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ary practice is to overtreat a digital theatre with thin acoustical panels. But this absorbs too much high-frequency energy, creating an unnatural feel while leaving too much bass hanging around in the room. As a general rule, an auditorium doesn't need to be treated completely with acoustical panels. Although the projection wall should be entirely treated to absorb sound hitting it directly from the screen channels across the room, the sidewalls in most cases can be covered between 50 percent and 75 percent. What's more important with sidewalls is that the absorptive treatment be brought down to below seated ear height—^as close to the finished floor as possible. Also, the projection wall treatment should be thicker than the sidewall's, in order to better absorb the low frequencies that build up at a theatre's rear. If possible, parallel or curved reflective surfaces should be eliminated. Lastly, if the auditorium has an acoustical tile ceiling with a large air plenum above it, one can take advantage of this by turning it into a low-frequency absorber; this can be done by placing fiberglass directly on tap of the ceiling tile. in nature. Therefore, the quality of construcisolation performance; in the middle to higher ranges, isolation is dominated by the kind of composite construction employed, along with how well everything is built. The term used to describe acoustic isolation at any given frequency is called Transmission Loss, or TL. The higher the TL, the better the isolation at that frequency. By plotting all the TL values on a graph and using a curve-fitting method, a single value called Sound Transmission Class, or STC, is derived to describe the Source SPL 7^ *m/i//pw///w/, Demising Partition listening space, lobby, projection room or similar area, a minimum STC 65 is acceptable. The wall tyf)es that fall into these categories typically consist of double studs with multiple layers of drywall or a composite construction of masonry block or concrete with gypsum board on each side. The use of large air cavities between studs also increases low-frequency performance. In many cases, the design of shared corridors around digital theatres can reduce the wall constructions to STC 65. Receive SPL ISOLATION Audiences the past couple of years have enjoyed the tremendous power a digital soundtrack can have if played back at calibrated levels through a properly designed, installed and aligned sound system. It's because of this that acoustic isolation has become one of the most critical issues in theatre construction today—especially for those modem multiplexes and megaplexes that boast many adjacent digital houses. Acoustic isolation is the control of outside noise entering an auditorium as well as the control of sound from that theatre to the outside. Another important fact: Such intrusive noises can be airborne and/or structure-bome Bacl
Measurement of background noise in the field is normally done in octave or third octave frequency bands. Those measurements are In summation, there are close relationships among absorption, isolation and background noise and their effects on the optimum ^ ,, 60 K 50
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