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ESTES especialistas por acústica arquitetônica estudam este comportamento do som em recintos fechados ou semiabertos e a transmissão sonora entre recintos fechados. A absorção do som é importante no caso por se estudar este comportamento do som em recintos fechados ou semiabertos, a fim por garantir boa inteligibilidade da fala ou da música.
Silence is golden, or at least pretty expensive. Commercial recording studios cost hundreds of thousands of dollars to build because they must allow absolutely no sound to enter from a usually noisy urban environment.
You can make an amazing contribution to keeping the sound in your studio by filling all cracks and holes, no matter how small or indirect.
Mix and match TriSoft’s® available modules and nodes as building blocks to build faceted straight field layouts scalable to any size space. With a variety of color options, and specially engineered attachment brackets, TriSoft® is designed for maximum impact, flexibility, convenience, and acoustic performance.
The curved lines, designed with perfection nod to the architecture of Brasilia by Niemeyer; furthermore, the concrete modules descend from the Cobogós, which lends its name to the house, created in Recife and diffused by Lucio Costa in delicate references to colonial architecture.
Designed by Roque Frizzo. An icon of Pernambucan architecture, Cobogo, perforated bricks offer northern Brazilian dwellings airiness, conterraneo light and ventilation. Using this as inspiration, Roque Frizzo designed his latest exclusive Saccaro creation; the Cobogo chair. Composed of Canela hardwood with its back lined in conterraneo leather using the same color and texture found in the region, plus the unique conterraneo woven leather element on both side panels.
As I mentioned earlier, low frequency sound can actually resonate a gypsum board wall just as it will website rattle a drum head. When this happens, the bass might seem louder in the next room than it is in the studio!
campana brothers fernando and humberto are brazilian designers whose work incorporates the idea of transformation and reinvention. the duo gives preciousness to poor, mundane or common materials translating them into furniture, installations, interiors or products; while simultaneously expressing their south american roots through color, rich textures and creative chaos resulting in a triumph of simple solutions.
During the past decades several semi-empirical models have been proposed to predict the acoustic impedance of aircraft turbofan liners based on its geometry and operating conditions. Whereas viscous, radiation and backing effects result from analytical solutions, non-linear effects are often based on decoracao curve fitting to experimental data. The problem arises when these equations are applied to different geometries and operating conditions than those used in the click here fiiting procedures since poor agreement between the models can be seen in the literature. Much effort has been made to correct terms which are almost negligible especially when non-linear effects i.
We can break up flat surfaces by hanging website large objects called diffusers. The shapes chosen for diffusers are really a matter of taste and cost. Avoid concave curves, which focus sound instead of dispersing it, but otherwise pyramids, lattices, or computer designed random surfaces all work well.
brick – a staple of Brazilian architecture – takes centre stage in the Campana’s design, forming not only the fixtures and furniture but the flooring, ceiling and an entire wall that stretches from the exterior courtyard right through into the interior.
At this point we were down to two problems: the rising frequency response of the reverberation and the standing wave. We attacked both problems at the same time with some carefully placed absorptive panels. These were made of R-19 fiberglass and measured 2 ft by 6 ft. (They do not need to extend down to the floor because the furniture scatters sound at that level.) Most of this absorption wound up on the walls near the speakers-- this cleaned up the here last of the short delay reflections and resulted in a very clear sound image between the speakers.
After some experimentation, we decided to locate the speakers each side of the window. Since speakers tend to move gypsum as well as air, outside walls are always your first choice if you are concerned with sound control. Incidentally, these are obviously not near field speakers.