KYAMBOGO UNIVERSITY

FACULTY OF ENGINEERING

DEPARTMENT OF MECHANICAL AND PRODUCTION

ENGINEERING

BACHELOR OF ENVIRONMENTAL ENGINEERING AND

MANAGEMENT

YEAR TWO (SEMESTER TWO)

POLLUTION CONTROL DESIGN

GROUP. 4

Task.

a) Explain the concept of noise pollution.

b) Explain the concept of sound propagation in gases (air), liquids, and solids.
c) What are Uganda’s standards and limits on noise pollution?

d) What are the noise control techniques? Explain.

NAMES REG NO SIGNATURE

TUHAISE ELVIN 24/U/EED/12062/PD

MAGUMBA MUSA 24/U/EEE/06931/PE

TSEMWAMI EVERTON 25/U/EED/00801/GV

NATUHWERA HAPPY 25/U/EED/05364/PD

LUYIGA BARBRA 25/U/EEE/05356/PE

SSEMWOGERERE DAVID 24/U/EED/1781/PD

JEFFERSON

SSENTONGO ANTHONY 24/U/EED/353/GV

MUYAMBI MARTIN 24/U/EED/225/GV

NANGALAMA JOEL 24/U/EED/09700/PD

OKURUT CHRISTOPHER 24/U/EEE/11051/PE

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NAKIMOLO IAN SAMUEL 24/U/EED/1412/PD

KYARISIIMA DOROTHY 25/U/EED/05354/PD

ECHULAU GERALD 24/U/EEE/04718/PE

OGWANG DANIEL
25/U/EEE/05368/PE
DESMOND

KASIRA MUHAMMAD 24/U/EEE/05660/PE

a) Explain the concept of noise pollution.
Noise pollution, often described as the “forgotten pollutant,” is now increasingly
recognized as a serious environmental and public health issue, both globally and in
Uganda. In Uganda, noise pollution is recognized as a form of environmental
pollution under the National Environment (Noise Standards and Control)
Regulations, 2003. Although sound perception is subjective, noise becomes
pollution when it is unwanted, persistent, or exceeds permissible limits, thereby
interfering with normal activities, rest, comfort, or public health

Figure: Types of environmental pollution identified by the respondents (multiple

responses).

Therefore, Noise pollution is unwanted or excessive or un-pleasant sound that can

have deleterious effects on human health and welbeing as well as wildlife, and
environmental quality. Noise pollution is commonly generated inside many
industrial facilities and some other workplaces, but it also comes from highway,
railway, and airplane traffic.

Noise is sound but when un-wanted, un-pleasant or un called for persived as noise
Sound waves are vibrations of air molecules carried from a source to the ear which
are typically described in terms of the loudness (amplitude) and the pitch
(frequency) of the wave. Loudness (also called Sound Pressure Level, or SPL) is
measured in logarithmic units called decibels (dB). The normal human ear can
detect sounds that range between 0 dB (hearing threshold) and about 140 dB, with
sounds bretween 120dB and 140 dB causing pain (pain threshold). SPLs decrease
with distance from the source.

The rate at which sound energy is transmitted, called sound intensity, is

proportional to the square of the SPL. Because of the logarithmic nature of the
decibel scale, an increase of 10 dB represents a 10-fold increase in sound intensity,
an increase of 20 dB represents a 100-fold increase in intensity, a 30-dB increase
represents a 1,000-fold increase in intensity, and so on. When sound intensity is
doubled, on the other hand, the SPL increases by only 3 dB. For example, if a
construction drill causes a noise level of about 90 dB, then two identical drills
operating side by side will cause a noise level of 93 dB. On the other hand, when
two sounds that differ by more than 15 dB in SPL are combined, the weaker sound
is masked (or drowned out) by the louder sound. For example, if an 80-dB drill is
operating next to a 95-dB dozer at a construction site, the combined SPL of those
two sources will be measured as 95 dB; the less intense sound from the compressor
will not be noticeable.

Frequency of a sound wave is expressed in cycles per second (cps), but hertz (Hz)
is more commonly used (1 cps = 1 Hz). The human eardrum is a very sensitive
organ with a large dynamic range, being able to detect sounds at frequencies as low
as 20 Hz (a very low pitch) up to about 20,000 Hz (a very high pitch). The pitch of
a human voice in normal conversation occurs at frequencies between 250 Hz and
2,000 Hz.

Precise measurement and scientific description of sound levels differ from most
subjective human perceptions and opinions about sound. Subjective human
responses to noise depend on both pitch and loudness. People with normal hearing
generally perceive high-frequency sounds to be louder than low-frequency sounds
of the same amplitude. For this reason, electronic sound-level meters used to
measure noise levels take into account the variations of perceived loudness with
pitch. Frequency filters in the meters serve to match meter readings with the
sensitivity of the human ear and the relative loudness of various sounds. The so-
called A-weighted filter, for example, is commonly used for measuring ambient
community noise. SPL measurements made with this filter are expressed as A-
weighted decibels, or dBA. Most people perceive and describe a 6- to 10-dBA
increase in an SPL reading to be a doubling of “loudness.” Another system, the C-
weighted (dBC) scale, is sometimes used for impact noise levels, such as gunfire,
and tends to be more accurate than dBA for the perceived loudness of sounds with
low frequency components.

Noise levels generally vary with time, so noise measurement data are reported as
time-averaged values to express overall noise levels. There are several ways to do
this. For example, the results of a set of repeated sound-level measurements may be
reported as L90 = 75 dBA, meaning that the levels were equal to or higher than 75
dBA for 90 percent of the time. Another unit, called equivalent sound levels (Leq),
can be used to express an average SPL over any period of interest, such as an eight-
hour workday. (Leq is a logarithmic average rather than an arithmetic average, so
loud events prevail in the overall result.) A unit called day-night sound level (DNL
or Ldn) accounts for the fact that people are more sensitive to noise during the
night, so a 10-dBA penalty is added to SPL values that are measured between 10
pm and 7 am.

Effects on humans and wildlife

Noise is more than a mere nuisance or more than just unpleasant. At certain levels
and durations of exposure, it can cause physical damage to the eardrum and the
sensitive hair cells of the inner ear and result in temporary or permanent hearing
loss, known as noise-induced hearing loss. Hearing loss does not usually occur at
SPLs below 80 dBA (eight-hour exposure levels are best kept below 85 dBA), but
most people repeatedly exposed to more than 105 dBA will have permanent
hearing loss to some extent. In addition to causing hearing loss, excessive noise
exposure can raise blood pressure and pulse rates, cause irritability, anxiety, and
mental fatigue, and interfere with sleep, recreation, and personal communication.
Children living in areas with high levels of noise pollution may suffer from stress
and other problems, such as impairments in memory and attention span. Noise
pollution control is therefore important in the workplace and in the community.

Noise pollution also impacts wildlife. A wide range of animals, including insects,
frogs, birds, and bats, rely on sound for a variety of reasons. Noise pollution can
interfere with an animal’s ability to attract a mate, communicate, navigate, find
food, or avoid predators and thus can even be an existential threat to vulnerable
organisms. The problem of noise pollution is especially serious for marine animals,
particularly those that rely on echolocation, such as certain whales and dolphins,
and much of the world’s oceans are polluted with chaotic sounds from ships,
seismic tests, and oil drills. Some of the loudest and most detrimental sounds in the
sea are from naval sonar devices, whose noise can travel hundreds of miles through
the water and is associated with mass strandings of whales and dolphins.

b) Explain the concept of sound propagation in gases (air), liquids, and solids.
The word sound is used to describe two different things:

1. An auditory sensation in the ear.

2. The disturbance in a medium that can cause this sensation.

Sources of sound
Sound can be produced by a number of different processes, which include the
following.
1. Vibrating Bodies; When a drumhead or a piano soundboard vibrates, it
displaces the air next to it and causes the local air pressure to increase and
decrease slightly.

These pressure fluctuations travel outward as a sound wave. Vibrating bodies are
the most familiar sources of sound.

2. Changing airflow; When we speak or sing, our vocal folds (cords)

alternately open and close so that the rate of air flow from our lungs increases
and decreases, resulting in a sound wave. Similarly, a vibrating clarinet reed or
the lips of a brass player cause a changing airflow into a clarinet or a trumpet.
 Air flowing through a screen or a grill produces a sort of hissing noise. An
extreme case of changing airflow is a siren, in which holes on a rapidly rotating
plate alternately pass and block air from a compressor, resulting in a very loud
sound.

3. Time-dependent heat sources; An electrical spark produces a crackle; an

explosion produces a bang due to the expansion of the air caused by its rapid
heating. Thunder results from rapid heating of air by a bolt of lightning.

4. Supersonic flow; Shock waves result when a supersonic airplane or a

speeding rifle bullet forces air to flow faster than the speed of sound.

Sound propagation
Sound propagation is the process by which sound waves travel through a
medium such as air, water, or solid materials from a sound source to a listener or
receiver.
Sound propagation depends on:
 The medium (sound cannot travel in a vacuum),
 Physical properties of the medium (density, elasticity, temperature),
 Distance from the source, and
 Environmental effects such as reflection, absorption, diffraction, and
refraction.
Sound transmission varies significantly across solids, liquids, and gases due to
differences in the density and molecular structure of these mediums. In solids,
sound travels as mechanical waves through a tightly packed lattice of particles,
allowing for faster and more efficient transmission due to the strong intermolecular
forces.
Liquids, with their looser molecular arrangement, also support sound waves but at
slightly slower speeds compared to solids, as particles move more freely. In gases,
sound propagation is the slowest because the widely spaced molecules require
more time to transfer energy, resulting in lower density and reduced wave speed.
sound propagation in solids
Sound transmission in solids occurs through elastic vibration of tightly bonded
particles, allowing energy to move very efficiently. Due to high stiffness, sound
travels much faster in solids than in air or liquids (about 5,940–5,960 m/s in steel),
a principle fundamental to seismic wave propagation and structural safety studies.
In engineering and environmental design, this knowledge is essential for noise and
vibration control. Dense materials such as concrete and masonry are used to limit
structure-borne noise, with performance assessed using Sound Transmission Class
(STC) ratings. However, high transmission efficiency can cause resonance and
excessive vibrations, so damping and isolation systems are applied in buildings,
bridges, and machinery.
Overall, sound transmission in solids underpins noise mitigation, seismic resilience,
and sustainable infrastructure, requiring careful control of vibrations.

Sound propagation in liquids

Sound travels through liquids by particle vibration, where molecules oscillate back
and forth, creating compressions and rarefactions. Because liquid particles are
closer together than in gases, sound moves faster—about 1,480 m/s in water
compared to 343 m/s in air. However, it is slower than in solids due to less rigid
molecular bonding.
The speed and effectiveness of sound in liquids are influenced by temperature,
pressure, and salinity, with seawater transmitting sound faster than freshwater.
Highfrequency sounds attenuate quickly, so low-frequency waves are preferred in
underwater communication, sonar, and marine research. These properties make
liquids essential in underwater acoustics, environmental monitoring, and medical
ultrasound imaging, where efficient and predictable sound transmission is required.

Sound propagation in gases (air)

Sound travels through gases as longitudinal pressure waves produced by alternating
regions of compression and rarefaction. When a vibrating source disturbs air
molecules, they oscillate back and forth parallel to the direction of wave travel,
transferring energy without net movement of the gas itself.
Because gases have low density and weak intermolecular forces, sound travels
more slowly and attenuates more easily than in liquids or solids. In air at 20 °C, the
speed of sound is about 343 m/s, and it increases with temperature and humidity
due to faster molecular motion.
Overall, sound transmission in gases is less efficient and more sensitive to
environmental conditions, which is why sound spreads and weakens rapidly in
open air compared to transmission in liquids or solids.

Experiment: Comparing Sound Propagation in Solids, Liquids, and Gases

Apparatus
• Tuning fork (≈256 Hz • Large container filled • Stopwatch (or
or similar) with water smartphone audio
• Rubber mallet (liquid) recorder)
• Long metal rod or • Measuring tape • Notebook for
metal table (solid) observation

Experimental Procedure
Part A: Sound Propagation in Gas (Air)
1. Strike the tuning fork gently using the rubber mallet.
2. Hold it near your ear in open air.
3. Measure a short distance (e.g., 2–5 m) between the tuning fork and a
listener.
4. Note: o the loudness, o clarity, o time delay (if using audio recording).
Observation:
Sound is audible but comparatively weak and slow to reach distant points in air.
Part B: Sound Propagation in Liquid (Water)
1. Strike the tuning fork again.
2. Lightly touch the vibrating prongs to the surface of water (do not immerse
fully).
3. Observe the water surface. Observation:
• Clear ripples form on the water surface.
 • Vibrational energy transfers efficiently.
• Sound is transmitted more strongly than in air.
This demonstrates that liquids transmit sound faster and with less energy loss than
gases.
Part C: Sound Propagation in Solid (eg Metal)

1. Place one end of the metal rod (or your ear against a solid table).
2. Strike the other end with the tuning fork or tap gently.
3. Compare the sound heard through the solid with that through air.
Observation:
• Sound reaches the ear almost instantly.
• Sound is noticeably louder and clearer through the solid.
This confirms that sound propagates most efficiently in solids due to their high
elasticity and close particle spacing.
Results Summary

Medium Relative Speed Transmission Quality

State of Matter

Air Gas Slowest (~343 m/s) Weak, high attenuation

Water Liquid Medium (~1,480 m/s) Strong, moderate loss

Metal Solid Fastest (>5,000 m/s) Very strong, low loss

In conclusion
Sound travels at different speeds depending on the medium: fastest in solids,
slower in liquids, and slowest in gases. In solids, tightly packed particles allow
vibrations to move rapidly (often >5,000 m/s), as seen in seismic waves or sound
traveling through railway tracks. In liquids, sound travels at about 1,500 m/s in
water—faster than in air but limited by density and compressibility—enabling
long-distance underwater communication. In gases, widely spaced particles result
in slow transmission (about 343 m/s in air), explaining delays like thunder
following lightning.
As sound travels, its energy decreases due to absorption and scattering. Solids lose
energy through internal friction, liquids through viscosity and thermal absorption
(especially at high frequencies), and gases through molecular collisions and
turbulence. High-frequency sounds attenuate fastest, so low frequencies are used
for sonar, underwater communication, and long-range transmission. Understanding
both speed and energy loss allows engineers to design effective systems for
acoustics, medical imaging, noise control, and communication.

An instrument used to measure sound by engineers is called sound level meter

(SLM).
What is a sound level meter (SLM)?
A sound level meter (SLM), also known as a sound pressure level meter, is a
handheld device designed for precise sound measurements. It consists of a
microphone with a windscreen, a preamplifier, a signal processor, and a display.
SLM measures the sound pressure level (SPL) in Pascals and converts it into
decibels (dB).
How does the sound level meter work?

• A sound level meter detects air pressure changes caused by sound waves
moving its microphone membrane.
• These mechanical movements are converted into analog electrical signals,
which are then amplified and converted to digital signals by the meter’s
analog-to-digital (A/D) converter.
• The result is digital data displayed in decibels (dB) and can be stored for
further analysis. This allows the sound meter to measure instantaneous sound
levels (SPL, Peak), as well as continuous or equivalent continuous sound
levels (Leq).
c) What are Uganda’s standards and limits on noise pollution?
• Decibel (dB): A dimensionless logarithmic unit used to compare the
magnitude of sound pressure or sound power.
• dB(A) (A-weighted decibel): A decibel measurement adjusted to reflect the
sensitivity of the human ear, especially for quiet and moderate sounds. It is
the standard unit used in environmental noise assessment.
1) General Environment (Outdoor Areas)
The general environment standards apply to outdoor noise to which the public may
be exposed. The day and night periods are defined to reflect human activity and
resting times:
• Day: 6:00 am – 10:00 pm
• Night: 10:00 pm – 6:00 am
Lower limits are set at night because people are more sensitive to noise during
sleep.
Permissible Noise Levels
• Hospitals, schools, libraries, and higher learning institutions:

▪ 45dB(A) during the day

▪ 35dB(A) during the day
These areas require quiet to protect patients, students, and users of learning
facilities.
• Residential areas: 50dB(A) day and 35dB(A) night

This ensures a peaceful living environment and minimizes sleep disturbance.

• Mixed residential with commercial or entertainment activities:
55 dB(A) day and 45dB(A)night

Slightly higher limits are allowed due to economic activities, but noise must still be
controlled.
• Residential areas with small-scale industry or commerce:
60 dB(A) day and 50dB(A) night

This reflects increased activity while still protecting

residents.

• Industrial areas: 70 dB(A) day 60 dB(A) night

Higher levels are allowed because industrial activities inherently generate more

noise.

2) Factories and Workshops (Occupational Exposure)

These standards protect workers from prolonged exposure to harmful noise.
• A maximum of 85 dB(A) is allowed for 8 hours per day (40 hours per week).
• If noise levels increase, the permitted exposure time must be reduced. For
example:

88dB(A) → 4hours .

Higher levels →progressively shorter durations.

 • Additional limits:
o Offices: 50 dB(A), to enable concentration and communication.
o Factory/workshop compounds: 75dB(A), to protect
nearby communities.
3) Impact or Impulsive Noise
Impact or impulsive noise includes sudden, short duration sounds such as
hammering, explosions, or metal impacts.
• 140 dB(A): Maximum of 100 impulses per day
• 130 dB(A): Maximum of 1,000 impulses per day
• 120 dB(A): Maximum of 10,000 impulses per day
Although short in duration, these sounds can cause instant hearing damage, so both
sound level and frequency are regulated. 4) Construction Sites
Construction is a major noise source, especially in urban areas. Limits depend on
the surrounding land use:
• Residential zones: 60 dB(A) day, 40 dB(A) night

• Commercial zones: 75 dB(A) day, 50 dB(A) night

• Industrial zones: 85 dB(A) day, 65 dB(A) night

This ensures construction activity does not excessively disturb nearby communities.

5) Places of Entertainment
These include bars, clubs, cinemas, and similar venues using amplified sound.
• Residential areas: 60 dB(A) day / 40 dB(A) night
• Commercial areas: 75 dB(A) day / 50 dB(A) night
• Industrial areas: 85 dB(A) day / 65 dB(A) night
Stricter limits apply at night to prevent sleep disruption.

6) Places or Areas of Worship

Places of worship (churches, mosques, temples) are subject to the same noise limits
as entertainment places, depending on:
• The zone (residential, commercial, industrial)
• The time of day (day or night)
This balances freedom of worship with the right to a quiet environment.

7) Vehicles (Accelerating Noise)

Vehicle noise is regulated to control traffic and transport-related pollution.
• Passenger and goods vehicles are limited to approximately 78–84 dB(A).
• The exact limit depends on:

o Vehicle type o Gross weight o Engine

power
These standards help reduce road traffic noise in urban areas.

8) Mines and Quarries

Mining and quarrying involve blasting and heavy machinery, producing very high
noise levels. Therefore, limits are measured in dB(C), suitable for loud,
lowfrequency sounds.
• Near hospitals, schools, or residences: 109 dB(C)
• Mixed residential, industrial, or commercial areas: 114 dB(C)
These limits aim to reduce risks of structural damage and human harm.

d) What are the noise control techniques? Explain.

The terms silencing and soundproof are widely used but can be misleading. Both
imply the complete elimination of noise, which is generally neither possible nor
desirable. Instead, the goal is to reduce noise to levels that do not harm the health
and well-being of those who live and work in a given environment.
 1. Analysing a noise problem: the source–path–receiver model

A practical and effective way to address a noise control problem is to divide it into
three fundamental components: the source, the transmission path, and the
receiver.
a) Control at the Source
In many cases, noise emissions can be reduced through simple and practical
modifications, such as:
• Installing resilient mounts.

• Damping vibrating panels.

• Reducing airflow velocities.

b) Control Along the Transmission Path
Once reasonable efforts have been made to control noise at the source, the next
strategy is to reduce sound transmission along its path from source to receiver.
This can be achieved by:
• Absorbing sound energy along the transmission path.
• Reflecting sound back toward the source using barriers.
• Eliminating or sealing alternative transmission paths that allow sound to
bypass control measures.
c) Control at the Receiver
When noise reduction at the source or along the transmission path is insufficient,
measures can be applied directly to protect the receiver. These measures include:
• Using ear protectors.
• Limiting the duration of exposure to noise.
• Operating noisy equipment remotely from within sound-attenuating
enclosures.
• Applying masking noise to reduce annoyance from pure tones or nearby
conversations.

2. Licensing of Noise Above Permissible Levels

Where an activity is likely to emit noise above the permissible levels, the
occupier or owner of the premises must apply for a licence to emit excess noise
from NEMA.
 Licence Conditions May Include
 Duration and time of the noise emission
 Maximum noise levels allowed
 Noise mitigation measures to be implemented
Operating without a licence or violating licence conditions is an offence

3. Exposure to Occupational Noise

Occupational noise exposure is common in industrial and factory environments
where many workers are subjected to high noise levels. Noise exposure is assessed
using a noise dose concept, which combines sound level and duration of exposure
over time. If the combined exposure exceeds permissible limits, employers are
required to take action. Acceptable controls include:
 Reducing noise exposure time,
 Providing hearing protection,
 Implementing hearing conservation programs to test and protect workers’
hearing.
Overall, occupational noise regulations aim to prevent long-term hearing damage
by controlling both the intensity and duration of noise exposure in the workplace.

4. Walls and Floor

Walls control noise mainly through sound insulation and sound absorption.
a) Blocking Airborne Sound (Sound Insulation)
Heavy, dense walls (such as concrete, brick, or masonry) reduce noise by resisting
sound wave transmission.

The greater the mass, the better the wall blocks sound (this is known as the mass
law)
Examples:
 Brick or concrete walls between buildings
 Thick block walls next to roads or industries
b) Absorbing Sound Within Rooms
Walls lined with sound-absorbing materials reduce sound reflections and echo.
Common materials include:
 Acoustic panels
 Mineral wool
 Foam tiles
 Fabric-covered boards
c) Reducing Sound Transmission Between Rooms

Double-layer walls or cavity walls with air gaps and insulation reduce sound
passing from one room to another.
Resilient channels or isolated studs prevent vibrations from travelling through the
structure.
Floors mainly control impact noise and vibration transmission.
a) Reducing Impact Noise
Impact noise is caused by:
• Footsteps
• Dragging furniture
• Dropping objects
Control methods include:
• Carpets and rugs (with underlay)
• Resilient floor coverings (rubber, cork, vinyl)
• Floating floors (floor slab separated by resilient layers)
b) Limiting Structure-Borne Sound
• Vibrations can travel through floors into walls and other rooms.
• Resilient layers (rubber mats, foam pads) placed between the floor slab and
finish reduce vibration transmission.
Suspended ceilings below the floor can also help.
Combined Wall–Floor Noise Control
The best noise control occurs when walls and floors work together, such as:
 • Floating floors connected to sound-insulated walls
• Sealed wall–floor joints to prevent sound leaks
• Avoiding rigid connections that transmit vibration

5. Barriers- indoors and outdoors

Sound travels in waves. When a barrier is placed between the source and the
receiver, it
• Blocks the direct path of the sound, • Reflects part of the sound
back toward the source,
• Reduces the sound level behind the barrier (this reduction is called sound
attenuation).
Indoor Noise Barriers
Indoor barriers are used to control noise inside buildings. Examples
• Partition walls in offices
• Enclosures around noisy machines
• Acoustic screens in factories
• Barriers in classrooms, hospitals, or studios

How They Reduce Noise

• Block airborne noise such as speech, machinery, and music

• Enclose the noise source, preventing sound from spreading

• Often combined with sound-absorbing materials to reduce reflections
Common indoor uses:
• Factories and workshops
• Offices and call centres
• Hospitals and schools

Outdoor Noise Barriers

Outdoor barriers are used to control noise in open environments. Examples
• Highway noise walls
• Barriers along railways
Fences around industrial sites
• Screens near generators or construction sites
How They Reduce Noise
• Block direct line-of-sight between source and receiver
• Reflect traffic or industrial noise away from residential areas
• Reduce community noise exposure

Common outdoor uses:

• Roads and highways
• Rail corridors
• Airports (ground operations)
• Construction sites

Factors That Affect Barrier Effectiveness Barriers work best

when they are:
• Tall and wide enough to fully block the sound path
• Made of dense, heavy materials (concrete, brick, metal)
• Placed close to the noise source or the receiver
• Properly sealed (no gaps at the bottom or sides)

6. Enclosures
Enclosures control noise pollution by surrounding a noise source with sound-
insulating and sound-absorbing materials, thereby preventing sound from
spreading into the surrounding environment. An enclosure works by:
• Containing the noise at its source,
• Reducing the amount of sound energy escaping, and
• Absorbing sound inside the enclosure to prevent reflection and buildup.
How Enclosures Reduce Noise a) Blocking Sound Transmission
• Enclosures are made of dense, rigid materials (metal panels, concrete,
composite boards) that resist sound vibration.
This prevents airborne sound from passing through the enclosure walls.
Effective for high-noise machinery and equipments.
b) Absorbing Internal Sound
• Inside surfaces are lined with sound-absorbing materials such as foam,
mineral wool, or fiberglass.
• These materials absorb sound energy and reduce internal reflections.
Prevents sound from amplifying inside the enclosure.

c) Isolating Vibrations
• Machines inside enclosures are often mounted on resilient supports to
minimize vibration transfer to the structure.
• This reduces structure-borne noise escaping through floors or walls.
Controls both airborne and vibration-based noise.
Types of Noise Enclosures

Indoor Enclosures Outdoor Enclosures

• Machine housings in factories • Generator sheds

• Generator rooms • Engine containers
• Compressor and pump • Enclosures around construction
enclosures or industrial equipment

7. Sound Absorbers
Sound absorbers control noise pollution by absorbing sound energy instead
of allowing it to reflect, thereby reducing noise levels, echoes, and
reverberation in a space. They are mainly used to improve acoustic comfort
rather than block sound completely.
Common sound-absorbing materials include:
• Acoustic foam
• Mineral wool
• Fiberglass
• Fabric-covered panels
• Perforated boards with backing insulation
• Carpets and curtains
These materials are usually soft, porous, and lightweight.
When sound hits a hard surface, it is reflected back into the space, increasing noise
levels.

Sound absorbers work by:

• Converting sound energy into heat through friction within porous materials,
• Reducing reflections and echoes, and
• Lowering overall noise levels inside enclosed spaces. How Sound
Absorbers Control Noise Pollution
a) Reducing Reverberation and Echo
• Absorbers reduce the buildup of reflected sound in a room.
• This makes spaces quieter and improves speech clarity. Useful in
classrooms, offices, auditoriums, hospitals, and homes
b) Lowering Indoor Noise Levels
i. Absorbers reduce the overall loudness by preventing sound from bouncing
repeatedly.
ii. They help control noise from conversations, machinery, and equipment.
iii. Improves working and living conditions

c) Improving Worker and Occupant Comfort

• Reduced noise lowers stress and fatigue.
• Enhances concentration and communication.
Important in industrial, educational, and healthcare environments

Indoor and Outdoor Use of Sound Absorbers

Indoor Applications
• Absorptive panels on
• Wall and ceiling acoustic
enclosures
panels
• Suspended acoustic ceilings • Covered walkways
• Carpets and soft furnishings and underpasses
Outdoor Applications
• Sound-absorbing linings on
noise barriers
Key References
• Fahy, F. J., & Walker, J. G. (1998). Fundamentals of Noise and Vibration. E
& FN Spon.
• Engineering Toolbox. (2025). Speed of Sound in Solids and Metals.
• Chintapalli, S. N. R. (2024). Building Acoustics and Noise Mitigation.
• Acoustical Surfaces. (2025). Understanding Sound Transmission Class (STC)
Rating.
• Hall, D. E. (2019). Musical acoustics: An introduction (3rd ed.). Cengage
Learning.
• Rossing, T. D., Moore, F. R., & Wheeler, P. A. (2002). The science of sound
(3rd ed.). Addison Wesley.
• Urick, R. J. (1983). Principles of underwater sound (3rd ed.). McGraw-Hill.
• Bies & Hansen – Engineering Noise Control: Theory and Practice
The National Environment (Noise Standards and Control) Regulations, 2003.