Software*Engineering I Research I Developmen

EASE Training - Level 1

Class Agenda
Start Time End Time Duration Module
9:00 AM - 10:45 AM 1,:45 lntroduction & Overview
Closs Objectives
I ntrod ucti on of Pa rtici p a nts
Tronsfer closs files ond explain content
Naming o project, Projects4O folder ond subfolders
Bosic Program Settings, Defoult: Units, Paths
EASE 4lntroduction
10:45 AM - 11:00 AM O:15 Mornino Break
11:00 AM - 11:30 AM 0:30 History ond bockground of EASE
Basic progrom modules ond generolsettings

11:30 AM - 12:30 PM 1:00 Build an EASE Model: Stadium (Arena)

Prototypes
Add materials, chonge loudspeokers
Properties (F9), Room Dato (F4)

12:30 PM - 1:30 PM 1:00 Lunch Break

1:30 PM - 2:1"5 PM 0:45 Key Acoustic Principles
G,
Reverberotion, Speech Transmission lndex 6
Noise

2:15 PM - 3:30 PM 1:15 Build an EASE Model: Meeting Room

jD Shopes
Voriotions of o Model
View RT
Sabine, Evrinq
3:30 PM - 3:45 PM O:15 Afternoon Break
Colculote o Schroeder RT
Optimize RT

4:15 PM - 4:30 PM 0:15 Auralizations: Meeting Room

Meet¡ng Room Aurolizot¡ons PPT (with listening)
4:30 PM - 5:30 PM 1:00 Build an EASE Model on your Own (Assembly Room)
Potential Couses of Holes ond Remedies
Use Architecturol Drowi ngs
Common ModelProblems

AFlvlG Sen¡ie es No¡th Amer,r¡ Lt"a. E7 l 7 Humboidt Avenue f.lotlh Tel +l (763)a$3,5§35 Ema¡l info@afmg u§
Brool..l",n Park. Ml'¡ 554.¡4 u 5A Éax +l (763i4S3-23111 q,/eb r,'¡r'¡w afrnq us
 Software*Engineering I Research I Developmen

EASE Training - Level 1

Class Agenda
Start Time End Time Duration Module
9:00 AM - 9:30 AM 0:30 Discuss and Review
Modeling Setbacks

9:30 AM - 10:45 AM L:15 Finish an EASE Model on your Own (Assembly Room)

1O:45 AM - 11:00 AM 0:15 Morníns Break

11:00 AM - 11:15 AM 0:15 Unpack a Project

11:15 AM - 12:30 PM L:1"5 Loudspeakers & Other Sources

Overview of GLL Modeled Loudspeokers
Loudspeoker Formats in EASE
SpeakerBose
Bolloons
Speoker Coses

12:30 PM - 1:30 PM 1:00 Lunch Break

1":30 PM - 2:15 PM 0:45 Adding Loudspeakers: Assembly Room
N
Position
f§
Aiming Angles ond Convention 6
SPL Conventions (New with v4.3)
Power Settings ond Alternotives

2:15 PM - 3:30 PM 1:15 Mapping and Analysis: Assembly Room

Add audience oreos
Add listener seats
Areo layout

3:30 PM - 3:45 PM O:15 Afternoon Breok

3:45 PM - 5:30 PM 1,:45 Mapping
2D vs 3D
2D or Areo mapping
3D or Room mapping
Results
AURA Mopping
Calculotion Settings

.á.F$'lC SpF,,ices l.joÉth A.merir.i LLa 87 1 7 Hur¡tr*idt Avenue l.¡úñh Tel +1 i763)493 5835 Emarl info@afmg u:;
groüklvn Parl-i, ¡,litl 554q4 L, SA fax + 1 (763) aS?-231 3 WÉb ro,rww afmq us
 Software*Engineering I Research I Developmen

EASE Training - Level 1

Class Agenda
Start Time End Time Duration Module
9:00 AM - 9:45 AM 0:45 Auralization of Direct Sound from Standard Mapping
Probe with Direct Sound
Usinq Aurolizations to Check Echoes
9:45 AM - 10:30 AM 0:45 Build a Complex Room: 2-Tier Stadium
Stodium Prototype
Combine Projects

10:30 AM - L0:45 AM 0:15 Advanced Editine Techniques

10:45 AM - 11:00 AM 0:15 Mornina Break
L1:00 AM - 11:45 AM 0:45 Objects
Tables
Meeting Room

12:30 PM - 1:30 PM 1:00 Lunch Break: SvsTune

1:30 PM - 2:15 PM 0:45 lmport / Export Functions
Using AutoCAD ond SketchUp
Getting lnformation from Drowings
(n
3D Polylines ond 3D Foces
G,
6
2:15 PM - 3:00 PM 0:45 Ray Tracing: Assembly Room
Create Objects of Reflectors
Turn ond Move Reflectors
3:00 PM - 3:30 PM 0:30 EASE Roy Trocing
Roy Trocing on Selected Foces
Order, Lenqth, ond Number of Rays
3:30 PM - 3:45 PM 0:15 Afternoon Breok
3:45 PM - 4:15 PM 0:30 lmpulse Response
Roy Tracing Movie

4:15 PM - 5:00 PM 0:45 Vision

Lomps
Rendering

5:00 PM - 5:30 PM 0:30 Questions and Answers

GenerolQ& A

AFMG Service:, l"jodt] Amerlr;r LLC 87 l 7 Hum i:oldt A,r,enue North Tel +1 i763) ¡¡9:-5'*35 Emarl rnfo@afmg u§
Broüklvn Pnrk, Mll 554,t4 USA flex +l {763){S3-2313 W¿b Hrdw áfrftq us
 Software-Engineering I Research I Developmen

EASE Training - Level 2

Class Agenda
Start Time End Time Duration Module
9:00 AM - 10:15 AM 1:15 lntroduction & Overview
Closs Objectives
Modeling of Elements for Roy Trocing

10:15 AM - 10:45 AM 0:30 Scattering: Shevlin

Scattering Wizord

10:45 AM - 11:00 AM 0:15 Mornino Break

11:00 AM - 12:15 PM 1:15 Ray Tracing lmpacts: Assembly Room
Ray Trocing Movie
Conce pts o nd Li m itotio ns
Cut-off Settings
12:15 PM - 12:30 PM 0:L5 Probe
Analysis in Probe

12:30 PM - 1:30 PM 1:00 Lunch Break: SoundFlow and Reflex

1:30 PM - 3:00 PM L:30 AURA Mapping / AURA Response
<f
AURA Mapping vs. EASE Mopping
(§
Lock RT ó
AU RA Ca I cu I oti on Setti n g s
AURA Mapping
AURA Response

3:00 PM - 3:30 PM 0:30 Aura Response: Assembly Room

Usinq Obiects to Adiust Levels, Deloys, ond Tilt
3:30 PM - 3:45 PM 0:15 Afternoon Break
3:45 PM - 4:15 PM AURA Response vs EASE Roy Trocing
Hybrid Method

4:15 PM - 5:00 PM 0:45 G LL Modeled Loudspeakers

Loudspeoker formats in EASE
Shortcomings of other Methods
Advontoges of the GLL Solution

5:00 PM - 5:30 PM 0:30 Loudspeaker Clusters vs. Arrays

Colculation Settinqs

AFM{i Sen*ie es l-larth Amer¡r;: LLC 87 l7 Hurntroldt Avenue i,lurth Tel + 1 i7S3) 49il-5835 Email ¡nfo@afmg us
Brookli¡rr Park, l'di".¡ 554.¡4 LtSÁ F¿x +l (783)4S3-?313 \¡'VEb. ur,tw afmq us
 Software-Engineering I Research I Developmen

EASE Training - Level 2

Class Agenda
Start Time End Time Duration Module
9:00 AM - 9:15 AM 0:L5 ntroduction to Auralization
I

9:15 AM - 10:45 AM L:30 AURA for Auralization

AURA vs. Clossicol Roy Tracing lmpocts
Echograms vs. Reflectograms
Settings

10:45 AM - 11:00 AM 0:15 Mornino Break

11:00 AM - 11:45 AM 0:45 Auralization Theory and Procedure
Binourol Hearing and HRTF
EARS

11:45 AM - 12:30 PM 0:45 Acoustical Analysis of an EASE Model: Stafford

Room Acoustics
Consultant Report

12:30 PM -
1:30 PM 1:00 Lunch Break: EASERA
tt
1:30 PM - 3:00 PM 1:30 Questlons and Answers
G
End of Level 2 6
GeneralQ& A
Closs Feedback

3:00 PM - 3:30 PM 0:30 Comparing Modeled and Measured Results: Shevlin

Tuning o Modelto Meosurements
Exporting to EASERA ond Comporing Results

3:30 PM - 3:45 PM O:15 Afternoon Break

3:45 PM - 4:30 PM 0:45 Other modeling tools
lmpulse Response ond Convolution

4:30 PM - 5:00 PM 0:30 Bad model

Selection of Materiols

5:00 PM - 5:30 PM 0:30 Sound System Analysis: Beverly School

Mono / Stereo

llFlüri SPr'itef, It¡ofih Amer:[;r LLí] 871 7 Hum holdt Avenue l.lorth Tel + 1 (763) ¿193,5835 Emai! info@afmg us
ÉrÉrlkl',/n Pirk, l,fll 55444 USA f¡r +l i76:i)493-2313 Wetr u.rrwur afrnq us
 lnstructors
ls the founding member of Olson Sound Design LLC, a consulting firm started in 1991
specializing in acoustical and technical systems design for Performing Arts Centers,
Recording Studios, and Houses of Worship. Prior to this, he worked for 13 years in audio,
video and acoustical systems design, installation, testing, and project management for AVC
Systems, a systems contractor in Minneapolis, MN. After over 20 years of involvement with
AFMG Technologies, he founded AFMG Services North America LLC in 2014 to support
clients in North America. Mr. Olson provides advanced training as well as customer support
worldwide for manufacturers, acoustical consultants, and audio contractors for the
EASE/AURA/EARS design software and the EASERA/SysTune measurement software. As the
Chairman of the Audio Engineering Society Standards Committee (AESSC), and having
served as the Chairman of the AES Working Group on Grounding and EMC Practices (SC-05-05), Vice-Chairman of
the AES Technical Committee for EMC (AESTC-EMC), Governor of the AES, President of his local ASA chapter,
Chairman of his local AES chapter, and member of various otherAES standards groups, Bruce is actively involved in
the latest technology in audio and acoustics. Mr. Olson continues as an active musician and is a member of the Ria
Saxophone Quintet and the Bend in the River Big Band. He is a member of AES, ASA, IEEE, SMPTE, Syn-Aud-Con,
and has been an invited speaker for sessions, workshops, classes and seminars for the AES, AlA, ASA, lnfoComm,
NAMM, NSCA, Syn-Aud-Con, and USITT.

Ana Jaramillo is an acoustical consultant w¡th Olson Sound Design LLC and also works for
AFMG Services North America LLC providing assistance with customer support and
advanced training worldwide for manufacturers, acoustical consultants, and audio
contractors for the EASE/AURA/EARS design software and the EASERA/SysTune
measurement software. Prior to this, she worked full time as a university professor and
researcher at Corporación Colegiatura Colombiana and lnstituto Tecnológico Metropolitano
in Medellín, Colombia, and during that time she also worked as an acoustical consultant for
projects ranging from auditoriums and classrooms to night life venues. Ana majored in
Architecture at the National University of Colombia and continued to specialize in
Architectural Acoustics at the Rensselaer Polytechnic lnstitute where she received an MS degree. She also holds a
doctoral degree in Architecture + Design Research from Virginia Tech where she investigated the relationship
between mechanical noise and student achievement and was invited to join the honor society of Phi Kappa Phi.
She has authored the books "Acústica: La Ciencia del Sonido" and "PocketArchitecture: Architectural Acoustics". In
2012 she received the Robert Bradford Newman Medal for contributions to architectural acoustics and in 2013 she
received the Outstanding Doctoral Student recogn¡tion from the College of Architecture and Urban Studies at
Virginia Tech. Ms. Jaramillo has participated in international choir festivals and is currently a member of the Edina
Chorale, as well as a member of their governing board. She is a member of AES, ASA, SBSE, BTES, Syn-Aud-Con, and
has been a contributing and invited presenter at national and international conferences such as lCA, ASA,
lnternoise, AES, ARCC and SBSE.
 Software-Engineering I Research I Development

Some lmportant and Useful 'F' Kev Commands

Function Kevs

F2 - CHANGE WALL MATERIAL

SHIFT + F2 - GHANGE REAR MATERIAL

F3 - SELECT AND HIGHLIGHT ALL FACES HAVING

SAME WALL MATERIAL AS ORIG¡NALLY SELEGTED
FAGE

SHIFT + F3 - SELEGT AND HIGHLIGHT ALL FACES

HAVING SAME REAR MATER¡AL AS ORIGINALLY
SELECTED FACE

F4 - ITEM PROPERTIES
F5 - CHEGK DATA

F6 - CHEGK AND APPLY PROJECT DATA & SAVE

F7 - OPEN OPTIONS DIALOG to GRID SETTINGS
F8 - (DEIACTTVATE ¡TEMS
CTR!. + F8 - DEACTIVATE ALL ITEMS

F9 - OPEN OPTIONS DIALOG

AFMG Technologies GmbH Arkonastra8e 45-49 Tel: +49 (0)30 I 4670 92 -30 Email: [email protected]
1 31 89 Berlin Germany Fax: +49 (0)30 I 46 70 92 - 20 Web: www.afmg.eu
EASE Training Pr¡nted: July 14,2016
 F11 -ZOOM lN

F12 -ZOOM OUT

CTRL + F - OPEN ''FIND ITEM'' SCREEN

GTRL + F2 - CHANGE FACE COLOR

CTRL + SHIFT + F2 - CHANGE REAR COLOR

GTRL + F3 _ CHANGE WALL MATERIAL OF ALL

FACES HAVING SAME WALL MATERIAL AS
ORIGINALLY SELECTED FAGE

GTRL + SHIFT + F3 - GHANGE REAR MATERIAL OF

ALL FAGES HAV¡NG SAME REAR MATERIAL AS
ORIGINALLY SELECTED FACE

GTRL + Fl 2 - DELETE ALL STACKED VERTICES

(l normally select from Tools menu)

CTRL + SHIFT + F12 - DELETE ALL UNATTACHED

VERTICES
(l normally select from Tools menu)

Some lmportant and Useful 'F' Key Commands Page 2 of 3

 Mouse Buttons

LEFT MOUSE BUTTON -

NORMALLY USED TO PICK OR SELECT AN ¡TEM

RIGHT MOUSE BUTTON -

OPENS MOUSE MENU FOR ITEM SELECTED
(Easy way to get to ROOM DATA from Project Edit
Screen)

Module Selection

GTRL + ALT + E - SWITCH TO EDIT PROJECT

MODULE

CTRL + ALT + M - SWITCH TO AREA MAPPING

MODULE

CTRL + ALT + R - SWITCH TO ROOM MAPPING

MODULE

CTRL + ALT + T - SWITGH TO RAY TRACING

MODULE

Help Manual

Available as a PDF file called Ease44Help.

Look in the Ease44Manual folder located at

C :lP rog ram F i I es (x86)lAF M GIEAS E 4.4tEasep athl.
THIS IS A 7OO PAGE DOCUMENT!

Some lmportant and Useful 'F'Key Commands Page 3 of 3

¡
 Software-Engineering I Research I Development

Polar Goordinates in EASE 4

Duplicating or Displacing using Polar Coordinaúes

DI§TANCE

+Y
I 900
VERTICAL
ANGLE
+ up - down

.Y

HORIZONTAL
ANGLE

; cl EA§: .¡.0 / ¡/Jt,,ü[ I ]: *: 5§ PN / U:x\Étsdy o, Kór]§a§ Eob k$Éñ

r
.nffi

Displace by [ft]

Éartesian:
HORIZONTAL
t: :'d,oi,
- ..
-ENTER
vERrrcAL ANGLES
y: j0.00 l!¡ef:. TZi {.-AND
z'. ;ono- diet: O-ÓT.
+._ ENTER DISTANCE
. ALONG POLAR LINE
17 Ke¿¡ Hpeated

t-'r--l Earrcel

AFMG Technologies GmbH ArkonastraRe 45-49 Tel. +49 (0)30 I 46 70 92 - 30 Ema¡l: [email protected]
13189 Berlin Germany Fax +49 (0)30 I 46 70 92 - 20 Web: www.afmg.eu
EASE Tra¡ning Printed: July 14,2016
o

n
L'
 Powerinq Loudspeakers in EASE

"Powering" Convention / lnput Signal Type

This is found in the Edit P§ect module of EASE (Edit > Room Data, Settings tab)
ln EASE 4.3 a new input signal convention was adopted. This takes the summed power in each 1/3 octave band
into account and gives a warning for SPK files when the total maximum input power is exceeded. lt is not possible
to exceed the maximum input with a GLL file.

Prior to EASE 4.3 a "multi-tone" signalwas assumed. Basically this allowed the maximum input power of the
loudspeaker to be set for all 113 octave bands. When summed together this exceeded the total maximum input
power of the loudspeaker.
SPK Data Files
Either the "power" can be set or the desired SPL at 1 m can
be set for each band.
The frequency response with the current settings
is shown in red.

ffi¡
Loudspeake¡ Label:

ffi
Mirror lmage:
7.943 105.
12.ffi 105.
11.22 105.
Group Label:
6.166 0s.00
r

4.É77 105.00
lmage Gloup: 6.166 r05.00
7.079 105.00
I
5.248 105.00
Point of Flelerence: Angles: 3.467 105.00
2.393 105.00
x: Jnn.._ m hor, fn--"..'* 2.818 105.ft0
y: ,0n0 m Yef : ,0n 2.235 105.00
3.388 105.00
z: 100 m rot: f¡ 3.0s1 105.00
?.754 105.00
Cdor: Ü -; 1.SS5 '105.00
Alignment [usecl : ñ.-000
4.266 105.0ú
3.9S1 105.
Delay [msec] , ,0-00ü
125 258 50ú 1ú00 2000

Speaker Model :

SH{o -l
00U0 H¿ SPL : '14.04
i7 Sha¡ dB Cov- Cone
¡l
-
Sho+u lmage dB Cov. Cone

Bá {r:*"* ,!t }

The frequency response with total input

of "1 W" is shown in brown.

Maximum total input "power" and total input "power" with the current settings

The maximum SPL in a single band if the total "power" is allocated

to a single band is shown in blue (this is not a frequency response curve).
GLL Data Files
Before the GLL engine actually calculates the response of the GLL, EASE does not know anything about the
sensitivity or maximum input voltage of the GLL. Therefore, neither the sensitivity, frequency response, nor the
maximum input can be displayed

The desired attenuation from the maximum output SPL can be set in SPL column. This is the only place in
EASE that the level of a GLL can be turned down.

jeinÉ- _
j 17 Visible F lmage vi

Loudspeaker Label: sPt_ DLL / GLL Setup

iCLL F'b lnsert Filter

Mirol lmage: *.19_dq i _4lltegsi ',,t-***--*---

_! -dq i Eretl¡ql i

6rrup Label :
:t4F i
Cut Off [Hz]: ífOB
-tq@i "1,{"qÍ i lnsert i ¿¿¿ l
lmage Eroup:

i
-6.00 SPL f1m)
-6.00
Point d Feference: Angles : Max
-6.00
x: ffi*"* m hor, [ñ- -6.00

v: jú.00 m vef: !0.ú -6.00

,, f,ññ** m rst: fo
* -6.00
-8.00
.6.00
-6.00

Alisnmer* hsec¡ , ;i.ññl- 4000 -6.00

5000 -8.00
0elay fmsecJ: :0.000 6fito -6.00
-
Speaker Model: -6.00 -60
Min

ffi*-_j -6.00

Graph
125 500 1000 2000 4008 80fE Hz

All To Sel. Sel. To ![ax ',!i

Eursol: SPL: -
il
i7
Show dB Cov. Cone
Show lmage dE Eov. Cone
Load File :
l
Scale: Full I -' n-rll-éit-"nr"-h:

6 áltq
The attenuation level as a function of frequency is shown in red.
r-r
&u--i
 Software-Engineering I Research I Development

Compare EASE Evac to EASE Junior

Extensive databases
Loudspeaker and Wall Material
é
Complete set of 3D modeling tools #
Complete set of 2D modeling tools {s ffi
Auto-arrange fu nction for ceiling-mou nted
sources I
lmport and Export
DXF and SKP drawing files @ a
lmage files
EASE 3D modelfiles &
Reverberation Times
Eyring and Sabine
g
Standard Mappings
Based on Eyring or Sabine Reverberation Times:

Direct SPL, STl, ClS, %Alcons, Total SPL, S/N

Ratio
ü

Direct SPL, STl, %AlCons, RaSTl, Pressure Level,

Clarity Ratios, Total SPL, D/R Ratio, Critical *
Distance, Arrival Times, Loudspeaker Overlap,
ITD (lnitial Time Delay) Gap, LoudspeakerAiming
Mapping on Room Surfaces íE. Walls only @,
Printable report document including all results
and drawing details *
Speaker Base, SpeakerLab and Material Base
Entry and creation of Loudspeaker and Wall I
Material data
Ray Tracing capabilities @
Ray Tracing Movie module #

AFMG Technologies GmbH ArkonastraRe 45-49 Tel: +49 (0)30 / 46 70 92 - 30 Email: ¡[email protected]
13'189 Berl¡n Germany Fax: +49 (0)30 / 46 70 92 - 20 Web: www.afmg.eu
EASE Train¡ng Printed: July 14,2016
 Software-Engineering I Research I Development

Gonstructing a model with EASE 4

Different Room Modeling Techniques in EASE

rhere are rive o'*"' the rirst two in this tutoriar
"' "

i-::i:i :.I;:r [I]iT',fu:'

. lmport a project from an AutoCAD DXF or SketchUp SKP file.
o lmport a project from EASE2.1 or CADP2.

Because EASE *",l.iHI;jlT' J"*;T::::::.""idins the method to use is an important decision.

You need to know how you are going to proceed before you start.
1. The Prototype method uses prototype rooms that can be easily resized
and othenrise modified. lf your room is similar to one of the prototypes,
this method is a great time saver.
2. EASE also has the ability to create a number of complex shapes, such as
domes, cylinders, and pyramids. lf your room has curved surfaces or
includes columns, you'll want to consider using Create Shapes as a
means of reducing the modeling time.
3. There are a number of lmport routines available to allow the use of
AutoCAD drawings in DXF format, SketchUp drawings in SKP format,
ASCII formatted files from older versions of EASE and other modeling
programs.
4. And, last but not least, the room can be built Vertex by Vertex and Face
by Face until it is completed using X, Y, and Z coordinates.

Your choice will depend upon how close one of the prototypes is to the new room and on how detailed a model is
needed. The coordinate method is always available for use in modifying the rooms no matter which method is
used to begin the process. Examples of the use of Create Shapes in constructing complex rooms can be found in
the Users Manualon pages 78 to 100.

Create a project from "scratch"

Naming a project
To begin a new project open EASE and select the File pull down menu in the EASEMain menu bar and
choose New Project (Shortcut key: Ctrl-N). You can also double-click on the Create Empty Project icon in
the Create Project folder under Start Working in the tree view on the left of the EASE main window. Next,
fill in the name of the Hall in the first text box. This will automatically create a new folder under the EASE
default Projects40 path. (You can also use the Browse button to select the correct location for this folder.)
We will create a folder called "Example Project". Then, fill in the EASE project name in the text box for the
Project File Name. Let's use "3D Model" for the name of the project.

AFMG Technologies GmbH ArkonastraBe 45-49 Tel: +49 (0)30 I 46 70 92 - 30 Email: [email protected]
13189 Berlin Germany Fax: +49 (0)30 I 46 70 92 - 20 Web: www.afmg.eu
EASE Training Printed: July 14,2016
 Hall : iExample Proiecl

Project Path : BryT: J

"

ProjectFile Name: ijD Mü;t'

Default Data Folders

Type of File : Desctiption

Mapping File - ff.emp) ^
:OpenGL File - fl.egl)
;Trace File - f.trc)
ilmpact File - f.mpc)
iResponse File - ff.rsp)
iBinaural lmpulse Response - ff.b
;Viewer Location File - f.eye) Beginner Advanced
:Packed Projea- fl.ppj)
,

iGLTexture Map - f.etx)

iUser Defined RT- ff.exr)
rUser Defined Filter- f.exf) Defaullto folder:
Y
,User Defined Noise - f.exn) .:j Add ,

Create
I

l
--*__-"._**i

A number of folders will be automatically created when needed in the folder you have just selected for the
typical result files that are generated by EASE. You can see where these locations are by selecting the
Type of File in the list under Default Data Folders.
As soon as you have approved the project options by pressing Create, you will be asked if you want to
create this Project Path if it does not exist. Select OK to approve the action.

L Prolect Fath dces not existi fr ).ou vdant to create it?

Now open the File pull down menu again and select Save Project. At this point, you have created a
project name, but there is no data associated with it. Save Project creates a file for the project and saves
it to the Project Path folder chosen above.

The construction of a model takes place in the Edit Project window. To open the Edit Project window go
to the Edit pull down menu in EASEMain and select Project Data or select Room Edit in the tree on the
left, then double-click on Modify Data as shown below.

Constructing a modelw¡th EASE 4 Page 2 of 9

 Fle Edlt Vrew Cakubtions tMndo¡¿ Hdp
BBtr ry#ffiffi$',,ó Ef,E lff ÉÉ §#mb?

EASE 4.3
Ü StartWorking
J Example Prolect
i-3 Project Desktop
- rrffiff
il EditTables
Ll Aiming and Orientation
:-l Standard View
iJ Architeclural View
+ ll Mapping
j-'-l Room Acoustics
- RayTracing and Minor lmages
iJ Prolecl Database
il Probe
i-l Auralisation
L-l Tools
j Main Database

This will open a blank Edit Project window. lt is important to note that any work done on a project under
the Edit Project program module will not be saved unless it is saved in the Main program. This is where
the FO key command comes into play. lt Applies (sends) the data to the EASEMain window and saves it
directly from the Edit Project window. You can also save the project directly from the EASEMain window
itself.
Right click on the blank screen to open the Mouse Menu. Select Room Data to open the Edit Room Data
window and select the Data tab.

Constructing a model with EASE 4 Page 3 of 9

 Room Geometry

Volume [mf : ,Y Room open

Effeclive Surface [m]: :v Room symmetric

SymmetryAxis atx =
Total Surface [m]: -'-
I o.oo
Mean free path length :

Mean free palh üme :

Remarks

*1nry *t [- "--l .TTl_ i

Notice that the Hall name has already been entered for you. Additional information about this project can
be entered Into the Remarks area below. The Hall name would normally be the same as the project
name. However, it doesn't have to be.
Next, make sure the Room Open and Room Symmetric boxes are checked. Room modeling is normally
done with the Room Open, since when the Room is closed, the program routinely checks for Holes,
missing Faces, Non-Planar Faces, etc. whenever you exit the program. This generates numerous Error
Messages (Error - Hole between P9 - P10, for example) as the room is obviously not complete and has
many Holes. The way to prevent most of these messages is to do the modeling in the Open Room mode
and then close the Room after it is complete by removing the check mark in this window at that time. ln
the Open Room mode, the program checks mainly for Non-Planar Faces (Faces that are not flat).
When the symmetrical mode is on during room modeling, EASE will automatically add mirror image
Vertices, Edges, Faces, Loudspeakers, Audience Areas, Listener Seats, lR Emitters, Lamps and Objects.
This cuts the modeling time in half, as you only have to model one side of the room; EASE puts in the
other side for you. Click OK to approve the changes.

Constructing a model with EASE 4 Page 4 of 9

Create project using a built-in prototype

Using Prototype Rooms

EASE provides a library of generic room prototypes and facilities for quickly modifying them into close
approximations of actual rooms. You can see pictures of these prototypes as icons in the Create Project
folder under Start Working in the tree view on the left of the EASE main window.

Fk Edt \rmd CEkuhtbn§ Windarg FleF

BBtr Rii#ifftÉ#,,b És i$¡ ÉÉ §ÉEt)p

,= I
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Create Project

J EASE 4.3
- - Startworking
ü DesktoP
Jffiffi
l-1 Open Proiec*§
ry#
Create Empty Project Amphitheaüe
ffi
Auditory
tu
Basilica

- iJ Example Pro.iect
Ü Project Desktop
¡, ü Room Edit
ü Aming and Orientation
.l Standard View
ü ArchiteauralView
ffi
Church
tu
Church (A)
@
Colosseum
#
Gothic Dome
*: ü Mapping
3 Room Acoustics
. ü RqyTra"ing and Minor lmages

ii
LI
L-l ftobe
ProjectDatabase

Auralisation
Ü Tools
L-l Main Database
ffi
Multipurpose
ffi
Octagon
sOpera
@
Redoubt

Using Prototype Rooms

Choose one of these, for instance Theatre, double-click on it and it will open the EASE 4.0 Proiect
Options window that was discussed above. After pressing Create and then approving the new path, it will
then open with the Prototype and the dimensional table. Now you can enter your room dimensions in this
table and click OK. The Theatre will now have these current dimensions. To save this new Theatre you
just have go to the Main window and save it with Save Proiect.
Drawings of the 31 different Prototype rooms from EASE are shown in the Users Manual on pages 103 to
107. These prototypes are also available in the Edif Project windowand can be selected from the lnsert
pull down menu using Load Prototypes. This will open the Load Protofype window, including the
dimensional table and the corresponding outline will be shown in the Edit Project window. Selecting
Theatre and pressing the Assem ble Room button will show a new table and display the outline drawing of
the room.

Constructing a model witlz EASE 4 Page 5 of 9

 Íli-.t';-* ---;: Assembre aoo, j

_ - *,."._.,.__--_ _--_._-_-.-_l

800
20.00
3.00
3.00

3.00
800
20 00
6.00
6.00

OK

3D Perspective

Note that selecting one of the dimension boxes, such as Balcony front height, highlights that item in the
drawing. Notice that at any time during this process you can view on the screen any change you have
made by pressing the Apply button. When you have completed the changes and are satisfied with the
results, press the OK button to accept the setup parameters. This will change the prototype drawing into a
working EASE drawing complete with Vertices, walls, etc.
The standard material for prototype Faces is ABSORBER. With that in mind, pick any Face and then hit
the Ctrl + F3 key command to open the Change all Faces menu. Change the material on all Faces to
PNTDBRICK, the material used on all four walls. (You will need to add these materials by selecting the
Browse button in the Se/ectWall Materials window. See below.) Now pick the stage floor, press F2 and
change the material into PLYWD 1/2; then select the main floor areas of the seating area and change it
the same way to PLYWD 1/2. All that remains is to change the roof to WOOD GRID4 and we're done in a
couple of minutes or less.

Constructing a modelwith EASE 4 Page 6 of 9

 Loading Wall Materials (Speaker Models, Textures, Light Sources, or lR
Modulators and Radiators)
The next step could be to load some absorption data for the surfaces of the room. EASE uses what it
calls Wall Materials to store this absorption data in the project. To do this, choose Se/ecf Proiect
Database > Se/ecf Wall Materials from the Edrt pull down menu. This will open the window shown below
and give you the opportunity to choose the acoustical materials you think you may want to use in this
project. Use conventionalWindows browsing techniques to locate the desired wall material files.

j --3c:[WNDOWSXP]
Generic. Gypsum Board. 0.625 in thh 2 Layers. I6 inch
:;§Users
Generic. Gypsum Board. 0.625 inch thk 16 inch OC.
;_§Public Generic. Gypsum Board. 12.5mm thk on 3 cm Air
.;§Documenls Generic. Gypsum Board. 12.5mm thk on 65 cm Air
EASE40Data Generic. Gypsum Board. 9.5mm thk on 5 cm Air
Generic. Gysum Eoard. 0.5 inch thk 16 inch OC. 2x4
Generic. People. in Fully Covered Seats. per Person
Generic. People. in Upolstered Seats. per Square
Generic. People. in Wooden Pews or Seats. per S
Generic. People. in Wooden Seats. per Person
Generic. People. Standing. per Person

inch thk, 16 inch OC, 2x4 \¡üood Studs.

Generic. Hardboard. 0.125 inch. 2 inch Airspace.r

Generic. Marble.mat
Generic. Masonite. 0.5 inch thk mtd on 1 inch Airs
Show Path

Pick out the acoustical materials you want to evaluate for use in this project and then load them into the
project by selecting them in the listing and then clicking on Add.
ln a similar way sources for sound can be added to the room. EASE uses what it calls Speaker Models
to store these sound sources in the project. To do this, choose Se/ecf Project Database > Se/ecf Speaker
Models from the Edrt pull down menu. This will open the window shown below and give you the
opportunity to choose the sources you think you may want to use in this project. Use conventional
Windows browsing techniques to locate the desired speaker model files.
For predicting the acoustical behavior of a room model there are some special speaker models that are
useful besides the loudspeakers. As shown below, in the Human folder in the G/obal Speakers40 folder
you will find the data for male and female talkers with data for the four common vocal effort levels for
each of them.

Constructing a modelwith EASE 4 Page 7 of 9

 You can follow the same procedure for Textures, Light Sources, and lR Modulators or Radiators; choose
what you want in the shown window and load it into the project base.
Notice that the Wall Materials and Speaker Models databases (and all the other databases, too) are
stored outside the EASE program. ln EASE 4, everything is stored in a master database outside
the program and "pointers" are used to find the correct files in the master database.
Once you have added wall materials or speaker models to the project they can be selected for use as an
acoustical surface or sound source using a window that is opened from the properties window for the
appropriate item.
Any of these wall materials can be selected for use for a specific surface using the Se/ecf Wall Material
window shown below when opened from the Face properties window. Notice that there is also a default
ABSORBER material that can be used to represent an open window, that is, no sound at all is reflected
back from the surface.

Constructing a modelwith EASE 4 Page B of 9

 Ifil sut*.t $a11 ,\laterial
--i
li
i
I

Absorpüon Coeficient of
Gypsum Board, 0,625 in thk 2 Layers. 1 6 inr
'l 1.0
Gypsum Board, 0,625 inch thk 6 inch OC, 2
rGeneric Gypsum Board, 1 2,5mm lhk on 3 m Air 0.8
:Genaric. Gypsum Board, 1 ¿smm thk on 65 cm Air
0.5
:GeneriÉ. Gypsum Board 9.5mm ük on 5 cm Air
lcener¡c. Gysum Board. 0.5 inú thk 1 6 indl OC. 2x{ \ 0.4
rGeneric. People. in FulV Covered Seats. peI Persor 0.2
¡Generic. People, ¡n Upolslered SeaE. peI Square Fr
rcaneric People. in Wooden Pffis or Seals. per Sqt 0.0
lGeneric People, in Woodsn Seats, per Person 8000 Hz
lGener¡c People. Standing, per Pereon
Scattering Coefficient of
rGeneric. People. Sludents. ¡n TabletArm Chails
1.0

0.8

0.6

0.4

0.2

0.0
8000 Hz

_El9!:: * j i-'Fullview li (< uetilts il

ABSOREER

Ok Canel

This window also shows a quick overview of the absorption and scattering properties of each material as
it is selected in the list.
Any of these speaker models can be selected for use for a specific source using the Se/ecf Speaker
Modelwindow shown below when opened from the Speaker properties window. Notice that there is also
a default SPHERE loudspeaker that can be used as an ¡deal omni-directional source for calculating the
measures in the ISO 3382 standard on room acoustics.

il -;- Muimum SPL of SPHERE

FEM NoRM r1 15.0
FEMRAISED
il¡AN N0RM 'll¡.0
IüAN RAISED ,111.0
I
1 09_0
'I
07.0

1 05.0
r "-----"*---
125 8000 Hz
:-
;dBdB Direclivity lndex of SPHERE
5.0

3.0

1.0

-'1.0
-3.0

-5.0
125

Broree : Fullview li.--t-to'é'trll'§"-j1

SPHERE SPHERE (SPK)
LOUOSPEAKER lnc.
Symmetrical:Yes

Ok Cmel

This window also shows a qu¡ck overview of the directivity and max¡mum SPL properties of each
loudspeaker as it is selected in the list.

Constructing a modelwith EASE 4 Page 9 of 9

 Software-Engineering I Research I Development

Model Buildins usins a Prototvpe

53.0
1
30.5

AFMG Technologies GmbH ArkonastraBe 45-49 Tel: +49 (0)30 I 46 70 92 - 30 Email: ¡[email protected]
13189 Berlin Germany Fax: +49 (0)30 I 46 70 92 - 20 Web: www.afmg.eu
EASE Train¡ng Printed: July 14,2016
 1: g * , !,lq aaF * ir+ Eá t+ ¡ ':.'¡: 'i¿l

Figure 3: Top level of Stadium

Figure 4: Bottom level of Stadium

Model Building using a Prototype Page2 oÍ 2

o

o
 Software-Engineering I Research I Development

Model Buildins: Meetinq Room

tsoMETRtc vlEvtt

Please construct an EASE model of the Meeting Room illustrated above. Make a material data base

using the materials indicated by Cases L through 5 below. Assign materials to the model for each
Case and using EASE determine the reverberation time for each Case in L/3 octave frequency
bands using the Sabine equation. Please create pdf files of L/3 octave frequency band
reverberation time graphs for each Case to keep for your records.

Materials from Common Materials are used for this model. Refer to the hard copy of Common
Materials Codes for codes and corresponding material descriptions. The document Common
Materials Codes can also found on your flash drive in pdf format.

AFMG Technologies GmbH ArkonastraRe 45-49 Tel: +49 (0)30 I 46 70 92 - 30 Email: ¡[email protected]
13'189 Berlin Germany Fax: +49 (0)s0 I 46 70 92 - 20 Web: www.afmg.eu
EASE Train¡ng Printed: July 14,20'16
Meeting Room interior materials will be as follows:
Case 1
Walls and ceiling 1- layer 5/8" GWB
Floor Concrete

Case 2
Walls and ceiling 1 layer 5/8" GWB
Floor Thin carpet

Case 3
Walls 1 layer 5/8" GWB
Ceiling Lay-in sound absorbing ceiling board
Floor Thin carpet

Case 4
Wall panels 10'tallon two adj. walls 2" sound absorbing wall material
Wall area above and below wall panels L layer 5/8" GWB
Center ceiling (coffered) area 1 layer 5/8" GWB
Perimeter of ceiling Lay-in sound absorbing ceiling board
Audience floor area (46' long) Occupied hard chairs
Remaining floor area Thin carpet

Case 5
Wall panels 10'tall on two adj. walls 2" sound absorbing wall material
Wall area above and below wall panels 1 layer 5/8" GWB
Center ceiling (coffered) area L layer 5/8" GWB
Perimeter of ceiling Lay-in sound absorbing ceiling board
Floor Thin carpet

Model Building: Meeting Room Page2 of 2

 Software-Engineering I Research I Development

Mirrorinq Multiple ltems

MIRRORING MULTIPLE LOUDSPEAKERS OR OTHER ITEMS ACROSS THE Y AXIS (X = 0 POINT) OR
OTHER AXIS:

First, it should be noted that the default mirroring axis is the y axis (across x = 0). The mirroring axis can be
changed by selecting 'Options [F9]' in the 'Edit Project'window and then by selecting the 'Mirror'tab. Click the
'Change Axis'button to open the'Symmetry Axis'window and choose the desired axis of symmetry. Note that
the Mirror function is only available in asymmetrical models. Make sure that the 'Auto Mirror lnsertion' box is not
checked (lf you have this option), but also note that you can automatically mirror selected items by placing checks
in the 'Auto Mirror ltem After' section of this window after placing a check in the 'Auto Mirror Insertion' box.

Objects are used to mirror several items such as loudspeakers at one time. Proceed as follows:

Select'ltem' from the 'Edit Project' window menu and then select'Objects' if there is no check next to it in the
menu (so that you will be able to "see" the object "handle" (symbol).

Make sure nothing is selected in the 'Edit Project' window, then press the 'F8' key and click OK when asked if
you want to 'Deactivate Al! ltems'. This will make sure that there are no activated items of which you are not
aware.

Click on one of the loudspeakers or other items that you want to mirror to select it. Press the 'F8' key to 'Activate'
this item. Repeat for all loudspeakers or other items to be mirrored.

Select'lnsert' from the 'Edit Project'window, then select'Create Object'. ln the 'Greate Object' window that
appears answer Yes to the question 'Assign Active ltems to New Object'.

The'Edit Object'window will appear. So that you will be able to "see" the object "handle", select the'Axis'tab.
Under'Point of Origin' select 'Average'. Please note that there are many other ways to locate the "handle" and
its orientation, but this will normally work for the mirroring task. Press OK to close the window.

With the object selected (yellow), click the right mouse button and select the 'Mirror' menu item.

This should complete the mirror task for the multiple items and the desired items should appear on the opposite
side of the axis across which they are to be mirrored. However, in the case of loudspeakers, you may wish to
rename the mirrored loudspeakers. To do this select the loudspeaker to be renamed and press the 'F4' key. ln the
'Edit Loudspeaker'window change the loudspeaker name in the 'Loudspeaker Label' box.

AFMG Technologies GmbH ArkonastraBe 45-49 Tel: +49 (0)30 I 46 70 92 - 30 Email: [email protected]
'13189 Berlin Germany Fax: +49 (0)30 I 46 70 92 - 20 Web: www.afmg.eu
EASE Training Printed: July 14,2016
 Software-Engineering I Research I Development

Greatinq a Circular Surface

As an example of the process or creating a circular surface, let's assume that you have a
basically rectangular room (like a meeting room) with a concave rear wall that is a portion of a
cylinder. Please refer to the following wire frame model of Figure 1 with dimensions shown ín
feet and without the circular rear wall indicated.

REAR WALL
\
\ t\
I
I
r' 40.0

l\.
,
I

1
I |-"
I

t
-:

L- k--
1

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18.0
1
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48.0
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1 60.0
-"-

Figure 1: Wire Frame Room Model (Without Concave Rear Wall Indicated)
The concave rear wall (a portion of a cylinder) has a chord of 8.0 feet. That is, it is 8.0 feet from
the plane of the rear wall as shown by the model of Figure 1 to the concave (circular) rear wall.
First, it needs to be recognized that EASE cannot create a truly circular surface. Any curved
surface must consist of some number of plane faces. The greater the number of plane faces
used to simulate the curved surface the better the resolution of the model in regard to ray
tracing, etc. However, it is generally satisfactory to use some reasonable number of plane faces.
ln this case L2 plane faces will be used.

The process of creating this concave rear wall which is a portion of a cylinder involves creating a
circular array of vertices, at the room floor with these vertices beginning at one side wall and
ending at the opposite side wall, creating a face at the floor elevation using this circular vertex

AFMG Technologies GmbH ArkonastraBe 45-49 Tel ta9 (0)30 t 4670 92 -30 Email: [email protected]
13189 Berl¡n Germany Fax: +49 (0)30 I 46 70 92 - 20 Web: www.afmg.eu
EASE Train¡ng Pr¡nted: July 14,2016
 array, and then extruding the face to the ceiling height. Please note that the details of this
process will vary depending on the particular room, but the process will remain substantially the
same.

This particular simple room model is asymmetrical, the side wall on the -x side of the model is
not parallel to the opposite wall and is not parallel to the y axis. Thus, symmetry has been
removed. lt is generally easier to create a cylindrical surface when the model symmetry has
been removed even though the model may be symmetrical.

The next step is to create the circular array of vertices as follows:

On the model edit page and in the lnsert drop down menu select Circular Array and then
Vertíces.

Click on the model vertex at one end of the circular wall location, and in this case, at the
floorlevelz=0.

Then pull the cursor away from this vertex as shown by Figure 2.

r,& f¡ ÉeA \++.¡' :,:lr; §:É.. I :¡: 1:-JTl'

f
'¡ ri r ÉLf; , ';i:. . < b¿A.r,
x.'é t--.i' {. h¡,'b|r:! j iI T7A?::;;

CLICK ON VERTEX AND

PULL CURSOR AWAY
E
J
¿;

1l
f.i
I
\ I
i

-*- i
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i

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j

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'-\/ t'..1
I
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L
Figure 2: Click on Vertex at Beginning of Cylindrical Surface
Do a left mouse click and the lnsert Circular Array window will appear.

Or alternatively, click twice with the left mouse button on the beginning vertex or anywhere
on the edit screen. Move the cursor into the lnsert Circular Array window and do not move
the cursor out of the window until all data is entered as shown by Figure 3. ln this case
please note that the Point On Arc (center of circular array) is not at x = 0 because of the

Creating a Circular Surtace Page2 of 4

 asymmetry of the model. Normally the easiest Point On Arc to identify will be the center
point of the circular array which in this case is at x = -4.

§tartnE Fomt {Itl Arc D¿ta ütl

)r. y ¿.
: -- ¿nde:
-t- I Badx¡s tiñ ;l:71-'-
Í,"tr,ll .bu uu u uu
*;íá t:- l4O

Centrd Pont :

. =l-{gll8 --: x -{ffi v .zg0o ¿ 000

Point 0nArc [ft] lnsárl

v". y: ¿: Figure 3: Insert Circular Array
: aa a:-- VertexArray
.4 -t--.8 il UU
Window with Data Entered
L{a¡ !nor.rl. ; for this Example
Items to 6sert 12
En$ng Potnl fftl
f:
iiáon
- y:i¿rroñ - 2:in o¡ Nr 'l

-.,|-sll-levl-,,:

l-- ot-l ca¡rcet

Pushing the OK button inserts the circular array of vertíces as defined in the lnsert Circular
Array window. Refer to Figure 4.

¡¡ g;it \'+;r^1 :'::!: ;!*.*. f S: "r'?':i'

r ..tr,:srr:,(. -:-^ <'J¿¡¡.!
t l.l ri'a,j-r;i ;lat:f;

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j

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\,F

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IIF ---
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Figure 4: Circular Array of Vertices Added to Form Circular Rear Wall

Creating a Circular Surtace Page 3 of 4

 Delete the original rear wall face. This could have been accomplished before the circular array of
vertices was added.

Create a face using the circular array of vertices and the two original vertices adjoining the side
walls. Then extrude this face with a z displacement of 18.0 feet. The result is shown by Figure 5.

Figure 5: Rear circular wall complete

Due to the extrusion process a face as been added at the location of the original rear wall face.
Also there are probably stacked vertices at the upper corners of the circular wall since the
extrusion process added corner vertices and such vertices were existing forming the corners of
the side walls and the ceiling. Select and delete the face at the location of the original rear wall,
and use the Tools menu or do a Control- F12 to delete stacked vertices.

Make sure that the circular rear wall faces are properly oriented.

Do an F6 to check and save data. The rear circular wall has been added properly if an error
message is not displayed.

Creating a Circular Surtace Page 4 of 4

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 n

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 Software-Engineering I Research I Development

Creatinq and Manipulatinq an Obiect

Activate the items that you wish to include in the object... For example, the faces of a 3D shape created within a
model.

Items, in this case faces, may be selected by one of the following methods...

Click on 'Mouse' in the main menu. Select 'Activate ltems' from the drop down menu. Using the left
mouse, draw a rectangle around the 3D shape. This will activate all of the faces touched by the rectangle.
Some faces that should not be activated will probably be placed in the activated mode. Using the right
mouse, draw a rectangle that intersects the items that should not be activated. This will deactivate the
intersected items. lt may be necessary to draw more than one rectangle with the right mouse.
Click on 'Mouse' in the main menu. Select'Activate Mode'from the drop down menu. Select the,faces
one at a time and after each selection press and release the right mouse button.
Select the faces one at a time and press 'F8' after each selection.
Select the faces one at a time, click the right mouse button, and select'Activate' in the menu that appears.
Select'lnsert'from the'Edit Project'window, then select'Create Object'. ln the'Greate Object'window that
appears answer Yes to the question 'Assign Active ltems to New Object'. The'Edit Object'window will
appear.

Every object has a Point-of-Origin and an Aiming Axis. This is selected in the 'Axis' tab of the 'Edit
Object'window. The Point-of-Origin can be an average location on or within the object, a main item
that you have previously selected, a user defined item which may be selected after the object is
created, or a user defined location. Normally a user defined item or location is desired.

To choose a user defined item, move the 'Edit Object'window if necessary so that you can see the
object in your model. Select the item that will be the user defined item...for example a vertex. ln the
'Edit Object'window select the 'Main ltem' radio button. Then in the model select the item to be the
Point-of-Origin. Click on the 'Picked ltem' button in the 'Main ltem' portion of the 'Edit Object'
window and the coordinates of the user defined location will appear. Click 'Apply' and the object
aiming axis will be at the chosen location.

ln order to position the object in the model you may wish to change the orientation of the Aiming
Axis. The default is 0' horizontal, vertical, and rotation. Enter the desired angles to change the
Aiming Axis orientation. For example, 0o hor, 90' ver, and 0" rotation will position the Aiming Axis
straight up in the Z axis direction. -90" ver will position the Aiming Axis straight down in the Z
direction.

The object label can be changed as desired in the 'Edit Obiecf window by modifying the text in the
'Label'box.
Under the 'Edif tab sucfr things as the colors, face materials, etc. can be changed for everything in
the o§ect.

Click OK to leae üE'Edit Obiect' window and to apply your selections.

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To reposition the object in the model, select the object, do a right mouse click, and select'Move'.
The 'Move Obiect'window will appear. This window allows yoú to move the object and to aim the object in
relation to its Aiming Axis. You can move the object in selected steps by using the arrows, or you can specify a
location to which the object is to be moved and/or a change in the aiming of the object and complete these moves
by selecting the "pointing finger". The object can also be rotated by selecting the'+'and '-' rotation buttons.

Objects can be displaced, duplicated, mirrored, etc. just like vertices, faces, etc.

Objects can also be saved and then reintroduced in any model. Do a right click after the object has been selected
and click on 'Save As'. By default the object is saved in the Archive folder, but it can be saved in any location.

To insert a saved object click on 'lnsert' in the main menu and then click on 'Object' in the drop down menu.
*.frd file) and select it. An 'lnsert Coordinates'window will appear and the location
Locate the object (it will be an
for the object Point-of-Origin can be specified.

lf you don't wish to have the object Point-of-Origin and Aiming Axis visible in your model and if you have finished
manipulating the object, you can delete the object while retaining the items contained in the object in the model
(no longer designated as an object). Select the object, press the'Delete' key, click 'OK', and then answer'No' to
the question'Delete All lncluded Items?'.

Creating and Manipulating an Object Page2 of 2

o

ry*x
L.--i
 Software-Engineering I Research I Development

DXF lmport & Export

Basic lnformation and Tutorials

INITIAL AA'ALYS'S AND ACTIONS THAT CAN MAKE THE TASK IESS
DIFFICULT
Analyze the Available AutoCAD Drawings
What drawings are available: Plans, sections, 3D Models?
lf 2d drawings are available evaluate whether plan or section is better starting place. lf using a plan or
section, decide which one is going to be the EASE base and which one is to be used for other dimensions.
Turn off any layers that you don't want imported into EASE.
lf using a 3D Model, determine if surfaces or solids are used. lf solids are used either explode them or use
the 3DStudio export method. Turn off any layers that you don't want imported into EASE. Once the model
is all surfaces, save the model as a .dxf file in preparation for importing into EASE.
After opening EASE, import the .dxf into EASE using EASEIMEX and the correct settings (see tutorial).
Manipulate the room orientation as needed to place the axis as desired for potential speaker placement.
Check the resulting file and tweak any EASEIMEX settings.

Tutorials Using Provided Ease and AutoCAD Files

2D Floor Plan lmport (Spooner Hall, us¡ng floor plan outline...
1. Turn off all layers except those you are going to be working with.
2. lf there is an existing outline, make sure that this is the only thing
visible in the file. lf not, make an outline using the pline command
and snapping to the correct points.
3. Save this file as a separate .dwg file if you want a separate copy.
4. Save this file as a .dxf file for importing (again, verify that all
unnecessary layers are turned off.)
5. Within EASE Main window open EASEIMEX lmporUExport from
File.
6. From Tools, select lmport .dxf, and select appropriate file.
7. Select appropriate settings (suggest Vertex Snap Distance=0,
Unit=lnches, and Scaling Factor=.0254, everything else Default)
8. Save file.
L Open file as normalfrom within EASE, and check data.
10. Reorient Room as Necessary (Step 10 can be done prior to EASE
lmport by aligning room plan to 0,0,0 origin in AutoCAD with desired
orientation before you save the final .dxf file)

Notes: floorplan.dxf - Ready for use in EASEIMEX

To be used in IMEX effectively need to have either 1) Simple lines constructed using end snap (allends are
touching); or 2) Created using Polyline (easy way off assuring #1). Turn off all unnecessary (won't be used
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EASE Training Printed: July 14,2016
 in EASE) layers Save as a .dxf File format (tell AutoCAD NO when you go to close and it wants to save it
back to a .dwg file, you really saved it as a .dxf because you meant too! ROOM REORIENTATION (either
in AutoCAD or in EASE)

2D Section lmport (Lecture Hall Section)

LectureRoom EASE.dxf - Remember to turn off all layers and save as a .dxf file Different approach in
EASE, similar AutoCAD preparation

3D lmport-lllustration (Spooner Hall .dxf)

Spooner2.dxf-Base FileSPOONERvia3DSTUlDO.dxf-Ready for use in EASEIMEX for lllustration:
spooner3Dstud iotestl .frd

3D lmport-Exercise (Bono Box)

(Begin with 2 Step 1.dwg)
Nofe: fhese instructions assu/ne a model that is constructed as 3D So/idg if you happen to be working with
a 3D surtace model (when you click on a line just a face r's se/ecfed not a whole Solid), skip step 2.
1. Turn off all layers except those you are going to be working with.
2. Explode Object (type explode, you will be prompted to select
objects, type all, press enter or space bar) (equivalent to 2 Step
2.dwg)
3. Delete unnecessary faces (those on Outside of object or in instance
of absorption those which are away from wall and side bars. (2 Step
3.dwg)
4. You should now be left with a very EASE-esque model, being
3Dimensional, but having only 2 dimensions to each wall, and with
any absorption or penetrations being represented by a shape on
that wall.
5. Decide whether you are going to use 3D Studio or Explode for final
stage

3D S Max Exp ortlltnp ort Meth o d

1s lf you use 3DS Max Export, go to File, then Export, select
Autodesk FBX (*.fbx) from the list, then type the chosen name
into the File name and press Save.
2s CAD will prompt you to select objects. Type allor manually
select all and press Enter, space bar
3s Select OK, leaving Layer, Auto-Smoothing, and Auto-Welding
Selected.
4s Open a New AutoCAD file.
5s Go to lnsert and select Autodesk FBX (..fbx) from the list.
6s Select your file and insert
7s Save this as a .dxf file (you may want to check Units... under
Format, to ensure that it is in lnches and Architectural)

Exylode Method
1x Type explode or click on explode icon
2x Type all, or select all manually, then press enter or space bar
3x Check that all that were faces are now composed of lines.
4x Save file as .dxf

6. Start EASE, and from File select lmporUExport

7. Go to Tools and select .dxf format
8. From here follow directions for typical IMEX lmporUExport

DXF lmport & Export Page2 of 4

 Notes:
lf using 3DS Max export, you NEED FACES! Therefore only explode
until you have faces, not until you have lines!
For a simple 3D model with only 1 Face Ply (i.e. nothing exists which will
be modeled as 2-Ply, Coat of...), use of 3DS Max makes sense, since it
pufs faces in automatically. For anything e/se fhr.s does not make sense,
because this method resulfs in triangular faces which EASE cannot deal
with for multiple ply's (due to the fact that a face will be a coat of 2
different faces if it overlaps both).
For a model where you don't mind inserting the faces yourself, the
EXPLODE method makes more sense, since you end up with all the
vertexes in the EASE space, all you have to do is insert faces, no
calcul ating coord i n ates!
ADVANCED
It is possible to use EXPLODE and .dxf to send actual faces to
EASEIMEX instead of just vertexes. This is similar to the result of using
3DStudio; however, different options must be used. For an example of a
model that was done with no AutoCAD manipulation except Layer on/off
manipulation and 2 explode commands, see 2 notext2explode.frd [as in
box 2, no text turned on, and 2 explodes ol

Export of EASE into CAD us¡ng .dxf format

1. Open File
2. Ensure that no speakers are loaded in EASE File (using EASE Edit
Project Function)
3. From EASE Main Module go to File, and lmporUExport
4. At the EASEIMEX module you may click File Acquire Data if you
would like to preview the room you are getting'ready to Export
(useful for checking to see that no speakers are loaded), though this
step is NOT required.
5. From the Tools menu select Export DXF.
6. Save as desired File nqme in the desired Folder
7. Leave the 3D Polylines. option selected, as well as lnches and
Scaling Factor: 39.370i. Click OK

lf available, use AutoCAD to open the .dxf file and check it. All surfaces
should be present and accounted for. For more information on specific
options and naming conventions see the detailed tutorial.

Limitations (Park Church Cad Dwgs, also Spooner Hall .dxf)

The limitations of lmporVExport are clear when confronted with an overly elaborate 2D drawing or 3D
model that does not lend itself to EASE.
2D drawings are by nature going to provide only 2 of the 3 dimensions that EASE or any program requires
creating a 3D model. EASE relies on you the EASE modeler to add the third dimension. ln these situations,
all EASEIMEX lmporUExport is going to do is given you a better starting point. After all, starting with 2 of
the 3 dimensions is potentially much more productive than starting with 0 of the 3 dimensions.
3D drawirigs are potentially better than 2D drawings in that you at least have one file that has all 3
dimensions. The work here comes in preparing the model for EASEIMEX lmporUExport.
While EASE theoretically has the ability to filter out unnecessary surfaces, the best way is for you the
EASE Modeler to do this. This results in you having to manipulate the model in AutoCAD to arrive at an
easily importable model. Luckily for many models this AutoCAD work will be less work than calculating
each vertex.

DXF lmport & Expott Page 3 of 4

 Summary
EASEIMEX is a great tool for many situations to make the EASE modeler's job easier, faster, and possibly
more important than either of these two, more accurate. As with many tools, the more it is used and
explored, the more easily it will be applied; however, it does have its limitations. EASEIMEX cannot add a
third dimension to 2D drawings all by itself, and it cannot turn extremely complex 3D AutoCAD models into
closed EASE models.
This tutorial is intended to get you familiar with the idea of EASEIMEX
lmpoft/Expoñ, and to encourage the exploration of different approaches
to EASE modeling. lt is intended to be used alongside other tutorials
such as "DXF lmpoñ and Exporf for EASE 4," by Bruce C. Olson and Dr.
Waldemar Richert.

DXF lmport & Exporf Page 4 of 4

 Software-Engineering I Research I Development

Common Model Problems

Following are several EASE model problems which will prevent the "closing" of a room (not an all-inclusive list).
¡ One or more faces missing
. One or more faces oriented in the wrong direction...inverted
. Two or more vertices in the same location...stacked vertices
o A vertex on the margin of two or more faces which share a common side
or vertex, with the vertex properly "in" one or more of the faces but
missing from one or more of the other adjacent faces
. A face with only one dimension...that is, a face which appears as a line
(edge)
. A face which is not a plane
. A solid three dimensional object with a room with its faces facing in the
wrong direction thus creating a "negative" volume
. A face which divides a room into two separate volumes, such as a face
at a proscenium opening to a stage
o A face with a single side that has been placed on another model face or
is free standing within the room
o A two fold face that has been placed on another face (such as a window
on a wall) but it has not been "coated" on the face on which it has been
placed (this will not keep the model from closing but an incorrect
reverberation time will be calculated since the program does not know to
ignore the "back side" of this pasted on face)
¡ A two fold face that has been coated to the wrong face (maybe on the
other side of the model)

Help ln Finding and Correcting Model Problems

lf you have removed the check from the 'Room open' box on the'Edit Room Data'window believing that the
model is "closed", and then you execute an F5 or F6 in the 'Edit Project' window to upload the room data, save
data, and/or check data, you will receive one of the error message windows as shown below indicating that there
is some problem in the model.

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After clicking on OK in any of these messages, the next window will ask if you wish to save the data.

Click on OK.
Then, select'Tools' from the menu bar and 'Check Holes' from the pull down menu. The following window will
appear.

First, click the 'Close Holes' button. Some problems can generally be fixed automatically as indicated by the list
above the button. However, not all problems can be automatically corrected. lf the problem(s) has been resolved,
you will get a message like this one.

lf this message does not appear the problem(s) remains

DXF lmport & Export Page 2 of B

lf the problem(s) remains, use the 'Show Holes' portion of the 'Check Holes' window. The vertices in the vicinity
of the problem will be indicated. Click on 'Redraw All' in the 'Gheck Holes' window. Red lines will appear on the
model in the vicinity of the problem(s). Now, you will have to do a little detective work and locate the problem(s)
manually.

Face Problems
This message will appear when some faces are facing in the wrong direction or when there are missing faces.

At least one of these two messages will appear when the face is not planar or has no surface area.

§ Non-Ze¡o Surface Integral I

DXF lmport & Export Page 3 of 8

The properties window for the incorrect face will then appear, like this one showing that there is no surface area

rel7v¡s¡¡re
Properties

plane 4-sided polygon (ft)

-*gelgsr-qe--i
i* ls coat of [**--
j"." ShadowCast [* Locked

!1".e+-o:4er i

-*§ry] !e--i
Scroll Down :

Face:
fffirt!ffi-- ,.,, §

Color: f-*- I 4qq i

*-i
-**-Qp-v
Rear: Delele r

{*- J
Color: l"-...: *J ffi-** _?hqlgg_j *-YvY:tvr:

ffiñlJ -er "i ri:t i

DXF lmport & Export Page 4 of 8

When a face contains duplicated vertices, the following message will appear

ffiflv¡sibte
Propedies

plane 4-sided polygon (tt)

Face Area:

I ls Coat Of

Same vefilces inserted

*-trI-,J f-"l*I --H::l I

When there is a problem with the coating of a face to another face, the following warning message will ask you
how to proceed.

Coat F2 not in Coating Face

Waming: Auto conection may iead to other checkr'ng enors
or fo a deformalion of conneded Faces.
Do you virant the program to solve the prob]ern ?

DXF lmport & Export Page 5 of B

When a single-sided face is coated to another face they must face each other or the following warning message
will be displayed.

Orientation of One-Fotd Coat wrong

When a Íace is not planar, the following message will appear.

plane 4-sided polygon ft)

Face Area: p00 tr

9e!qrrel"- i

f ls Coatof
¡

l*'shadowCast l.- Locked

(-25.00.0.00.0.00)

ffi Fmenotptare
Face Surface not defineci

tr,r ¡ l-'-ql-l ry=l I

DXF lmport & Export Page 6 of 8

Audience Area Problems
This message will appear when one of the corners of the audience area is creating an angle between the
boundaries that is greater than 180'. See the picture below, where the corner by the mouse arrow shows an
angle that is not allowed.

EASE 4.3 Check Data

This message will appear when you try to draw a 3-sided area, or one where two of the corners are too close to
each other.

IASE 4,3 Check Data

Area not ouadrangular

DXF lmpoñ & Export Page 7 of B

One way to get around this problem if you need a triangular area is to pace a corner in the middle of the long side,
and displace it by a tiny bit so that you don't run into the previous error. See the picture below where I have done
that.

DXF lmpoñ & Export Page 8 of 8

 Software-Engineering I Research I Development

EASE Rav Tracinq Observinq Reflections from

-
Reflected Faces

Reflections from selecfed and activated faces

(overhead reflecting panels, etc.)
1) Make sure that you have a complete and closed room model, and then select'Ray
Tracing'from the'Calculations' menu in the EASE 4.x main window or press the'Ray
Tracing'E i"on in the tool bar.
Note

You can also double-click Flayhacing in the 'Ray Tracing and Mirror lmages'
section in the tree. This will automatically open the'Ray Tracing' dialog shown in Figure
2 after the message below has been displayed.

Select'Yes' when asked if you want to 'View Proiect'.

Ray Tracing project Open Projest

,sl vi.*n*i..,r

i--ri''. 1.{ r I

Figure L: EASE 4.x Open Project message

2) Select'Use Only Selected Faces'from the'ltem' menu in the EASE 4.x Ease Rays
window. Select'Yes'when asked if you want to'Set All Faces Active Now'.

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EASE Training Printed: July'14,2016
 On[y Selected Faces

ffi ,o^u r".esArtii¡e Nsw ?

f:E:f ryr i

Figure 2: EASE 4.x Only Selected Faces message

You may also want to select'Draw Only Reflected Rays'from the'ltem' menu in the EASE 4.x
Ease Rays window.
3) Select 'Ray Tracing' from the 'Rays' menu in the EASE 4.x Ease Rays window. The
dialog shown in Figure 3 will be displayed.
ffi RayTracing

a,-..-=:-:.,:1
! I
oudsmaker Group : 00 -
:
I i I sok Fays per Loudspeaker -1

¡ Trace Contrd S- Tracirg 0ptions

i- DrawTraceFays
1',
I f- Tine[nr*l: [TDsú_-- , ShowEve¡yR4¡

$ § t:::1 I

Figure 3: EASE 4.x Ray Tracing dialog

4) Select the 'Loudspeaker' or'Lspk Group' button to choose the loudspeaker(s) to use
from the selection dialog.
5) Enter a value in the'Rays per Loudspeaker'field. (example...500)
6) Set the following parameters in the'Trace Control by'section:
Check'Order'and enter a value in the field for the order number (example...1).
Optionally check 'Time [ms]' and enter a value in the field for the time.
(Example...1000).
7) Set the following parameters in the 'Tracing Options' section:
Check'Draw Trace Rays'.
Check'Make Trace File'.
8) Select the'OK' button.
9) ln the 'Save Trace File' dialog assign a file name for the trace file. Rays will now be
traced in the model.
10) Select 'OK' to close the Computation Ready' message...the rays will disappear from
the View Project window.

EASE Ray Tracing Observing Reflections from Reflected Faces Page2 of 4

-
 Ray Tracing

,{i} .o*o*u,ion Ready

Figure 4: EASE 4.x Computation Ready message

11) ln the View Project window put the wand select¡on tool somewhere outside the model,
do a right mouse click, and select'Deactivate AII ltems'.
Select the faces from which you wish to see first (or first and second) order reflections. Activate
each of these faces by pressing the 'F8' key after each face is selected.

ffi ViewTrace File ray tracing projeci.trc

¡- Tools- --.- - - '- - -i Select

li
it'
DrawAllFays
-!ry!:ry:9 --
I
Irti -- '--*--- ------".*--r :

,i DrmBrcs- I
-_---*--=----_ I Point\,Vdh f1---
i
:i
ver+s- J ;

il ir¡ooH.**-*:

Figure 5: EASE 4.x View Trace File dialog - File tab

12) Restore the View Trace File dialog if it is behind the View Project window and select the
'Draw AII Rays' button...only those rays with first (or first and second) order reflections
from selected and activated faces will be drawn.
ffi VievrTrace Fite ray tra{ing project,t(

Drawing
i7 Draw Flay i Wrpe Old Keep Flay : lba A[

Fl¡y
Eirst Next --)l l<-- Erev Last lnfo

.1-.*. -.i -'-l

Cunent
'1.S1 -> F75: 24 ms 76 dB

Figure 6: EASE 4.x View Trace File dialog - Ray tab

Rays can be examined one at a time by selecting the Ray tab in the View Trace window...click on
Clear All, check Draw Ray, and check Wipe Old.
ln the Ray box click on First, then Next, and so on...the reflected rays will appear one at a time.
The time from the ray leaving the loudspeaker to the ray ending at a face will be indicated in
milliseconds, but the level of the ray will be indicated as 0 dB.
If you wish to know the level of the ray (in relation to the direct sound level at the point where the
ray ends), go to the Ease Rays window, click on Rays, and then click on Update Trace File.
Select the trace file that was formed when you did the original ray tracing with all faces activated.
ln the Update File window click on NO.

EASE Ray Tracing Observing Reflections from Reflected Faces Page 3 of 4

-
 Again go to the Ease Rays window and select Rays and then View Trace File. Select the trace
file which you have updated.
Select Draw All Rays in the View Trace File window and the same rays will be drawn. Repeat the
process of looking at individual rays. Now the level of each ray will be indicated relative to the
direct sound level at the point where the ray ends on a face.

*.tt-..} *H*i-=r-i

Figure 7: EASE 4.x View Trace File dialog - Movie tab

ffi View Trace File ray tracing projecttr

Ddzult

Figure 8: EASE 4.x View Trace File dialog - Color tab

EASE Ray Tracing Observing Reflections from Reflected Faces Page 4 of 4

-
EASE 4Introduction

fÁ=il 4 5*ts-*duet¡*r:

\{hat can I do with EASE?

. Build a room
. View a room model
. Insert sound system
- Examine direct, reverberant, and total sound in 2D or 3D views
. Evaluate room acoustics
Examine direct, reverberant, and total sound in 2D or 3D views
. Insert sound receivers
- Investigate room response
. Auralization

EASE Level I Training

EASE 4 Introduction

rA=r4Í*trcduetion
m
How to build aroom with EASE
. Load a prototype
. Create shape
. Interactive insertion of vertices and faces
. Tabular insertion of room geometry

4 3i:ir'*di:eti*n
Jt*;*lxfiH- ,¡ =ÁSf

Room Modeling
*-=E* # R**-

EASE Level I Training 2

EASE 4 Introduction

fASf 4 Sntr*duetio::

Prototypes
18 Prototypes available
. Customize
Heig ht
Length
W¡dth
Specific elements

4 g*ti-{}#*eiÉ*r!
=É.Sf

Create 3D Shape
Cube:
Define Position, Height, Width, Length
Pyramid:
Define Position, Height, Width and Length of the floor,
Width and Length of the ceiling
Cupola:
Define Position, Height, Diameter,
Vertical and Horizontal Resolution
Cylinder:
Define Position, Height, Diameter,
Horizontal Resolution
Cone:
Define Position, Height, Diamete4
Horizontal Resolution

a
EASE Level 1 Training J
EASE 4Introduction

fASf 4 Intr*duetion

Room Modeling
R**se G**re*ArB§ *E*ffi*n=t-

trntr*d*e'ti**
Mp =.&sr,+

How to draw aroom

EASE Level 1 Training 4

EASE 4 Introduction

EASE Level 1 Training

EASE 4Introduction

\\
r =ASf
4 trntr*d*eti*n

Edges
-**-J
Coordinates inserted aS l rjLs
a reference to vertex .P,¡É'
"' --*-"
list xr ;.1r3'!§[
--*
v, .á¡i ti'--''.'"
Non-acoustic z: JssÍ'['-"-'-
''

i;.:1.:;.;:::.4
,: 0k i! Cmel

EASE Level 1 Training 6

EASE 4Introduction

ffi,Nltp fASf 4 Sntr*duetion

Audience Areas
. x,y,z coordinates to form 4-sided area tugti tCkAud. tu6\A3ssbly3Ñ - úSt44

. Not referenced to vertices

. Imtsginary planes where mapping is
performed -- F 1 s.6t 4.m 3s
,.l.ií-- S6iEP2->Pl h ji--'" r+
sl)de P3 -> P2 n ii'*- u+

ffi =é15=
4 1*tr*dueti+n

Listener Seats
x,y,z coordinates 2

:.í1"
tdilt:r.&at\
"' >-l rr vffi :i r@ffi

Mapping and responses are k.Gsd: Mirdl'le:

calculated

EASE Level I Training 7

EASE,4 Introduction

4 l;:ir*d-rti**
=,qSE

Room Modeling

EASE Level 1 Training 8

EASE 4Introduction

[il#§Yhil fÉ.5= 4 lntr*eiuetÉcn

How to view a room

. External View {Invert Faces}: . Perspective View -
View from outside the room with Listener Seat:
inverte.d display of faces using solid View from the location of a listener
renoeflng seat
. External View: . Perspective View -
View from outside the room with Loudspeaker, IR Emitter, Lamp:
normal display of faces using solid View looking in the aiming direction
rendering of a loudspeakeq IR emitter or lamp

.-# l+'%-.;":- -*!

EASE Level 1 Training 9

EASE 4Introduction

EASE Level 1 Training 10

EASE 4Introduction

fAS= 4 ir-:tr-*dueiion

Main Railway Station, Berlin

m =,r{5f
4 3*tr**uer!*i:

Sound System

EASE Level 1 Training 1t

EASE 4Introduction

ffi fA§f; 4 trntrodu¡etion

Calculate Sound Pressure Level

Direct Sound

ffi =ASF
4 Irt:eCt,etie n

Direct Sound.

i
tñ

ü #& O*? tñl& {36

#E 3.0 / 3fr.müAñ /ü SF

EASE Level 1 Training t2

EASE 4 Introduction

m il45= 4 Intr*duetÉcn

Room Acoustics
*====- É

EASE Level 1 Training 13

EASE 4 Introduction

7-TT#NHp
4 Introeiueti*n
=ASE

(
\ lcattering and Absorption
Absorption coefficients
in EASE materials
database
Scatteri ng coefficients
not included by
default
Can be approximated
by the scattering
wiza rd

m =45
É'+ t*tr*iir:eii*¡-:

Room Acoustics
R=*r= R=--*=-*

EASE Level I Training t4

EASE 4Introduction

EASE 4Intr*duetion
§ffitD
Random Rry Tracirg

Ray tracing method

here: random rays from
one loudspeaker

€ fntr*dr.:erian
ffi =ASÉ

Mirror Ima ging, 3'd Order

EASE Level 1 Training 15

EASE,4 Introduction

il *ASf 4 I*ir*duetion

AURAResponse
Image model Hybrid method

ffi eAS= a :r.ll,r]ii:aitGr"

Auralization

Pi nnae
BinauralrFilter File
(BrR)

Convolution
Dry Source File Result File
(wAV) (wAV)

EASE Level 1 Training t6

n
EASE 4 Introduction

ffi =45=
4" 3¡:tr**r.:eti*n

II Ylodules
,---------.-....,
I

Spea ker Project Area Render Ears

Models Data Mappi Ba lloon AuralÍzation
Wall Import/ [=ves -lI T*v¡si,}ñ-liif---Prcbe_-l
Materials Export t- AURA EGL
t rexturdli Ray Viewer
Light Tracin
Sources
llR Déticeal ii o"o,"",,., entry and Calculation and
simulation Rendering and
Databases i modification
¡ evaluat¡on visualization l_9*_Pt999!rir9.

EASE Level I Training

EASE 4 Introduction

fA§f ,€ Ir¡trcd:-:etion

Main Module

:t ,

Hffi Star tup

=C\==
4 I;rlrcldLieiic*

Begin a new model irntrr

.9Er: .,.r r

Open a project ):jJ)-:--:*;:j,'&

Open an EASE
module (some of
them require that
you open or begin
a project first)

EASE Level I Training 2

EASE -l Introduction

EASE Level 1 Training J

EASE, 4 Introduction

f,¿"Sf 4 Sntr*dr¡eti*n

Project Options
Give a naffi€, hall and
project path to new
project
Choose folders
automatically created
by EASE when
modules are used to
create new files

4 Íni:"***eti*¡:
=Á5=

Edit Modules

EASE Level 1 Training 4

EASE 4 Introduction

M =ASÉ
4 lntr*duetÉ*r:

Project Data
_ irLj:

. Geometry entry
. Create 3D shape
. Create Object
. Edit project

4 5:':tr***eii*n
=Á5=

I*port lExport
Import DXF/SKP
Export DXF/SKP
Import CADP2
Import ASCII
Export ASCII
Utilities

EASE Level 1 Training 5

EASE 4 Introduction

fAS= 4 intr*rJueii+¡:

Viewirg Modules

EASE Level I Training 6

EASE 4Introduction

fAS= 4 3nir*d*eti+¡:
)

Calculation Modules
\ltrrlules

m =A=r4,r:tr+*ueÍi*¡'¡

Standard Mupping
t;.,;:: :-,1""t';ii" r€lr (2D)
. Tapping
. Based on Eyring or Sabine
l
Reverberatibn Times
,, Direct/total SPL
'.'.'
"'.,''t.*:','*, o/oAlCons. STL RaSTI
clarity Ratios, D/R Ratio
,.. ..- " ''"' t' . Critical Distance
Arrival Times, LoudsPeaker
Overlap, Loudspeakér
Aiming
ITD (Initial Time Delay) Gap

EASE Level 1 Training 7

EASE 4 Introduction

4 Sntr*d*eti*s:
) =45=

Calculation Modules
\ltrll Lr lr,.t

m =,qsr4§r:r¡-*dueri*n

Standard Mrpping
. View Audience Areas for
mapping (2D)
. Based on Eyring or Sabine
Reverberation Times
Direct/total SPL
o/oAlCons, STI, RaSTI
Clarity Ratios, D/R Ratio
Critical Distance
Arrival Times, Loudspeaker
Overlap, Loudspeaker
Aiming
ITD (Initial Time Delay) Gap

EASE Level 1 Training 7

EASE 4 Introduction

[iltNhp =ASf
4 5r¡tr*,lueii*¡:

E yes
.1
' Render model with
E
face/material colors or
*= mater¡al alpha
E
s
§
. Room mapping (3D)
§
*
á
4
§
€
e

tW =A§=
4 §r:i¡"*aueii*¡-:

Traci^g
Rays out of multiple
, r sources
' Impacts at a receiver
.) . Reflections in selected
A
races
Color rays by order or time
of arrival
Ray tracing movie

EASE Level 1 Training 8

EASE 4Introduction

rAs=4rnrroducrion
m
AURA
ñu* ': e s :::""8.*
. High quality calculations in Audience Areas and
i,.'.} ::::I.,-*;li Listener Seats
i - -+ry,:" j:i ,:i Early Decay Time (EDT), Reverberation Time (T10, T20, T30)
i.,:---;- "- -.--- Ü,' Lateral Fraction (LF) & Lateral Fraction Coefficient (EFC)
1.,.r.:,-,.r-..""=.:.r:j Clarity (C80), Definition (C50), Sound Strength, CenterTime
rffi
1ffi": Echo Criteria for Speech & Music
Í-.s--.-6&: ::-i< !; STI & ArtiCUlatiOn LOSS
i ;::_ A . ij Room impulse response investigations
t:

i***+;;;1 , Calculations cons¡der scattering coefficients (if

1X

:*<§.r***:r**r*J added tO mOdel)

m =Á5=
4 3*ir'**ueti*n

Post Processing Modules

EASE Level 1 Training 9

EASE 4 Introduction

m Probe
=AS=
4 lntr*duetÉo*

Post-process room's
impulse response
¡ .-ir:.!rr..i,:*. -,.*.-:-=$E:::r4.ffisá: Reflectograms (EFC /ETC
:::-'''''" ,, :'-: :',". ,. displayS), Waterfall dlsplays
Pulse Directionality
(hedgehog) displays
Schroeder Reverberation
Times
Modular Transfer Function
Speech Intelligibil¡ty (STI)

4 Ir:t¡"*d¡.:et;=n
'ArIÑ¿-f =Á5=

EARS
. .f.r1
Create and
listen to
auralizations
Binaural
Mix files (e.g.
noise + source)

EASE Level 1 Training 10

EASE 4 Introduction

fASf 4 intr*ductiar:

Database Modules

4 i-Í¡'=*i:rti+::
=A=ñ

Database Modules
. Materials , InfraRed
wizard
Scattering Modulators
Textures Radiators
. Loudspeakers Receivers
SPK Files {clusters} . Light SOurCeS
DLL Files
FLA Files
GLL Files

EASE Level 1 Training l1

EASE 4 Introduction

r,

EASE Level 1 Training t2

rl
Key Acoustic Principles

rH;Mkj- i :{*y Aeoi:stie Pr!neÉBles

Sound Absorption

EASE Training
Key Acoustic Principles

mil#Ip Key Ac*r.:stie Pr!ne!Pies

Absorptive Materials

Simple
Porous
Fiber
Selective
Membrane or Diaphragm
Frequency
Cavity or Helmholtz

K*y Ac*ustie Prineipies

Absorption Coefficient
absarbed energy
ínctdent energy

0<a<1
a25¡*d.5ss *a¡y *a2¡q

Marble 0.01 0.02 0.02

2" Rockwool over 2" airspace 0.32 0.84 0.77

EASE Training
Key Acoustic Principles

Key Aeoi-:stie Frineiples

Absorption Measurements
Absorption coefficients
in EASE come from
published data (not
measured by AFMG)
Data for specific
Impedance tube materials can usually be
Normal incidence absorption coefficient
obtained from
Reverberant chamber
manufacturers
Diffuse fi eld absorption coefficient

K*y Ac*usti e Pri ¡--rci pl es

Absorption Coefficients of Common Materials

0.8
. NRC is a very
o.7 general term
0.6 Carpet orI-:
concrete,Ugll!1l . Frequency band
0.5 @Acoustic Deck,6
12 in, NRC 0.66
x values are preferred
0.4
.... Ceiling,suspended
0.3 laying, NRC 0,53

o.2 :.ArickJ"aqlazed,
uB!_o1_$
0.1

0
125 Hz 25O Hz 500 Hz 1 KHz 2 KHz 4 KHz B KHz

EASE Training 3
Key Acoustic Principles

Key Acoustie Prineiples

Reverberation Time

ffi K*y Aeeust:e Frineiples

Reverberation Time
' An RT of 0.6 to 1.0
seconds is desirable
E where speech
J
q)
intelligibility is the
E paramount
C
J consideration
o
a . RT-T60
(sometimes
desiqnated RT60
but T0O is correct)

EASE Training 4
Key Acoustic Principles

ffi Key Ac*ustie Prineiples

Bpverberation Time
!
y of sound Assume room
ambient noise is 40
o dB below level of
o dl
J ro
test noise - have
E o dynamic range of
C \o
f
>= 35 dB
ao Rev. time - decay
time from -5 dB to -
35dBx2,
designated T30
RT
Time

K*y Ae**stic Prinesplcs

Sabine Eqration for Rev. Time

T6o = 0.a49 :I:-=
Atomt
0.161 *-
Aromt

Yrr = volume of space in cubic feet

[m = volume of space in cubic meters
Aroat= total absorption in a particular frequency band in Sabins (in the same unit system
as the volume)
Aroto,= AL + Az + Aj + ...

Ar = surface area of particular material x coefficient of absorption for this material in a

particular frequency band
A1= S1a1

EASE Training 5
Key Acoustic Principles

Ke\¡ Accustie Prineipies

Rectangular Room
1 layer GWB (Sheet rock, wall board)
Lay-in sound absorbing ceiling board
Thin carpet

Coefficients of absorption in 15'14.5 m

500 Hz octave frequency band:

1 layer GWB
Lay-in ceiling board 0.50

TW Key Aeaustie PrineipEes

V = 3ü x 6A x 15:27,üOA fú V =1"8x9x4.5:729m3

Wqll Area : (6A x $ x Z) + (30 x 15 x 2) Wall Area = (18 r 4.5 x 2) + (9 x 4.5 x ?)

= 2,700 ftz = 243 ftz
Ceiting Area = 30 x 60 : L,8Aü ftz Ceiling Areu :9 r 18 : 162 f*
Floor Area = 30x60 = 1,800frz Floar Area = 9 x L8 = L6Z ftz

Asoa n, = 0'10 (2,7ÜA) + 0'50 (1,800) Asac a,: 0'10 (243) + 0.50 (162) + 0-25 (L62)
+ 0.25 (1,800) :146 Metríc Sabins
= 1,620 Englísh Sabins
V
Y 7605s6 H2 = 9.L61 ¿
T60sssy2: 0.049
I
729
27,004 Títioa Hz = ¡.161 1+6
T60soo az: 0.049 *7,620

EASE Training 6
Key Acoustic Principles

Key Accustie Frineipics

Reverberation Time Criteria

7 q 'Y &cc'.tlrc

'- rc ;r¡aei .ra-.,o rl'aaa!')

Fl' :;ú'es

Egan - Architectural Acoustics

EASE Training 7
Key Acoustic Principles

, K*y Ae*ustie Prir:eipies

-. (.

¿b I
''f D- t )

a.- / ¡ i
I
-....1.

l i ?'-

r
i

i- -
I

o
e

4.4
23 ?1¿á8
,.2,ac5
')-.¿v ' :21.i14
V; ,rr"e I -i 1)
T60 at mid-frequencies (Egan)

7 Rffi rcluñ, (r. tlio¡6E¿ ttbk ¡1.)

:<*y Ae*ustie Prineipies

Áo uo
75 79 1O.5 Í3 * 1A 1'.5 17É ffi 7@ r.o*
z,b

S.O,

:
:

25.

20.

Rfm
(e) r.5i
i

,o

e?.u::!!Y:
o5

o.l @o 20.o *.o

R@ñ vo¡uñ' (in ü*a, -* ''
T60 ai 500 Hz (Johnson)

EASE Training
Key Acoustic Principles

m K*y Aeeustie Prineiplcs

Intelligibility Measures

Kev A.e*ustie Prineipies

m
Intelligibility Measures
. o/oAlCons
- Intell¡gibility has traditionally been measured by metrics that involve
real listeners and population statistícs
. STI
- There are ways to predict intelligibility in a room by using measurable
parameters that affect it (reverberation time and ambient noise)
I R;qSTI, STIPA
- There are metrics similar to STI but simplified for specific use or speed
of measu rement/predictÍon

EASE Training 9
Key Acoustic Principles

m Speech Intelligibility Metrics

Key Ae*ustie Prlneip!es

a,
Com mon Intelligibility
Scale (CIS) related to
Speech Transmission
Index (STI) and the
:fT€n:q.
:..eir4:i
a-:rr áj 1- ;.,,rr:l
',-;¡:C:.::
Percenta ge Articulation
-+!.€.rr_a¿'$ tr:r rdt. :-,
Loss of Consonants
(1-oloAlCons)

ai

common tntellitib¡liry scale (cls)

ffiAYHP Kev A.e*uEt!e Frineipies

STI Categories
A+ 0.76

4.74 Communication systems

Theatres, speech auditoria High speech

70 intelligibility
assistive listening systems
Theatres, speech auditoria, teleconference High speech
66 rooms/ court rooms intelligibility
Lecture theatres, classrooms, concert halls, Good speech
62 modern churches, court rooms intelligibility
High quality
E 0.58 Concert halls, modern churches
PA systems

EASE Training 10
Key Acoustic Principles

K*y Ae*ustie Prineiples

STI Categories
Shopping malls, public buildings, Good quality
0.54 offices, voice alarm systems PA systems
Shopping malls, public buildings, Target requirement for
0.50 offices, voice alarm systems VA/PA systems
Voice alarm and public address systems in Lower target for VA/PA
0.46 difficult acoustic envi ronments systems
Voice alarm and public address systems in Lower limit for useful
0.42 very difficult acoustic environments VA/PA systems

0.38 Not suitable for PA systems

< 0.36 Not suitable for PA systems

ffi[Ylil Kcv Aeei:Et!e Pr!::eÉp!cs

STI Intelligibility Scale

Current STI standard does not include this set of colors

but only the letter categories. Color scheme is being
rev¡ewed (IEC 60268-16, edition 4, 2011).

EASE Training LL
Key Acoustic Principles

Kev Acoustie Prineiples

STI Intelligibility Scale

Current STI standard letter categories.

t{*y Aeaustie Pr!neipies

Ambient lrloise

EASE Training 72
Key Acoustic Principles

K*y Acoustie Pr!neiples

Ambient l{oise
. Background or non-signal noise level
. Defines the noise floor
. There are multiple single-number metrics
* A-weighted SPL level
- NC, PNC, RC, NR (don't consider the spectrum but define "limit
values")

ffi}YHT Kev Ae*L:st!e Frineipl*s

SPLWei htin Curves

10
dB A-weighted
0
most commonly
-10
used for noise
-20 evaluations
-30

-40

-50

-60
l6Hz 32Hz 63Hzl25Hz25O Hz500Hz lkqz 2kqz 4kHz 8kHz 16kHz

EASE Training 13
Key Acoustic Principles

mrt#Ip K*y Accusiie PrÉneipi*s

dB A-weighted Example
-.....-.-- ir Differentnoise
sources with the
same dB A-wtd
6t
¡*--i9or.(a i
noise level
§5 - -..'----'.
lc.rrae ¡

5C
i6!.ce 3

n5

11
l-5i: 5i r: -:5rj :5lr: 5llr: :kr: lli: j.-j 8¡r:

ffiIYHP {*'l Aec*stie Frineipies

NC - Nloise Criteria
90
§ NC-70
Used for ratings of
80
NC-65 acceptable noise in
70
- NC-60
buildings
60 -ry NC-55

50
NC-50 No 3L Hz band, no
40
-
.*
NC-45
good correlation
- NC-40

30 NC-35 with subjective at

20
e
- NC-30 high frequency =)
e
10
NC-25
-.--=.... NC-20
unsuitable for
0
interior noise
63 Hz L25 Hz 250 Hz 500 Hz 1 kHz 2 kP,z 4 kqz 8 kHz

EASE Training 14
Key Acoustic Principles

Key Acoustie Prineiples

NC Exam t:
Two noise
sources with the
NC-70
NC-65 same NC and A-
-.
-
NC-60
NC-55 weighted level
NC-50
-.
-** NC_45
*-- NC-40
NC_35
NC-30
-.*-* NC-25
- NC-20
NC-15
-
msource
-- 2
4

-Source

{*y Ae*ustie Prineipiee

PI{C - Preferred Irüoise Criteria Based on office

PNC-65
workers
- PNC-60

-E PNC-55 subjective
PNC-50 evaluation of
-
*:§E*
-
PNC-45
PNC-40
noise
E PNC-35
Equal sensitivi§
-e
PNC-30
PNC-25
to noise on
'-=.=- PNC-20 different
PNC-15
frequencies
4 kqz 8 kHz -

EASE Training 15
Key Acoustic Principles

mr#axtt K*.rr Aeoustie Prine!ples

RC - Room Criteria
*:*:*":6 . Replaced NC for
AC noise in
occupied spaces
. Least
' -.'RC 50
++.4+*RC 45
objectionable
RC 35
noise
a0

-RC

16

ffiIYt*p Kev Ac*ust!e Prineiples

150
IrIR - Irloise Reduction
. Adopted by ,... NR-130 ISO
=,__.,
and intended for
130 NR_120
NR-110
.*-*
110

**"*
NR-100
NR-90
general use
90
NR-80
70 -. NR-70

50 .- NR-50
NR-40
30
NR.3O
10 NR.20
NR-10
NR-O
16Hz 32Hz 63Hz725Hz25O Hz500Hz 1kfrz 2kqz 4kHz BkHz

EASE Training 16
Key Acoustic Principles

m K*y Accustie Prineiples

Typical Sound Levels

mt#[!Hr K*y Aecustie Pri r:e! ples

Typical Sound Levels

55 Business occupancies

45 Educational occupancies

BO Ind ustrial occupa ncies

50 Institutional occupancies
40 Mercantile occupancies

B5 Mechanical rooms

40 Piers and water-surrounded structures

55 Places of assembly

EASE Training 17
Key Acoustic Principles

mI#ffip K*y,4eoustie Pri nei p!es

35 Residential occupancies

30 Storage occupancies
70 Thoroughfares, high-density urban
55 Thoroughfares, medium-density urban

40 Thoroughfares, rural and suburban

35 Tower occupancies

40 Underground structures and windowless buildings

50 Vehicles and vessels
NFPA 72 Annex A Table A.18.4.3

i{*"9 Ae**stie P¡'i nei pics

Other Room Acoustics

Parameters

EASE Training 18
Key Acoustic Principles

ETTVTCD K*y- Ae* r:sti e Pri nei Pl es

Early Decay Time

y of sound
It correlates
o
better with the
Jo subjective
E
C
J impression of
ao reverberance
than
reverberation
time.
RT
Time

K*y Ae*r:stie Pri nei Fi*s

Energy Ratios
. Clarity: C50, CBO tdBl
Ratio of early to reverberant energy
- How much separation between sounds
- 50 milliseconds is consider early sound for speech and B0 for music
. Definition: D50 [o/o]
- Ratio of early to total energy
. Lateral Fraction: Lf, LFC [o/o]
* Ratio of early (angle weighted) to total energy
- How much lateral early reflections

EASE Training 19
Key Acoustic Principles

Key Ae*ustie Pri¡:eiBles

Center Time, T,
. Spatial impression and clarity measure
. Center of gravity of squared impulse response
. Relates better to subjective impression than Clarity ratios

EASE Training 20
P* n§

L#

o
Loudspeaker Formats in EASE

EASE 4 ioudspeaker Data Files

SPK File
. A loudspeaker device is represented by a s¡ngle acoust¡c
source (point source with directivity)
. Direct¡v¡ty data ¡n a fixed tabular format describes the
radiat¡on characteristics
. D¡sadvantages:
- Unable to model configurable line arrays
- Unable to model multi-way loudspeakers with internal and extetñal
crossoverS
- Potent¡al errors w¡th maximum SPL (power hand¡ing)
- Unable to ¡nclude comp¡ex balloon data with approp.iate angular and
spectral resolution fo. some k¡nds of loudspeakeE

E;'.SE 4 lo¿dspeaker Deta F;ies iÁ§a ¿. Loldspeakef Data liles

Loudspeaker Database Clusters - SPK Files

The loudspeaker database is an open database. . Created by users in SpeakerBase
Any manufacturer or user can create loudspeaker r Pre-calculates the far-field direct¡vity (lobing pattern) for
an assembly of loudspeakers
data files for EASE using measured data. . Can reduce calculation time ¡n EASE (single balloon), but
can have errors in the near-field of the cluster
The pr¡mary advantage of clusters was the reduced calculation
time in EASE when using multiple loudspeakers (SPK f¡les)
many years ago. w¡th modern CPUS this is no longer a factor,
It is recommended to not use Clusters in EASE.

É4:E 4 i.Jdsoea!(er Deta l":ies EASE 4 Loudspeeker Daaa Files

Loudspeaker §pes in EASE FLA File (EASE Object)

Loudspeakers in EASE can be modeled as . An object created in EASE consisting of two or more
. SPK f¡le - s¡ngle-source data for a loudspeaker (older data loudspeakers
Íile) . Treated as coherent sources (complex/vector summation)
. Cluster - a new SPK file created using SpeakerBase to
combine two or more separate SPK f¡les (no longer needed) . The calculated directiv¡ty is correct for both the near-field
. FLA file - a loudspeaker array created using Objects in EASE and the far-field of the array (object)
' DLL file - a GUI to conf¡gure an array of loudspeakers . The array (object) can be moved or a¡med as a group while
. GLL file - s¡ngle-source or multi-source data for a loudspeaker still allow¡ng adjustment of the individual sources
w¡th ¡mprovedaccuracy compared to older SPK data (rewer .
data f¡le format) Levels and delay of the entire array can be adjusted via the
Object properties

EASE Training \
Loudspeaker Formats in EASE

EASE 4 Loudspeaker Dati F¡les EASE 4 Loudspeakei Data Files

FLA File (EASE Object) GLL * Generic Loudspeaker Library

A newer, redesigned loudspeaker data file format
. The loudspeaker data file can be "bu¡lt up" very much
like a real loudspeaker.
- Separate measurem€nt data for each pass band (i.e. LF, Ml HF)
- Separate measurement data fo¡ crossover filters
. Once a GLL is compiled (typ¡cally by the manufacturer)
it cannot be modif¡ed, This separales the creat¡on or
modification of a GLL from ¡ts use in predict¡on tools
like EASE.

4 ioüdspeák€. D¿ta Files EASE 4 loudspe¿ker D¿ta Fiies

=ASa

DLL File CLL Overview

. Graphical user interface provided by the manufacturer to . The GLL file format allows for modeling of
allow configuration of the array - Multi-way loudspeake§
- Column loudspeakers and steered columns
. Some manufacturers allow ;mporting and exporting of the - Conventional line arrays
configuration data - Loudspeaker clusters añd arrays
- Flat panef loudspeakers
. Typically used with older SPK data f¡le(s) as the underlyrng
data
. Data format separates functionality
- Acoustic propert¡es, such as d¡redivity
- Mechanical propertie, such as rigging angles
- Electroñic propert¡es, such as f¡lters
- Fundional relationship between parts

lASt 4 ioudsgeekei Data Files iASi-'4 icudspeaker r.ta F!leg

DLL File Motivation

. Historically several constraints had to be considered when
br creatinq loudspeaker data l
-I - Memory
- kaformance
- Available data a€qulsition methods

' Older solution (SPK file):

- A loudspeaker device is represented by a s¡ngle acoustic source (poiñt source)
- Dirdivity data in a ñxed tabular format descrlbes the rad¡at¡oñ charaderistics
:l

EASE Training
Loudspeaker Formats in EASE

EASE 4 Loudspeaker Data F¡les

Motivation
GLL Data File Format
. With modern computers the l¡mitat¡ons w¡th memory and
data storage are no longer an issue.
. Better loudspeaker measurement tools are now available.
. Higher resolution data (both spectral and spatial) are
required to accurately characterize some loudspeaker
system (i.e. line array devices).

EAES 4 Lo*dsjreakei Daia Fil€s

"Powering" an SPK in EASE

either the "Fwer" or 6e fte maximum SPL in á s¡ngle
desfed SPL at 1 m c¿ñ be h.d if the total "power" !§
st tur e+n 1/3 otu§ all@td to á siñgle b¿nd ls
showo ¡f, blue (this is not á
tuqo€ncy ÉF.s c0rve).
Maximum btál ¡ñput
'porer" and &keft total fte frquency r6pn*
iopui "powé/ wth ahe \ (SPL) tor thé curent seEh$

ñe frequ€nq respon* dth

¡nput of"l W" to €ad 1/3
ódávé bánd is showñ iñ

EAS;4 ioxdsoe¿ksi )at¿ iiies

"Powering" aCLLin EASE

mre the GLL €ngine
úe dsired aE€f,uat¡on aduáxyca¡culdes the
froñ the maxlmúm sPL resFns of thé Gu, ffiE
cn be set in the sPL do6 not how anything
¿bout se sásitivity or
ftis rsúeonbp¡áé¡ñ ssE ñaximum ¡nputvolbg€ of
thát tne bv¿r (sPt) or a 6tL the G[. ñ€rebre. reitñer
th€ *nsiüvity, ft€que¡q
response, nor üe maximum
ioput oroutput ls howñ of

fte aEensat¡on lewl as a

frqusry is
tunction of
ñk @nbtudt¿f as tu
sl&l dtefr of 6e d@¡
fivhoüé b&Fbr (GrL),

EASE Training 3
o
EASE Mapping

EASE Mapping Results

, Color mapping iñ patches
w (area resolution) or
# isol¡nes (level resolution)
§ . Default or custom color

L ffi:::"areasand/or
listener seats

EASE Ma irg
. Calculation of
parameters ¡n a
grid over
Aud¡ence Areas
or room Faces
(lim¡ted to direct
sound in EASE
lr)

EASE vs. AURA EASE Mapping Results

. Statist¡cal reverberat¡on , Computed reverberat¡on .
. Calculat¡ons based on Eyr¡ng .
or Sabine RT:
Calculations according to iSO
3382:
:;=?d*-+=.':'::*; á:.:ffitj!3;?ff:".
-* Direct sPL, Ioral sPL - EDT (EDT), RT (T10, T20,
o/oAlcons, STI, paSTI T30) - , ,. Dev¡ation, Max¡mum and
, pressu¡e Level - Lateral Fractron (LF)-&_Lateral
. Minimum
Fractroñ coeffrcrent (LFc)
-_ clar¡ty Rat¡os, D/R Ratio - Clarity (C80), Definition (C50)
Cr¡ticat D¡stance
- Arrival rimes, Loudspeaker - sound strength lG)
tjveilap - center Time
- iTD (lnitial f¡m€ Delay) Gap - Echo Criteria fo' Speech &
- Loudspeaker Aim¡ñg -
Music
STI & Articulation Loss

EASE Training
EASE Mapping

EASE Mapping Process Uneven distribution of absorption

. Raw calculations , Loudspeakers hit
- Computes direct sound (D) for array of points
absorption, so less
returned to reverberant
- Computes a single number fo. the reverberant level (R) for the entire
f¡eld
room (statistical & homogeneous). Sab¡ne or Eyring using Hopk¡ns-
Stryker
. Reverberant field may not
be uniform
- Computes D/R for each point in the grid

- Repeat for each 1/3 octave band

Assumptions for Sabine/Eyring Irregular room shape

. Absorption homogenously distributed . Room geometry
. Empty, regularly shaped rooms with mostly d¡ffuse - Areas deep under a balcony
have less reverberant field
reflect¡ons
. Add¡t¡onally for Sabinel Low mean absorption coefficient

EASE Mapping Assumptions Parameters based on D/R ratio

. Reverberant level is purely statistical . With a stat¡stical late energy calculation these can greatly
- Doesn't koow where ¿bsorption ¡S differ
- lgnores loudspeaker aiming - Clarity (C;, Cso, C¡0, Cspn)
- Level (L7, Lso , Lso , Lsptt)
- STl, c/oAlcons
- Art¡culat¡oñ index, pr¡vácy index

EASE Training 2
Prediction of Speech I ntelligibility

Speeeh f ntelligi biiity

STI - Speech Transmission Index

. STI according to
IEC 60268-16(2003) edition 3 or
IEC 60268-16(2011) edition 4
. Background
- Applications
- Definition
- Derivation

EASE Training
Prediction of Speech I ntelligibility

speeeh§nte*igibi*ry
m
STI - Sp"ech Transmission Index
Requirements for different applications :
. Conference rooms, lecture halls for speech reproduction
. Churches, multi-purpose halls, "houses of worship", theatres and concert
halls for speech and music
. Stadiums, convention halls for public address
'. Railway stations and airports for public address and voice alarm
Hotels, public buildings, factories, power plants for voice alarm and
evacuation
. Also public transport: trains, airplanes, cruise ships
. Worldwide advancements enforced in regulations since Sep. 11.
. STI, STIPA; previously it was RASTI, o/oAlCons

5p*ceh §ntetiigibEEity

STI - Sp"ech Transmission Index

Backqround:
rn,Ut
f l r'l ^",F":[:,?,""
Noise Measurement via modulation or
Af,All
A/4.+"
rrme I I
impulse response:
L4x7 MTF values => STI
/(t+,/(,!,lir/r t .1.
I l

i
Modulalio¡ Transfer Fuñctioñ r( lj)

1.0
0.8
o6
"r"
u' o.+
o.2
o
00.5 I 2 4 I 16
Modulation Frequency ,¡'in Hz

EASE Training 2
Prediction of Speech lntelligibility

hr*M*q, Speech Inteiiigibi!itY

STI - Speec Transmission Index

,§áGF-=.--=
STIPA.
tiaÁ¿
STI
I lf.1¡

¡ H:
STI versions:
rl f¡:

MTr
flcg
OS G,S 0.@ §,5i3 O.g c,6B
. STI employs full set of
Alcnas i%l
3lr {Már6J
9 ffi7
05S 98 MTF
:fr íFÉm¡-ei
Peil
(silÉi
0 ${
0,9
ú.$d
. STIPA uses 14 MTF
.
Éqúa §TlP¡
ñ9o*.- :rlp¡ (Féñ.1é) ú.S
5n ,:rú.rdrÍed!
ll tulreshred)
o
Eá72
E? RaSTI uses 9 MTF in
Sn ic..km)
qrafr f'$Ér{htajr
lnPr íi¡¡J,l¿Jr
0"@
O:-ll
! 3l
500 Hz and 2 kHz bands

5p*eeh SntelEig!bility

STI Simulation
Implementation in EASE:
. Statistical model according to
Early Reflections, Seconda ry Sou rces

Eyring/Sabine
ing Reverberat¡on

Time

. Hybrid ray tracing in EASE

Early Reflections, Secondary Sources

AURA

Time

EASE Training 3
Prediction of Speech I ntelligibility

Spe*eh Intel!igibii iiy

STI Simulation - Eyring

Statistical model according to Eyring/Sabine:
. Volume V mean absorption coefficient o, acoustically effective surface S, air
attenuation m
. Assumption of a diffuse (homogeneous, i pic) reverberant field
Direct Sound
4mV - Sln(l-a)
Result: reverberation time RT
Time
Derivation of a "virtual" impulse response from direct sound and ideal reverberant tail

But; Discrete reflections or echoes are not accounted for

§peeeh lntelligibilEiy

STI Simulation - Eyring

Validity of statistical assumpt¡ons regarding RT in flat
rooms:
' Is Eyring's approach still valid?
'. In homogeneous diffuse field
Mean free path length l=4V/S is no longer valid
. RT also depends on the location of the source(s)
' Typically two sub rooms: horizontal + veÉical

Numerous correct¡ons have been developed:

. Kuttruff, Fitzroy, Arau, Tohyama, Millington-Sette, ...

EASE Training 4
Prediction of Speech lntelligibility

§peeeh f nteli!gibi5ity

STI Simulation - Eyring

. Other factors and sources of errors for STI:
- Complicated geometry
Signal and noise levels have to be accounted for
- Reflections are neglected
- Loudspeaker data
- Uncertainties regarding wall materials in use
Diffuse-field absorption coefficients

. Uncertainty for STI = f(RT) ?

. Uncertainty for STI = f(o) ?

Spe*eh Ir:t*iligib!lity

STI Simulation - Eyring

STI as a Function of Reverberation Time Relationship:
. Here: without direct
sound or noise
. Small variation for high
reverberation time
. Increasedsensitivity
for dry rooms
=) A small variation of the
RT is insignificant for STI
in practice

EASE Training 5
Prediction of Speech I ntelligibility

m*il§YHp 5p*eeh lr:teltigibility

STI Simulation - Eyring

Reverberation Time as a Function of Mean Relationship:
Absorption Coefficient (Cube)
74
. Small variation for
13
large absorption
11
10
. Increasedsensitivity
úa
9
for acoustically hard
+RT(2?@ñ,)
rooms
-** RI 18oOO mr)
(
5
4 -+Rr (14OOOO mr) =) A small variation of the
l
2
RT is insignificant for STI
1
o
in practice

5p*eeh Snieitigibiiiiy

STI Simulation - Eyring

STI as a Function of Mean Absorption Coefficient
(Cube)
Relationship:
. Functions compensate
¿ each other roughly
^á_*;-- .
-¿*1;.^
Course approxímately
linear
,/-;F-'*
+STl
-**sll
(22OO

(17ooo
{nr)
m')
. An error of o = 0.1
{FSrl (1¡omo m1 equals roughly an error
of STI = 0.1

EASE Training 6
Prediction of Speech lntelligibility

speeehin:tettigibititv
m
STI Simulation - Eyring
STI calculation based on statistics:
. Other uncertainties are equal or greater than the
calculation of reverberation time

: üEixI:Ul'J:;Hi:il; x ff i'Iff:..oun,ed for n

the design!

EASE Training 7
Advanced Editing Techniques

ffif A"lva¡e*'l Eetiiinq Teehnlqu*s

What are Obiects?

. Should be thought of as an
abstract set of items
. Can consist of any
combination of EASE items
vertices, faces, loudspeakers, etc.lI
Not a rigid body or physical
thing itself

EASE Level l Training L

Advanced Editing Techniques

Advaneed Editing TeehnÉques

Object Handles
Necessary properties: JfiiñilF;&:a;&* )j r v* 17 rry#
6 coordinates to define the iPñ;ü-P;i, i"d2-"
aiming axis, meaning
iññ;p;;i;;t.
where the "handle" is put
and where it is looking
Define by 2 points
Define by origin and 3 angles
Define absolutely or bound to any
item(s) ce: ffi
-j
E y.: -**sl_ I _+Lj

ffiilffi§r A; I 'iqj ?;ii ''; TF{:,- 4"j!g

Edit Obiects
Group editing of items by
type
- Face color/material or
statistics
- Loudspeaker level/model
- Items visibility
Objects allow overlapp¡ng
of items and ¡ndividual
items are still editable

EASE Level l Training

Advanced Ed¡t¡ng Techniques

Advane*d ilditing Teehniques

Edit Obiects
Move items by
length unit (ft, m) MNfij
rl l.: er'-
dyn
Rotate items by f *F ,;
degree 9: !Ü,s.* i-'-""'
k leel

Aim loudspeaker ti ,vi '*:-,.,.

f,
.
*[q dvsin
.,";
arrays _l- r -.i
_*.'"i S:j
-

sr+ iii-,,.

-k. r -,"9-{*.,,¡

Fffi#ilEil§T Ádve¡:e*d Cd!i! r:g T*ci: * iqu*s

Applications
. Make an object of all items
in one category
. Add and remove groups of
absorbing panels by
changing the material to
match the wall
. Change audience occupancy
by changing material of part
or all seating areas

EASE Level 1- Training 3

Advanced Editing Techniques

ñH#tEt§# Advar:eed ECiting Teehniques

Applications
. Make an object of all faces
belonging to a particular
building detail
. Add and remove detail to
speed calculations when
needed
. Compare before and after
renovations with one
model

ffi#ilE*#J Acir,**ced Eriiti nq Teehn iq i:es

Applications
' Make an object of all faces
belonging to a particular
building detail
. Save object as an
independent entity
(separate from project)
. Add object to other projects
or repeated in same project
(e.g. columns)

EASE Level l Training 4

Advanced Editing Tech niq ues

Adveneed ñCiting T*ehn!qr:es

What are tables?

. Should be thought of as an abstract list of items
. Table windows display EASE items of a chosen kind:
Veñices, faces, listener seats, etc.
. Allow editing of multiple items at once
. Allow for easy viewing, editing, and for a quick overview

Á*va n e*,j E* i'ii i:q T*el: r¡ i -q u*s

Editirg Faces
Change multiple
faces to one
m ate ria I

"Color and material

coupled" tool allows
easy changing of
one material in the
model

EASE Level l Training 5

Advanced Editing Techniques

A.Jvane*d Edit! r':g Techn !q ues

Editirg Loudspeakers
. Extract loudspeaker mounting coordinates
' Change multiple speaker models or grouping

l§ ei h*pF 1*tl!=t!¿.!rg1. !§.il.i

El. úe tui fd. foók

ñffit ;1*r:*
=e**
Ed iri ng Teeh;": !q**s

Editirg Listener Seats

' Extract listener seat coordinates for comparable site
measurements
. Change multiple seats groupinq

Yés Y6 Ldt Lá .37.11 €5.16 391 1m0 00 A0

ve va lv* FiJh Eah 3711 .65.18 3s .rm.o 0.8 o0
ve ve lv* F¡h B¡h as6 .3§B 1s .rfl.0 [0 o0
Ye Ya f,Ye
-lYa H Lá '13.55 €.¡6 e91 1m0 00 O0
v* va lv* Bd Bd n5ñ ,s1.21 3.9¡ imo 00 o0

EASE Level l Training 6

I
EASE Ray Tracing

Geometrical Acoustics
. This approach ¡s correct as long as the dimensions of the
room are large compared to the wavelengths of interest
and if broadband s¡gnals are considered
, Geometrical acoustics is valid with sufficient accuracy in
large rooms above the Schroeder transitional cutoff
frequency f , = zooo,[Q /v)

CAD Models for Geometrical Acoustics

. Objects, surface corrugat¡ons, and other details that are
Geometrical Acoustics not large compared with the wavelengths of interest should
be excluded from CAD models and replaced by flat
surfaces with adequate acoustic properties
. This holds also for chairs and aud¡ence seats, for lights,
and for doorknobs
. Draw the room surfaces and the ¡nterior with a resoiution of
0.5 m, representing a wavelength scale corresponding to a
frequency of about 700 Hz

Geometrical Acoustics Curved Surfaces

In geometrical acoustics the description of the sound f¡eld is . Curves need to be turned ¡nto planes that create sufficient
' reduced to curvature but don't add a large number of add¡tíonal faces
- Energy . The approx¡mation of a cylinder with radius a by planes of
- Travel time w¡dth b is suffic¡ent if fb' = '"/ z is fulfilled
- Di¡ectign of rays

EASE Training
EASE Ray Tracing

Concept of Sound Particles

. Energy ¡s carried along the wave fronts
. Each part¡cle is a fundamental piece of a wave front
. For each part¡cle we can calculate the energy so we can
calculate the energy of the whole f¡eld by summing the
energies of the particles form¡ng the field
. Reflect¡ons can tje considered as surfaces absorb¡ng particles
and re-emitt¡ng one or more particles per absorbed particle
. Rays and particles are interchangeable concepts in th¡s context

Ray Tracing Impacts

. Impacts caught by a
Ray Tracing countíng balloon
. Large number of rays
req u ¡red
. Limited by
* T¡ME
- Order
- Energy loss

Ray Tracing
. Study reflect¡on patte ns

.
- No speciflc receiver Ray Tracing Methods
Lrmired by
- Trme
- Order
loss Rays rhat reflect oñ actlve faces (e g'
- Enerov
- -;
- §ouncafles
ceilrnq refle.tors)

EASE Training 2
EASE Ray Tracing

Impulse Response Calculations

Ray Tracing Process
+l
r lmage model (mirror image) . s¡mple ray trác¡ng 17>ilo+
/*.tl
- Slowér, mor€ accurate {with counting balloon) r loer¡¡m¡rtl I
- Ifme lncreá.éséxpoñénl¡alfy {Nuñber of - Faster, Iess aacuñte ' lREnrfrtrcll
facesi x {Ref l€ction order)

¿í

t
Mirror Image Process Ray Tracing Process
IU¡rror image method assumes plane,
smooth, pure geometrically reflecting . Ray tracing is used to locate valid mirror images
surfaces whose dimensions are large relative - Class¡cal ray tracíng method is perfqrmed
to the wavelenglh. - ¡f the counting balloon catches a ray at the ¡¡stener's location, then an
actu¿l m¡rror ¡mage exists
- All iñagé sources rithiñ a giveñ liñe l¡mit are
d€t€rmin¿d - This actual mirror imaqe is located by backtracing the captured ray
- Aftenuátion related to the ¡ñage sogrces is . Ray Tracing in EASE is performed w¡th random direction of
ápplied (spreádi.g lcss + boundary absorption rays
-
+elabsorptíonl
contributior oI r€al soürces añd image surces
. Accuracy approaches mirror irnage as number of rays
s1
¡re added with phase itrformation to build the ¡ncreases
suad pressüre field atthe i¡vestigated po¡nt

Potential Image Sources

, Potential image sources are
determined by mirroring sources Result Files
and lheir images about the
boundaries
. Actual image sources are those
which. in reality, can build a
source-l¡stener ray path

EASE Training 3
EASE Ray Tracing

EASE Ray Tracing Files

. Trace f¡les (.TRC)
- Sends rays in all directions Impulse Response Tail
- Studies all rays from loudspeaker
- No spec¡fic observation po¡nt (no Listener Seat)
- Stors paths, faces intersected, energy loss
- Used forgeneral reflection studies

EASE Ray Tracing Files EASE Ray Tracing - Tail

. Impact files (.MPC) . Ray tracing studies are typically limited in time to reduce
- Sends rays in all directions the computation t¡me
- Ktrps only rays that hit a selected Listener Seat . A tail is then added to the end of the ray trace to extend
- Stores paths, faces intersected, energy loss the time record
- Can be computed from .TRC fi¡e . Three approaches in EASE
- No tail
- Stat¡stical tail
- Predicted tail (introduced in EASE 4.0)

EASE Ray Tracing Files EASE Ray Tracing - Tail

' Response files (.RSP) Pulse prediction vs. tarl addrtion:
- Stores ampl¡tude, time, phase, d¡rect¡on - Dist¡¡gujshes geometric and energetic properties gf the response
- Discards path and face antersections - Corrects thinniñg-out for theoretlcal 'chance'
- View in Probe, transform for auralization - Refills ex¡sting response for smooth contiñuation
* Adapts pulse deñsity to particular room, not srñply {inear
- Does not require prescribed band levels or onset times
- Level d¡str¡but¡on ¡s Gauss¡añ instead ofexponential
- Time gap distribution is exponentíal (for both cases)
* Directional distribution is upward isotrop¡c (fo. both cases)

EASE Training 4
EASE 4 Overview

- Amplitude spectrum versus frequency

- Intelligibilitypred¡ct¡on
- LoG¡ reverbeÉtion time
- Energy/time data
- A¡qorithm to append statistical tail for post
p.ocessing
- Transfer algorithñ for auralization and
others

EASi lnirciúctic1 - Level 2 EASE irtrsduceo¡ - level 2

Room Entry AURA Mapping

. Simplified method of entering the room data, s¡milar to . More detailed than EASE Mapp¡ng
CAD drawing software - Late part of echogram computed instead of stat¡st¡cal
. Import/export routines of DXF/SKP-format files directly . Long calculation times
. Undo and redo buttons are available as well as insert and - Usually done after in¡tial information has been obtained w¡th EASE
Mapp¡rg
array Features . Additional metrics
. Comprehensivedatabases - Lateral information reta¡néd for LF and LFC
- Loudsp@ke§
- Materials

EASE Intrcdu€tio¡ - Level 2 ¡ASE isiroduction - Leve! 2

Ray Tracing AURA Response

Send¡ng rays (particles) out I More deta¡led than AURA Mapp¡ng
Following them until - Di.ectional ¡nformat¡on (not only lateral) fgr early part of response
- They have been reflected a . Produces an Impulse Response
number of times (order)
. Only performed at L¡stener Seats or Walker locat¡on
- A defined time has lapsed
- They have reached a spffific energy loss
- They have beeB bounced by a defined boundary
- They have been caught by a r4eiver (Ray Tracing Impacts)

EASE Training
EASE 4 Overview

ÉASE l¡trodudion - i evel 2

Auralization

EAS: Inircductlci - ievel 2

Case Studies
. Hish School auditorium
- Modeling during design process for rgom acoustis decision mak¡ng
. Historic Univers¡ty Classroom
- Modeling for re-design of acoustics and sound system
. Theater
- whatlqEto do io EASE modeling

EASE Training 2
o

a
Modeling of Elements for EASE Ray Tracing

liccielirg cl Eiemeflis:or Ray Trac;¡g

Absorption
. Most common absorption mechanism ¡s porous absorbers
. Sound waves lose energy due to frict¡on with pore§
- Typ¡cal: fabr¡cs, curtains, @rpets
- Most efficienti mineral wool, f¡berglass and open-cell foam
. In auditoria, major absorption comes from the clothed
audience and performers (90olo at mid-frequencies)
. Absorpt¡on coeffic¡ent can be measured in diffuse field
(reverberant chamber) or angle-dependent (impedance
tube)

Iodelinq ol E:eñents tor Ray ]iacing Mcdei:rg of Elemen:s fcr Ray Trac¡ng

Model Elements Absorption Coefficients in EASE

.
. In the simulation model the following
Diffuse field absorption coeffic¡ents are not appropriate for
non-homogeneous rooms, but they are most common
four elements need to be properly . Diffuse f¡eld absorption coefficients are not appropriate for
modeled early reflections where direction ¡s very important
- The energy ¡osses of the f¡rst reflfftions at thelr specific angles of
- Boundaries inc¡dence are not modeled preisely
- Medium . Absorption coefficients are measured at a specific sample
- Sources size but can be used in any size in the model, which is
inaccurate
- L¡steners
- A small area of absorber could have very high low frequency absorption
in the model

ilodeling of !or R¿y lr3cing yodeling of Elements for Ray Tra.ing

=iesenis

Absorption by Energy Loss

, Energy Loss
Modeling of Boundaries - The energy of the ray w¡ll be reduced as per the absorption
coefficient of the wall at each reflect¡on
- Slower but more accurate
- Good for t¡me measures, not for energy ratio measures

EASE Training 1,
Modeling of Elements for EASE Ray Tracing

{cdelng of Élements Jbr Ray fracing qodelinq of Eiements íor Ray Tracinq

Absorption by Particle Loss Specular versus Scattering

. Part¡cle Loss . Pure specular models are not capable of simulat¡ng
- The energy of the aay stays constant over ¡ts lifetime, but the number
of rays decreases with the time.
room sound fields accurately enough
- At each reflect¡on a random number in the set [0,1] ¡s selected aod . Hybrid models that can handle specular and diffuse
compared to the absorption coeff¡cient. If the number is less than the reflections for est¡mat¡ng the late reverberation
coefficient, the ray ¡s "swallowed", otherwise jt is reflected back ¡n the
room, spectrum are the solution to obta¡ning impulse
- Good for energy ratio measures, not for t¡me measures responses close to measurement results
- Itt faster but less accurate than energy loss un,ess a large number of
part¡cles are used

Modeli¡g of E¡erents fo. R?y Traci*E MoCeliig oa Elements fc¡ Ray Tracinq

Scattering Coefficient
. Scattering coefficient is the ratio of scattered energy to the
Modeling of Boundaries .
total reflected energy
Values of scattering coeff¡cients are not commonly
publ¡shed due to lack of measurements
. Scattering coeff¡cients can be estimated through the
structure dimensions and the wavelength

Scieli¡g ol Éiesents fcr Rav Tr¡c;ng Mode,in! oi Ei¿úents for R3y ?¿cing

Random-Incidence Scattering Coefficient

Geometrical Acoustics

* i ,

/'l( c/2o f'* c/2« f')) c/2tt

EASE Training 2
Modeling of Elements for EASE Ray Tracing

rcr Rav -tr¿cino Modelirg cf Ejements lo. Ray liacing

scattering a"";;;.;n'is Diffuse Rain

. Measured . More particles are generated when a ray h¡ts a face (using
scattering and absorption coeff¡c¡ents of face)
- Random-incidence scattering coeffic¡ents are not as ava¡lable as
.
absorption data Generated rays are not followed
- The measurement method recently standardized in ISo 17497, . Useful when specular rays would not get into parts of the
more information can be made available in the near future room
. Computed - Partially shadowed areas (theaters with deep under-balcony)
Generate coefficients based on material geometry us¡ng scatter¡ng - Coupled rgoms (side alcoves or reverberant rooms)
-
coeff¡cient w¡zard
- Est¡mate them using AFMG Reflex

$ode!ing of E¡eÉents for xay fiacirq McC€jiig ol Eierenis foi Ray fracirq

Scattering Coefficient Wizard

'* .
:." -'i :
Calculated
usingadefined
Modeling of Medium
geornetrY
. Cutoff

., j i ,
l

; j rffJ,?"'L""
:,' dimensions

llode:¡ng oi Eiesents fcr Ray Trac;ng SoJ€ilig oI:ieilenis lor Ray *a.ing

Scatterin S by Ray Tracing Modeling of Medium

¡ Scattering is modeled by selecting a random number in the . The mediúm in which sound waves propagate has two
set [0,1] at each reflection effects on them
- Ifthe number is less than the s€tter¡ng coefficient, the 6y shall be - It dete.mines the speed of propaqation
scattered - It absgrbs energy
- If the number ¡s larger than the scatter¡ng coefficient, the ray shall be
g@metrically reflected
. The new d¡rection of a scattered ray is determined ¡n a E : E ¿-"L:'"'*-.- \
random way using Lambert's law " roral kae'rs lime
// l"
Enersy ,*eves Ene.sy senr anlon .on.,"nr or,n

EASE Training 3
Modeling of Elements for EASE Ray Tracing

ror RaY ;ra' nq Modeii.g cf ¡lements for Ray Tracixg

Air Absoro;;;'"-enrs Directionality

. Spreading IOSS
. I ransportatron
. Attenuat¡on ¡s, in
qeneral, inverselY , It can be modeled as:
- Viscosity
;etated to the
humidity per€e¡tage - Constant ray energy with varying spatial ray dens¡ty
- Thermal
Propert¡es
for a g¡ven
f'equency
- Constant spatial ray density with varying ray energy
* Diffusioñ ' At a given humidity
. Relaxatron ol oerceñtage, high
irequencÉs aré
molecular gases attenuated more
than lgwer
frequencies

iloCeiiñg of E:esents ior Ray Tracing sodeiinq ol E1€menis foi Ray l--adng

Modeling of Sources

Modeling of Sources --:ff:-*-

\-<{¡t -------T...-----
(---- --l-- -------)
---=--_]_----
-

#cdeliñg ef E¡ements for Ray :racing Modding of 5!ements for Ray iac;ng

Modeling of Sources
. Modeling of sources must describe:
- Frequency-dependent radlated power Modeling of Listeners
- Frequency-dependent d¡rectionality

EASE Training 4
Modeling of Elements for EASE Ray Tracing

ilcdeling of:leñeni3 for Q3y Tf:clng

Modeling of Listeners
. Listeners are modeled as
counting balloons with a
finite d¡ameter
, The balloons have:
- Position in rcom
- Radius
- Or¡entation
- Frequency-angle-dependent
sens¡t¡vity
. Sensitlvity en be speciffed as
"diredioñ groupS"

EASE Training 5
Probe

PTOD€

Probe
. EASE allows the selection of multiple "probes" or
listener locations to display the following:
Amplitude spectrum versus frequency,
Intelligibility prediction,
Local reverberation time,
Energy/time data,
Algorithm to append statistical tail for post processing,
Transfer algorithm for auralization and others

EASE Training 1.
 Probe

Frobe

Reflectogram
SPLv¡.0e1¡y¿t !0SH¡
LeYdtül

80

60

1B

20
r*l Fifrt 9
Fror* L€{t 7 0
Oday 0

Delaflñsld,t r 72-610G

M P¡"cÉ:e

Highlight Pulses
SPl- vs. Delay at lHE Hz

i
I
L.
l-ronl HEtú: 5
i Frsrt Left 7
i Del¿y:0
I
6m '1200
I
i

I
Delaylmlafts 72.610m
!

EASE Training 2

I
Probe

Frobe

Activate Pulses

Probe

Phase Angles

EASE Training 3
Probe

Frobe

Frequency Response
Freqr¡ency Heponse [A re¡gh¡edl

F:",=b*

Hedgehog

EASE Training 4
Probe

Prabe

Schroeder RT
SPLm. Ddry¿t lffiHz

90
80
70
50
5B
40
30
20
10
0

Deky(mldts 72.610 m

Fr*be

Reverberation Time
stdÉ¡d T*á@ Rry lSFptE¡.|
Rffikeltul€l

EASE Training 5
Probe

Pc"obe
,

Pressure Levels

Prabe

Clarity Measures

EASE Training 6
Probe

P;'obe

MTF / STI

4 kH¿
? kHz

P;"**c

Add Predicted Tail

EASE Training 7
Probe

EASE Training 8
Analysis Utility for Room Acoustics

Trade-Offs
' Advantages in sound system modeling
- Reverberant level is more accurate, spsially fo¡ non-arrayed sou.ces
- Quantities der¡ved f.om reverberant fleld are more accurate
. Disadvantaqes
- Computat¡gns take much longer than EASE (because much more is
being computed)
- Addit¡ona¡ cost of AURA module

Mapping
i
Local Response (Auralizat¡on)
Aura Mapping Results
B ' EASE mapping EASE ray tracing
? reverberaüon - Parameters computed from echogram
- Di¡ec sornd + sutirical Dir€rt¡onal r€sponse áta seat
Opt¡onal stat¡st'.al or predided tail . Direct suad ' Center t¡ñe
. AURA mapping i AURA response . Total SPL . Lateral fraction
< - Direct wnd + computed reverbe.at¡on - Dkedional response ata eat . Ea.ly de@y time ' Lateral fraction coeff¡cient
$ - u*itua al.uaional irforñation - computed taíl . T1o, T2o, T3o ' Sound strength (G)
< . sff ==> ALCons
{later¡l coefficient only) , Anival tiae
. oefinition (D5¡) . Echo speech
. C* C* . Echo fiusic

AURA Mapping
. Often perforrned
AURA Mapping on Listener Seats
and not Audience
Areas due to
calculation times
and detail of
invest¡qation

EASE Training 7
Analysis Utility for Room Acoustics

AURA Mapping Process Number of Particles

. Computes echogram for receiver po¡nts
. Choose the lower settinqs for initial
¡nvestigations and h'gher for better
. Phase information is discarded when different sources are resolut¡on
combined in the echogram . H¡gher resolut¡on results in longer calculat¡on
. t¡mes
Puts arrivals ¡n 1 ms bins
,l
Lñu - t¡ávlL . When using low resolution run a second tame
to understand uncertainty (variation in the
r r*¡ ¡6+r,trslssrll+$leÉl I
results)
. Number of particles is selected by the
program ac€ording to the room
f-'"..' ' .- characteristics

AURA Mapping Process Length

All results der¡ved from echogr¿m . Automatically estimated using mean
- Compútes SfI using MTI derives free path and Sabine
0,6ALCons
. Use larger values for coupled rooms or
Map dispfays data computed from unevenly distributed absorption
*e d; ;,i
echograms -'.*{*k., * lf decay is cut too short some fietriG wi¡l be
Echogram can be viewed using ::¿ }, unreliable
view calculat¡on . -
*:+-*_'i;*+ . Larger lengths result in longer
calculation t¡mes

Scattering
Surface materials containing
AURA Mapping Parameters scattering coefficients not mod¡f¡ed
Default value of 20o/o for slightly
structured surfaces but 40olo
recommended in other cases
Scattering can sign¡ficantly affect
room acoustic metrics, check
sensitivity to different settings

EASE Training 2
Analysis Utility for Room Acoustics

Orientation Point Diffuse Rain ljses

i . Where listener is facing . [Jse for
. Choose a source device or source - Room w¡th coupled volumes
locat¡on - Room with uneven reverberant fie¡d
. Only used for LF and LFC metr¡cs - Faster good rsult with small number of part¡cls ¡n sp¿ces w¡th
high diffusion
. Do not use for
- Room w¡th very little diffusion (gym)
- Calculat¡on us¡ng a lot of particles

Particle loss Histogram

. Faster, but accuracy poor for few partlcles
. Good for energy ratio measure§/ not for time measures ' In the view ca¡culation w¡ndow
. For very ¡arge particle numbers it approaches the results the h¡stogram shows how many
obtained by the standard method particles are stored into each bin
- Should be at least 10 part¡cles per bin in
the part of the curue of ¡ntere:t
- lf iewet repeat the calculation w¡th

Diffuse rain AURA Mapping - Memory Needs

' Based on surface scattering . lMemory required] - [Data points]
. Adds a "rain" of scattered particles at each scattering
boundary
- Use w¡de gr¡d spacing in complex rooms

, - Use seats
Takes longer to compute r lMemory required] - flength]
, Use 1/10 the number of partic¡es that you would
otherwise (because ¡t's adding particles) Free disk space requirement
. For very large particle numbers results converge to - AURA generates an echogñm per loudsp€ker and stores on
hard disk for recombination
standard method
- In w¡f,dows "temp" location (set by oS)

EASE Training 3
Analysis Utility for Room Acoustics

AURA Mapping - Time Needs AURA Response Process

, Computing t¡me depends on . Computes impulse response for array of seats
. Primarily . Directional and precise t¡me ¡nformation available for early
. Loudspeake6 specular part
. Number of part¡c¡es . User-defined time bins for late and scattered part
. Length . All results derived from impulse response
. Secondarily - Computes ST! us¡ng MTF, derives oóALCons
. Faces (log) . Reflectogram can be viewed using Probe for room acoustics
. Data points (log, except for Diffuse Rain) analys¡s
. Computing time shorter for particle loss . Impulse responses used for auralizations

Impulse Response Computation

AURA Response ' Hybrid
computatron t_..
f
rmaseModer
X'.T!l1*l[oor,,n
in time BothDans
b--
Echogram

AURA Response Early Part: Image Model

r Level/ time, direction
' Is more prec¡se than AURA mapping
. Does not use b¡ns - precise time/phase computed
- Includes t¡me and directional ¡¡fomation for early part of
. Does not include scattering
respo¡se
. Achieves higher precision much faster than EASE Ray
' Good detail needed for aural¡zation

Tracing
- Hybr¡d method works faster
- Complted tail more natural and accurate than statistical taii

EASE Training 4
Analysis Utility for Room Acoustics

Late Part "Echogram"

. Reverberant field consisting on late specular reflections +
scattering
' Can also ¡nclude D¡ffuse Rain . H¡gher resolution results in longer calcuiation
, Does not include directional informat¡on .
times
When us¡ng low resolution run a second t¡me
. User defined time resolution (1-5 ms) to understand uncerta¡nty (variat¡on in the
. Spatial resolution dependent on receiver d¡ameter results)
. Number of part¡c¡es is selected by the
program according to the room
ch a ra cteri sti cs

Advanced Options
. Max. diameter after 1 s
AURA Response Parameters - Establishes angular resolution of
computation
- Diameter of counting ba¡loon
proportional to time (distance)
- Calculation time
- Set to diameter of smallest surface
of ¡nterest
- Set >5m, larger for large rooms

Basic Options Advanced Options

E '-

. Diffuse rain
-*. ; step or later
i. Select Listener - Specular reflections are
: seats, walker or followed, rain is not
: both - Ra¡n goes only to reverberant

i
Elt
*--=
I
-, -. -
'y--*4"
rtr
I
field echogram
*i
tE.-:i.r:*-ffi -* I - ¡
-1:r

EASE Training
Analysis Utility for Room Acoustics

AURA Response Files

. Sets gradual transition to echogram . Response files (.RSP)
(the computed tail)
- When does it stop keeping track of direct¡on - Stores amp¡itude, time, phase, direct¡on
- Eods dir(tional ray tracing (imaqe model) - Discards path and face intersections
- Use higher orders to see detail l¡ke flutter echo
Lower orders suitable if all walls have scatteriñg
- View in Probe, transform for auralization
-
- Use higher order for auralizat¡on > 15-20 good
- When using Probe to study room issues. use 5-7

Density Factor AURA Response Files

-a . Pulses/ms . Binaural impulse response files (.BIR)
- Uses a Head Related Transfer Function (HRTF) to add
d¡ffraction, shadow¡ng. and pinnae effects (very
rough), but not pinnae cues
- Can be computed from .RSP file

Tail Resolution AURA Response Files

. Width of b¡ns in ms . B-Format (.WAV)
- 1-10 p€rmitted, default is 5 - Group of sjqnals for Amb¡son¿s
- Smaller bias increases reflectogGm deta¡l and - "Three dimens'onal" sound
calculation t¡me
- lows ¡umber inc.eases auralizat¡on quality

EASE Training 6
Analysis Utility for Room Acoustics

AURA Response - Memory Needs AURA - Calculation Time

. When a computation takes too long
. Free disk space requ¡rement for response file
- There is no standard approach to shorteñing calculation times but you
- AURA geneEtes an impulse response per loudspeaker per seat ca¡ use experief,ce io decide
- Required ñemory proportional to Dens¡ty Factor
- shoften se hme ieflg$ whéf, ¡nvestigating oñ¡y the early paÉ
- Required memory proport¡onal to Tail Rsolutio¡ for low Cut Off orders - Us¿ p¿*icle ioss when looki¡g oñly ¿t en€rgy ratios
- In windows "temp" lGat¡on (set by O§) - Sw¡tch off remote ¡oudsp€kers wh¿. a¡áiyzing a spe.iñ. reg¡on olt¡e rcom
- Ux a co¿rser s€L qrid
- use fewér FÉicle§ lor early_*agÉ d*¡gns

AURA Response - Time Needs

. Computing time depends on
- Pr¡marily
. Loudspeakers
r ¡tumber of parti€les (Hax. diameter after 15 inverse)
. Lenqth
' CutoffOrder
. Seats
- Secondar¡ly
. Faces (tog)
. Diffuse Rain takes longer

Using AURA

EASE Training 7
I
Loudspeaker Formats in EASE - GLL Files

Loudspeaker )ata in ÉASE - GLL Files

GLL - Generic Loudspeaker Library

A newer, redesigned loudspeaker data file format
. The loudspeaker data file can be "built up" very much
like a real loudspeaker.
- SepaEte measurement data for each pass band (i.e. LF, MF, HF)
- SepaRte measurement data for crossover filte.s

, once a GLL is compiled (typically by the manufacturer) '

it cannot be mod¡f¡ed. This separates the creat¡on or
modification of a GLL from its use in pred¡ct¡on too¡s
like EASE.

lcudspeaker Daia in EASE GLL Fi1és Loüdspe¿ker Daia;n fASf GLL Fiies

Loudspeaker Database CLL Overview

The loudspeaker database is an open database.
. Generic Loudspeaker Library (GLL) for modeling of
- Multi-wayloudspeake6
Any manufacturer or user can create loudspeaker - Cdumn loudspéakers and steered coluúns
- Conventloñal line arrays
data files for EASE using measured data. - Loudspéakertluste6 and arays
- Flat parel toudsp€keF

. Data format to describe

- A6ustic prope(is, such as d¡rectív¡ty
- M{hanlcal propertiB, such ás rigging angles
- E¡edon¡c propertles, such as fi¡teÉ
- Fuñdional relationship b$wem parts

Lcudspeaker D¿t¿:n EASF - GLL Files Lclasr€3ker D¿i¿ i¡ EASE - Gi L liles

Loudspeaker §pes in EASE Motivation

Loudspeakers in EASE can be modeled as . Historically several constraints had to be considered when
. SPK file - s¡ngle-source data for a loudspeaker (older data creat¡ng loudspeaker data :
file) - Memory
. Cluster - a new SPK file created us¡nq SpeakerBase to - Performance
combine two or more separate SPK files (no longer needed) - Ava¡lable data acqu¡s¡t¡oñ methods
. FLA file - a loudspeaker array created using objeds in EASE
. DLL file - a GUI to conf¡qure an array of loudspeakers
. Older solut¡on (SPK file):
. - A loudspeaker device is repre*nted by a single a@ust¡c sr@ (po¡ñt ssrce)
GLL file - s¡nole-source or multi-source data for a loudsoeaker
w¡th improvedaccuracy compared to older SPK data (rei4rer - D¡redivity data in a fixed hbular furmat de*ribes the radiaüon charactqise
data frle format)

EASE Training L
Loudspeaker Formats in EASE - GLL Files

loudspeaker oata in EASE - GLL F¡les Loudspeáker Data in EASE - GLL Flles

Motivation GLL Structure: CLL Types

GLL Data File Format 3 Fundamental Types of GLLs
. Loudspeaker-type GLL - only s¡ngle box-fype allowed GLL
. With modern computers the limitations with memory and . Cluster-type GLL - muttiple boxes allowed to build clusters
data storage are no longer an issue. . L¡ne Array-type GLL - mu¡tiple boxes w¡th connector options
. Better loudspeaker measurement tools are now available. q,*,. (cL)
T 1",@d.'(Ls, -t
''T . -
. H¡gher resolution data (both spectral and spatial) are L Box lype
t
i

Box Type
required to accurately characterize some loudspeaker -' &x Type *
system (¡.e, line array devices). I
' gups

Loudspeak€r Data iñ EASE - GLI F¡les Loudspeaker Data 1n EASE GLi tiies

"Powering" an SPK in EASE CLL Structure: Box Typ"

Principle Object: Box Type
Efther the "Fw€ror Se t€ max¡mum S[ lñ a st¡glé
desír€d 5PL at I m cñ & hñ ÉS€ &tal lpows" ¡s ' one or ture ¿ou* $ures Ér6dE tuasürd dáE ($uré Ddofrim)
set fo. each l/3 @ee al¡o€td to a §¡rqlÉ band i§ . Input coffisu¡atsoE alltr rrele inM (intñál Fdve ñsff.) ¿nd
shtrn in blue (this ¡s not 6 multip,e inp6 (eÉamá¡crcsver/O*) tu üe sme hxtype (loúW¿ker)
tuqqenq rÉpn* curve). . cros$ver ñl@§, @ar :nd l€ds cn h *t úh¡n th€ @ for ffi idem¿l
fineB (Fsve or p@ed loudsFáke6) and É,@ál ñk6 (adlre
Maxiilumbblinpd
'porer"¿nd Curerttobl ñe?quency Gprsé .
¡rput'p*ed wlth Se Uu¡trpte bx tyF en be ¡ndudd ¡n tu smG[ ñle (du$er&l¡ne amy)
(91) tur the cuñent sings
Directivity Data: Source Definition
. Measurd iñpls ÉF* dab i§ bÉ in a h¡gñ reeluüon turmd
ftefrequsq qof,* w¡th
¡nput of'1 w to €.h 1/3 . f,q¡ble an$hr reslut¡or t§ bd trl Se r4lrffit ol a giw @vi@
o&ve band is sbwn i¡ (¡., 2., 5", le, 3O", oras")
. Máximñ ínpd yot+ ued b dé€mi.e mdmum fl
, 65 (ftn* tunó Sour.e) &h fil€

LoúC3pe¿ker D¿ta iñ EASE GtL Fires Lcüdspeaker Data ¡n EASE GLL F¡les

"Powering" aCLLin EASE GLL Application

qL
De d6¡r€d á6€nuab6
Hore
adu¿lly
the
GhlaEs the
eng¡ne
Calculating the Radiation from a GLL
from the max¡ñuñ SPL
€an h st ¡n th€ fl
lqn* of tb 6[, ffiE
do6 not know afiythiB
. Coherent system of sound sources
ÉBrstuódy&eh6E
aM fre *nst¡vlty or . Complex (vector) summation of data from all acoustic sources
mxñuñ ¡ntú wlta$ d
rk tuEv.¡ (sPLld¿ cLl
á *tkd&ñ- He G[. úffirq neithe. . F¡lters applied to each source before ¡ts contribut¡on to tñe
6e ssñvity, hquenry

l=
rsPn*, rcr tie maximum summation is considered
inPú orodpd is hown or

l="
ñe ff6M lwel as ¿
ffidfrqHry¡s
É@*l,@otatk
dffidkd
.l,@e@k(6r§.

EASE Training 2
Loudspeaker Formats in EASE - GLL Files

Loldspeaker Data i§ EASE - GLi Files Loucspeaker Data in EASE - GLL Fiies

GLL Application GLL Examples

Determining Shadowing I

-'-

Loudspoaker Data !n EASE _ GL! Fi¡es ioudspeaker D¿ta in EASE GiL Fi;es

GLL Application GLL Examples - Speakerlab

Shadowing and Raytracing
, considering all a@ustic sourcs ¡rdividually ñor Éytrad¡g
ad<l shádow¡¡g is computatio¡afly expeñsive (i.e. at a
slrcé spácing of 5 cm)
. 8ut: A tine arey of 5 m h€ight €¡@t be accurately
represefited by a 5¡ñ9le tBint soure

Feasible Approach for a Solution

. Obj* of an avqage box slze (i-e. 0.5 m) en fre used
¡ Compre the complex sum ¡n tuo *eps
- kffiúñ of $uft6 úS'n sch hx
'' Summlon
summüon of á[ the &xs
áll tne &xs so!.@s
, avituel Gatú Poiñt for each box ¡s used as a reference poi¡t Shaówhg
plint in tlle sood step for shadow¡ng and raytrac¡ag 6ld
€hlatiocs

Loüdspeaker Data ¡n :AS: - GL! Files

GLL Examples
3-Way Loudspeaker
' Act¡ve 3-way
. Act¡ve 2-vray
. Pas§ve

+1&F------}
EY;.
:** É
i -l
I

EASE Training 3
Loudspeaker Formats in EASE - GLL Files

lcldspeaker Data in EASE - GLL Files

GLL Examples

Loudspeaker Data in EASE - GLL F¡les

GLL Examples
Line Array

Lordspeaker D¿ta;n EASE - GiL i:!le9

SpeakerBase

Speaker Models

EASE Training 4
EASE Auralization

m A*i"eiiz=i¡*r:

AuraLization
r §umbers extracted from acoustic signals
represent an average impression
' Subjective sound event can only be covered by
a full auditory experience
. Perception, impression, interpretation, and
meaning of sound are not covered

EASE Training 7
EASE Auralization

m Au:railzation

AuraLization Process
. Obtain the Impulse Response of a linear system
. Convolve the Impulse Response with a Head Related
Transfer Function (HRTF) to produce a Binaural Impulse
Response (BIR) and save it as a .BIR file
. Convolve the Binaural Impulse Response with a .WAV sound
file to produce the Auralization
. Listen to the Auralization using headphones or near-field
monitors

m Ar-¡raiizetic*

Obtaining the l*pulse

Response
. Choose an observation point in the room
- Measure it using EASERA
- Compute it using the EASE rays module
- Compute it using AURA

EASE Training 2
EASE Auralization

Áuralizet!on

Why use AURA rather than

, Assumptions
EASE
- Early detail is more important than late detail
. The hybrid model used by AURA
- Computes a more precise, more detailed response
- Is more computationally complex
- Provides more detail faster
- Ignores less significant detail
- Computes the tail, but with less detail than early sound (uses ray
tracing, not statistical)

mil,il§xtq, Au¡-cl!zeti*n

Produce aBIR
Obtain it from a
Response file in
EARS or create it
directly in AURA

sR 6*ldt ib-l "'-

0@ ldal : 0
Hú

D@Vá¡dé91 0'-
ó"ryH"J t;

EASE Training
EASE Auralization

Aui-alizatio*

Convolve
. Combine BIR filter with dry
sound file using real-time
Lake Convolver or EARS
off-line convolver

Aurailz*ti*n

Listen
. Perform multiple convolutions for stereo
- Convolve and mix, then save the file
- Rinse, repeat
. Perform multiple convolutions for multi-channel
- Convolve and mix, then save the file
- Rinse, repeat
. Listen with headphones or near-field monitors

EASE Training 4
EASE Auralization

ffi Aura!izatior:

at is XTC?
Transaural filters for crosstalk cancellation
Designed for near-field loudspeaker playback
Not good for headphone playback
Very sensitive to head direction
Developed by Duane Cooper and Jerry Bauck

m Auralizei!*i:

In-Room Playback
. Large Rooms add their own signature
- What is in the playback roorn/system?
- What is in the model?

. Why near field Iistening works

- Listener hears room reflections at much lower level
- Loudspeakers must have good polar response
- Is improved by XTC

EASE Training 5
EASE Auralization

Auralization

Eqralize the System

. For most uses of EASE a flat response is not important
- We look at maps one frequency band at a time
. But "flat" response is important for Auralization
. It is now getting much easier to get there with EASE using
Speakerlab

Auraiiz*tion

2-Channel Stereo Convolution

. Split signal into left and right components
. Convolve left signal with system left channel BIR
- Both ears hear the left channel
. Convolve right signal with system right channel BIR
- Both ears hear the right channel
. Mix (add) the resulting wave files

EASE Training 6
o

0
Stafford: High School Auditorium

Staticrd: High Schocl Audilori!m

Three-octave SPL at 2KHz

ilru
&,q

a; ;

StafforC: High School Auditorium Steffo.dr -iqh School Audiicrism

High School Aud"itorium STI (ltJoise + Masking)

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&ád
.ffi
'i:
.i6

Si¿fford: !iigh Schcoi Auditori!B Stafio.d: High Schcol Aud¡iorium

Outline of the Process

. Build model to architect's specif¡cat¡ons
' Create scenarios to analyze:
- Before/After:
. Current condition (no panels)
. Added absorption
- Occupancy
. Unoccupied
. 5090 occuP,ed
. Fully occupied

EASE Training
Stafford: High School Auditorium

StafforC: lligh Schoo! Auditcrium Stafford: Hlgn S.hool AuCltorium

Outline of the Process (cont.) Absorption

. Create Standard Maps to understand general condit¡ons The object groüping the
. Add Seats to locations that are representat¡ve, worst-case.
top fafts ofceiling
refledors allos testine
or unusual
. Create AURA Maps in Seats absorption on the rear
ofth€ reflectol ThsE
. Compare RT across measured Seats 6re individual obje.ts
. Finding very homogeneous RT across Seats /ock Rf and for each reflector to
állow individua¡ t¡lting.
continue w¡th Standard Mapp¡ng These handles are oot

Staffcrd: iligh Schooi Auditoriüm

Fu1l occupancy-Half occupancy

3,000 ft2 of audience areas

Si¿fford il¡gh Schcoi Aud:ioriuñ

Absorption
The objeds eroüping
wall panels altow
chang¡ng bee€en
absorptile and regular
wall máteriál for
"befo.e and after"
: comparisoos. Rear
wall and s¡de walf
panels are álso
grouped sepaEtely
&.k @ll páñélr si¿ew.l,Fn.¡t

EASE Training 2
Shevlin : University Classroom

Sheviini Uslversity Ci¿ssroom

Initial Measurements
': RéverbeEtion Time Measurements

Sheviini University C¡assrooÉ

University Classroom Selection of Model Materials

S;reviin: UniveÉ¡ty Clássrcom Shevlin: Univers¡ty Ciassroom

Outline of the Process Comparison with Measurements

. Initial measurements
. Model
" Tuning
- Scattering
. Acoustic des¡gn
. Sound System design
. New Model
. New Measurements

EASE Training
Shevlin : University Classroom

Sheviin: U.ivers;ty Cl¿ssrocm Shevlin: University Cl¡ssroom

Before and After

4,.:.r.¡n.li'nd tU t16

%ófróom ¿r.á covered m p¿nels 2 9

Ior.labso.pt@'ngbi^.r ffi 1211

35 addit¡onal absorptive
panels: 640 ft,
NRC 0.85
Keep 184 ft2 ex¡stiñg panels

Shev:in i University Classrcom

Sheviic li¡iv..qilv Ci.§§inor

New Measurements
,=, . .

':li::::

EASE Training