John Lawrence S.

Ting
BS Architecture V
FLUTTER ECHO
1. This type of echo is most easily heard as one claps their hands out in front of
them, while standing in a hallway. The sound "zings" and it's tone depends on
how many times a second the reflection passes by the listener's head. In a
hall 8' wide, the clap will expand out, hit the wall and return 143 times a
second and the zing will sound like a 143 Hz buzzy tone. Not a real sound,
just a pseudo-tone.
BOOMY
2. The condition of sound in a room when the lower frequencies, particularly the
male voice range is excessively reverberant.
REVERBERATION
3. For sound in a large room, reverberation begins at about 1/5 second following
the direct sound. It is due to the accumulation of many reflections,
compounding one upon the other, so much that the sound no longer seems
composed of echoes but rather just a sound of noise, a din of chaos that has
no discrete direction and no discrete timing.
ATTENUATION
4. Absorption, loss; the reduction in strength of a signal in a telecommunications
or sound system with distance from its source.
DIFFRACTION
5. the bending of light or sound waves when they come into close proximity to
an opaque edge effects of light or sound caused by this phenomenon.
LATE REFLECTIONS (ECHOES)
6. A distinct reflection that arrives at the listener later than 1/20th of a second
after the direct sound is heard. The listener can identify from where an echo
comes. An echo does not change the tonal characteristics of the direct sound.
FREQUENCY
7. is the number of cycles of vibrations executed per second. Humans can hear
sounds within the 40 vps to 16,000 vps range.
WAVELENGTH
8. the measure of a length of a physical waveform, measured as the distance
between two adjacent crests.
SOUND TRANSMISSION
9. The passage of sound from one point to another, e.g., from one room in a
building to another, or from the street into a room in the building.
DAMPING
10.The dissipation of energy with time, e.g., the dissipation of energy in a
mechanical system whose free oscillations decrease with time, resulting in a
decrease in its amplitude of vibration.
SOUND
11.-a sensation produced in the ear by rapid waves of pressure in a body of
material, often air or water.
SABINS
12.This sound absorption efficiency of a material is measured in terms of units
known as sabins, in which one sabin means perfect absorption and 0 means
no absorption.
FLANKING TRANSMISSION
13.-The transmission of sound from one room to another by a path other than
directly through the partition which separates the rooms.
RESONANCE

John Lawrence S. Ting

BS Architecture V
14.Is what happens to a body when another vibrating body vibrates and
initiates. The other body to vibrate in harmony with it.
INVERSE SQUARE LAW
15.States that the intensity of sound is inversely proportional to distance from
the source.

STANDING WAVE
16.When the wavelength of a sound is just the same as one of the rooms
dimensions, a standing wave is created.
KERF
17.In a suspended acoustical ceiling, a groove cut into the edges of an acoustical
tile to receive splines or supporting members of the ceiling suspension
system. 2. A slot or cut made in a material such as wood or metal.
PSYCHOACOUSTICS
18.The difference between an early reflection and a late (echo) reflection, is an
example of psychoacoustics. The blending of the early reflections with the
direct sound is another.
MASS LAW
19.-in acoustics, an approximation according to which the acoustic insulation of
a construction increases relative to its mass per unit area.
REFRACTION
20.the change in direction of a wave such as a beam of light as it enters a
medium of different density at an angle.
PHON
21.in acoustics, a unit of perceived loudness equivalent to 1 decibel at a
frequency of 1000 Hz.
OCTAVE
22.in acoustics, the interval of eight notes on the diatonic scale between a
doubling in frequency of sound.
DIFFUSION
23.When the reflections are so large that the sound level becomes uniform
throughout the room. (no acoustical shadow).
PURE TONE
24.Sound waves in which only a single frequency is present; the wave form is
that of a sine wave.
CREEP
25.the physical property of a material to undergo gradual permanent
deformation under continual stress.
FOCUSING EFFECT
26.-in acoustics, the usually undesirable effect of concave walls, domes, vaults
etc. in a space to locally reinforce sound levels by focusing reflected sound to
a point.
MAGNITUDE

John Lawrence S. Ting

BS Architecture V
27.-the property of relative size or extent (whether large or small)
POLARIZATION
28.-light ray striking a polarized glass causes the illumination other horizontal
light rays and allows the vertical rays to penetrate the glass (resulting in soft
lighting)
NOISE
29.-sound in an environment which is made up of all frequencies with no regular
pattern.
COULOMB
30.abb. C; SI unit of electric charge, the quantity of energy transported by a
current of 1 amp in 1 second.
SPEED OF VELOCITY
31.1125 ft/sec at 20F, the velocity increases 1ft/sec for every 10 rise in
temperature (in Fahrenheit)

where:
v = velocity
F = frequency
d = distance of the medium through which the sound travels
DEAD ROOM
32.-A room characterized by an unusually large amount of sound absorption.
REVERBERATION
33.-time in acoustics, the time taken for the sound pressure level to drop below
60 dB after the initial sound has stopped.
DIMMER
34.-A device which varies the light intensity of a light source without appreciably
affecting the spatial distribution of the light; usually an electric control device
that varies the current flow and hence the light output of the lamp.
AIRBORNE SOUND
35.-sound conveyed as pressure waves in air.
LIVE ROOM
36.-A room characterized by an unusually small amount of sound absorption.
SOUND WAVE
37.-a longitudinal pressure wave in air or other media which produces the
sensation of sound in the ear.
ULTRASONICS
38.Sound whose frequency range is above that of human hearing, above 20,000
Hz.
INFRASONICS
39.Sound whose frequency range is below that of human hearing, below 20 Hz.
AUDIOLOGY
40.The science and practice of amplifying or otherwise improving how well a
person hears sound.
ELECTRO-ACOUSTICS
41.-the process of converting sound energy into electrical form or electrical
energy into sound.

John Lawrence S. Ting

BS Architecture V
DECAY
42.-The dying out of sound. Usually referring to the steady decline in the
loudness of the reverberation.
POROSITY
43.-A ratio, usually expressed as a percentage, of the volume of voids in a
material to the total volume of the material, including the voids. The voids
permit gases or liquids to pass through the material.
VISCOSITY
44.-The internal frictional resistance exhibited by a fluid in resisting a force which
tends to cause the liquid to flow.
COVE LIGHTING
45.luminaires concealed behind a cove,directing light against a ceiling to provide
indirect lighting for a space.
DIRECTINDIRECT LIGHTING
46.artificial lighting in which luminaires distribute an approximately equal
amount of the emitted light upwards and downwards, and in which there is
minimal horizontal illumination.
ACCENT LIGHTING
47.Any directional lighting which emphasizes a particular object or draws
attention to a particular area.
LUMINOUS INTENSITY
48.-The luminous flux per unit solid angle in a specific direction from a point
source of light; in practice, an interior source may be considered a point
source if the distance exceeds 5 to 10 times the maximum source dimension
of the luminaire; in US Customary units, expressed in candlepower; in SI units
expressed in candelas.
SKY FACTOR
49.The ratio of the illumination on a horizontal plane at a given point inside a
building due to the light received directly from the sky, to the illumination due
to an unobstructed hemisphere of sky of uniform luminance equal to that of
the visible sky.
LUMINAIRE
50.-A complete lighting unit consisting of one or more lamps, together with
components which are designed to distribute the light, to position and protect
the lamps, and to connect the lamps to the electric power supply; also called
a lighting fixture. 2. The above lighting unit without lamps in it. 3. A device
that projects light on the stage of a theater.