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.
Even without the advantages of computerized modeling, there have been many past attempts to correct this issue. In some churches, absorbent ash was added to pots made of clay, which were then placed near walls and in corners. This trial-and-error method took time, and ash was added or removed as needed. Other ideas included redirecting echoes by altering the interior pillars, or by incorporating grooved 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 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.
Even without the advantages of computerized modeling, there have been many past attempts to correct this issue. In some churches, absorbent ash was added to pots made of clay, which were then placed near walls and in corners. This trial-and-error method took time, and ash was added or removed as needed. Other ideas included redirecting echoes by altering the interior pillars, or by incorporating grooved 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 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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