverberant field to decay 12 dB
Axial, Tangential, and Oblique
Axial, Tangential and Transverse
Axial, Oblique, and Transindential
Axial, Tangential, and Obtuse
Axis, Obtuse, Tangential
Panel absorbers
Drapes
Fiberglass
Carpet
Fuzz
Panel absorbers
Concrete
Carpet
Glass
A and D
When reflecting sound waves decrease a sound's amplitude
When reflecting sound waves increase a sound's amplitude
When the frequency of the second sound wave is exactly twice the original sound wave
25 times that of the first mode
When there is excessive bass trapping
The size of the room.
Type of materials used in the interior of the room.
The type of seals used on the door frames.
A and C
A and B
Mass, Density, Space
Mass, Density, Fiberglass
Weight, Density, Space
Mass, mass, and more mass
Absorb low frequencies.
Decouple construction elements.
Absorb high frequencies.
Create low frequency enhancers.
Increase the bass response of the room.
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