Architectural Acoustics (Paperback)

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Editorial Reviews

Product Description

Acoustics as a branch of physics involves heavy mathematics, and the practice of architectural acoustics involves knowledge of a broad range of subjects. For these reasons, many people believe that good acoustics are almost impossible to obtain and exist only in concert halls. With a solid understanding of the basics, however, rooms with good acoustics are not as hard to design and build as people might think.

This work describes acoustics and the factors to be considered in constructing a room or building with good sound quality. Among the topics covered are intonation, tuning and temperaments of classical music, environmental noise, noise and vibration control, sound measurement, sound systems, acoustic models, and acoustical design for various settings and purposes, including acoustics for chamber music, synagogues, churches, and classrooms.

The work looks at places like Clemens Theatre, Congress Hall, Binns Rehearsal Room, and Philharmonic Hall, to name just a few, as models of small and large buildings with excellent acoustics. Many diagrams and other illustrations enhance the text.

About the Author

Christopher N. Brooks operates Orpheus Acoustics, a consulting firm for architectural acoustics. He has played violin and viola in numerous symphony orchestras in Europe and America, including the Seville (Spain) Symphony, the Frysk Orkest (Leeuwarden, Netherlands), Harrisburg Symphony Orchestra, and Lancaster Symphony Orchestra. He lives in Lancaster, Pennsylvania.

Product Details

• Paperback: 155 pages
• Publisher: McFarland & Company (November 19, 2002)
• Language: English
• ISBN-10: 0786413980
• ISBN-13: 978-0786413980
• Product Dimensions: 8.8 x 5.9 x 0.4 inches
• Shipping Weight: 8.5 ounces (View shipping rates and policies)
• Average Customer Review: 3.8 out of 5 stars  See all reviews (8 customer reviews)
• Amazon.com Sales Rank: #1,056,621 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

6 of 7 people found the following review helpful:

3.0 out of 5 stars a chatty exposition, for clients of acoustic consultants, November 16, 2005

By	o-namae desu (From: the other side of forty) - See all my reviews

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If you are an acoustic consultant or designer, buy this pleasant little monograph (147 pp.) to give to your commercial clients. But if you really want to learn about the design of halls, you probably want Beranek's "Concert Halls and Opera Houses" instead. If you want graphs, formulas, and construction ideas for recording and listening rooms, spend the same amount of money (amazon net prices) and get "Master Handbook of Acoustics" (615 pp.) instead.

This book adds precious little to the available literature on acoustics or concert hall design. The first 60 pp. is the "technical" portion, which is pretty basic. The remainder is principally anecdotes of successes and failures in the field, which repeats itself, like a series of articles pasted together. A few scenarios are presented which culminate in "rules of thumb," but sometimes no conclusion is given -- maddening to a technician, but of less import to a client. One other possible target audience: If you were hoping they published a "For Dummies"-series book on acoustics, this would be an easy read, only not as organized or thorough as that series.

I would have given it fewer stars, but it has a short bibliography of REAL acoustics books. So I read it thru, and I didn't hate it, but my copy is now up for sale...

2 of 2 people found the following review helpful:

5.0 out of 5 stars Practical Introduction to Acoustics for the Owner, December 2, 2002

By	James E. Mitchell "AEngineer" (Philadelphia, PA United States) - See all my reviews (REAL NAME)

"Reduce background noise". If Chris Brooks had a chance at only three words I'm sure this would be his mantra. He argues, persuasively to this reader, that small to medium size spaces are relatively easy to design for good acoustics, and even easier to ruin by ignoring the background noise necessity.

Of course more is required to design a good space for music or speech than to mutter `reduce background noise' before sending the bill. Chris explains clearly, with virtually none of the mathematics he must use as a working consultant, the issues that an owner or an architect should consider at the beginning of a project. He hopes to convince the building committees of churches, corporations and schools that good acoustics is possible and usually highly beneficial in an `ordinary' project. It's not just for the superb concert hall or cathedral. It's for the meeting room in an office building or the multipurpose room in a community room or school.

When you've completed "Architectural Acoustics" you won't be ready to design your own hall, but you will know why slathering acoustical tile will seldom avoid acoustic problems and why most great listening spaces are long and narrow. You'll be able to make informed decisions about how to direct your limited budget for improving the sound in a building project. Along the way you'll have spent time with a delightful man who understands music as a violinist, speech as a lecturer, and acoustics as an in-the-trenches practitioner.

Disclaimer - Chris is a former student. Although I'm mentioned in the preface I would have written equally kind words about an author I didn't know. He's produced an excellent, quick-to-read overview for a client (or designer) who suspects that acoustics is important but knows little about the subject. He gives you the tools to intelligently discuss with design professionals the many tradeoffs necessary in renovating or creating a fine listening space.

3 of 4 people found the following review helpful:

5.0 out of 5 stars A must-read for architects and those who love music!, January 13, 2003

By	Wanda Loskot - See all my reviews (REAL NAME)

Want to know the difference between proper acoustics for a concert hall and your office? Christopher Brooks takes a subject that would seem to be complex and makes it simple and in language a lay person can understand. There is also included an interesting discussion of many well-known buildings, concert halls, churches, and synagogues, in the world and how they function acoustically. I would highly recommend this to anyone who wants to improve their listening awareness. Because of reading this book I now listen differently and am more acutely aware of surrounding sounds and how they flow, both in and out-of-doors. A must-read for architects and those they build buildings for, as well as musicians and sound engineers.