{"id":1648,"date":"2015-12-02T16:37:34","date_gmt":"2015-12-02T16:37:34","guid":{"rendered":"https:\/\/www.moderco.com\/?p=1648&lang=fr"},"modified":"2025-11-06T13:18:27","modified_gmt":"2025-11-06T13:18:27","slug":"beautiful-noise-ou-est-il","status":"publish","type":"post","link":"https:\/\/www.moderco.com\/fr\/beautiful-noise-ou-est-il\/","title":{"rendered":"\u00abBEAUTIFUL NOISE\u00bb OU EST-IL?"},"content":{"rendered":"

Neil <\/span>Diamond <\/span>a \u00e9crit et <\/span>interpr\u00e9t\u00e9<\/span> une chanson intitul\u00e9e \u00ab <\/span>Beautiful Noise<\/span>\u00bb<\/span>. <\/span>Pour plusieurs, le son ou le bruit est beau<\/span>, paisible, calmant et agr\u00e9able. <\/span>Pour d\u2019autres, i<\/span>l est ennuyant, d<\/span>\u00e9rangeant<\/span>, g\u00eanant, intrusif et <\/span>devient <\/span>quelque chose <\/span>\u00e0 <\/span>\u00eatre \u00e9limin\u00e9<\/span>e<\/span> ou<\/span> \u00e0<\/span> co<\/span>ntr\u00f4l<\/span>er<\/span>.<\/span>\u00a0<\/span>Que ce soit <\/span>l\u2019<\/span>un ou l\u2019autre, cela d\u00e9pend <\/span>de l’endroit et des circonstances mais <\/span>en ce qui concerne les <\/span>cloisons <\/span>mobiles, c\u2019est toujours le dernier choix qui pr\u00e9vaut<\/span>: quelque chose <\/span>qui doit <\/span>\u00eatre contenu<\/span>e<\/span> et co<\/span>ntr\u00f4l\u00e9<\/span>e<\/span>, beau ou pas. <\/span>La premi\u00e8re <\/span>caract\u00e9ristique la plus demand\u00e9e et la plus sp\u00e9cifi\u00e9e concernant un mur s\u00e9parateur, c\u2019est le \u00ab son \u00bb<\/span>\u00a0<\/span>et comment <\/span>en minimiser <\/span>le<\/span> transfert<\/span>\u00a0<\/span>\u00e0 travers ou autour d’une cloison<\/span>.<\/span>\u00a0<\/span>Le<\/span> but d<\/span>e<\/span> ce <\/span>document et <\/span>des <\/span>documents qui vont suivre est <\/span>d’examiner le \u00ab <\/span>son<\/span> \u00bb \u00e0 savoir<\/span>\u00a0<\/span>qu\u2019est-<\/span>ce qu<\/span>e c\u2019est<\/span> et comment une cloison <\/span>mobile et sa construction <\/span>environnante <\/span>peuvent <\/span>participe<\/span>r<\/span> \u00e0 <\/span>le retenir avec succ\u00e8s <\/span>dans un espace d\u00e9fini.\u00a0<\/span><\/p>\n

\u00a0<\/span>Laissez-moi dire<\/span>\u00a0<\/span>au d\u00e9part, <\/span>qu\u2019il n\u2019y a aucune cloison mobile <\/span>qui est \u00ab insonoris\u00e9e \u00bb. Quand je<\/span>\u00a0<\/span>dis \u00ab insonoris\u00e9<\/span>e<\/span> \u00bb<\/span>, je parle de la croyance qui <\/span>signifie<\/span>\u00a0<\/span>que la cloison arr\u00eatera tou<\/span>s les transferts d<\/span>e son<\/span>\u00a0<\/span>qui se feront <\/span>d’un c\u00f4t\u00e9 \u00e0 l’autre. Il est <\/span>d\u00e9j\u00e0 <\/span>difficile d<\/span>\u2019insonoriser<\/span> un mur permanent<\/span>; il est impossible <\/span>d\u2019insonoriser <\/span>un <\/span>\u00ab mur qui <\/span>se d\u00e9place \u00bb.<\/span>\u00a0<\/span>Alors nous sommes confiants que les informations suivantes aideront \u00e0 expliquer <\/span>ce ph\u00e9nom\u00e8ne.<\/span><\/p>\n

Qu\u2019est-ce que le son?<\/span><\/strong><\/span><\/p>\n

Le son, dans le cas pr\u00e9sent, est<\/span> le mouvement de l’\u00e9nergie<\/span> produite (le son), g\u00e9n\u00e9r\u00e9e<\/span>\u00a0<\/span>dans<\/span> l’air (<\/span>moyen de transmission<\/span>)<\/span>\u00a0<\/span>et alors re\u00e7u par une source (une oreille). <\/span>Faites disparaitre l\u2019une des ces conditions <\/span>et il n’y a<\/span>ura<\/span> aucun <\/span>son<\/span>. Par exemple<\/span>,<\/span> il n’y a aucun <\/span>son<\/span> dans l’espace parce qu’il n’y a <\/span>pas d\u2019<\/span>air.\u00a0\u00a0<\/span><\/p>\n

Une cloison <\/span>mobile<\/span> est con\u00e7ue et install\u00e9e pour emp\u00eacher autant que possible l<\/span>e<\/span> trans<\/span>fert <\/span>d<\/span>u<\/span>\u00a0<\/span>son<\/span> d’un c\u00f4t\u00e9 du mur \u00e0 l’autre.<\/span>\u00a0<\/span>Afin <\/span>d<\/span>\u2019obtenir ce r\u00e9sultat<\/span>, le fabricant de cloison doit <\/span>s<\/span>\u2019<\/span>int\u00e9resser<\/span>\u00a0<\/span>et s\u2019attarder aux<\/span>\u00a0<\/span>trois composant<\/span>e<\/span>s <\/span>du son<\/span> soit :<\/span>\u00a0<\/span><\/p>\n

Fr\u00e9quence<\/span><\/strong> (mesur\u00e9e <\/span>en<\/span> Hertz [<\/span>Hz<\/span>] ou \u00ab cycles par seconde \u00bb) qui est le tau<\/span>x<\/span> de vibration<\/span>s<\/span> qui d\u00e9termine L<\/span>\u2019INTENSIT\u00c9<\/span> du <\/span>son<\/span> : les <\/span>sons<\/span>\u00a0<\/span>aigus<\/span> (siffle<\/span>t<\/span>) ont de <\/span> hautes <\/span>fr\u00e9quences avec<\/span> de<\/span> courtes longueurs d’onde<\/span>s<\/span>, et <\/span>les sons <\/span>de base<\/span>\u00a0<\/span>(tambour) ont de basses fr\u00e9quences avec de <\/span>grandes<\/span> longueurs d’onde<\/span>s<\/span>. L’oreille humaine est <\/span>tr\u00e8s<\/span> sensible dans la gamme de<\/span>s<\/span> 100 <\/span>Hz<\/span> \u00e0 5000 <\/span>Hz, ce<\/span> qui <\/span>repr\u00e9sente les fr\u00e9quences <\/span>importantes<\/span>\u00a0<\/span>o\u00f9 la majorit\u00e9 de<\/span> la<\/span> musique,<\/span> de<\/span> la parole et d’autres <\/span>sons<\/span> se retrouve<\/span>nt<\/span>.<\/span>\u00a0<\/span><\/p>\n

L’amplitude<\/span><\/strong> (mesur\u00e9e <\/span>en<\/span> d\u00e9cibels<\/span> \u00ab dB \u00bb<\/span>) est<\/span> la <\/span>magnitude <\/span>(taille) de la vibration ou du changement de pression atmosph\u00e9rique qui d\u00e9termine<\/span>ra<\/span>\u00a0<\/span>la force du<\/span> son.<\/span> L’amplitude ou le VOLUME s’\u00e9tend du seuil de l’audition (0 <\/span>d<\/span>B) au seuil de la douleur <\/span>\u00a0<\/span>(140<\/span> dB<\/span>).\u00a0<\/span><\/p>\n

\u00a0<\/span>La dur\u00e9e<\/span><\/strong> est le TEMPS que le <\/span>son<\/span>\u00a0<\/span>persiste<\/span>,<\/span> mesur\u00e9 en secondes. La dur\u00e9e peut \u00eatre une indication de combien de temps la source vibre ou de combien de temps le <\/span>son<\/span> fait \u00e9cho dans l’espace d\u00e9fini ou les deux.\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u00a0<\/span><\/p>\n

Concernant les <\/span>cloisons<\/span>,<\/span> nous sommes <\/span>d<\/span>es plus <\/span>pr\u00e9occup\u00e9<\/span>s \u00e0 savoir qu\u2019est-ce qui <\/span>ce<\/span> passe de l\u2019autre c\u00f4t\u00e9 <\/span>soit<\/span> le c\u00f4t\u00e9 <\/span>oppos\u00e9 de l<\/span>a cloison \u00e0<\/span> la source sonore. Essentiellement<\/span>,<\/span> vous ne voulez <\/span>rien <\/span>entendre <\/span>de ce qui se produit <\/span>c\u00f4t\u00e9 <\/span>\u00ab <\/span>source <\/span>du son <\/span>\u00bb <\/span>versus<\/span> \u00ab <\/span>le c\u00f4t\u00e9 oppos\u00e9 \u00bb<\/span>.\u00a0<\/span><\/p>\n

La cloison ne peut pas <\/span>\u00e9liminer<\/span> le probl\u00e8me de la fr\u00e9quence du son<\/span> mais elle peut<\/span>, <\/span>dans une <\/span>certaine <\/span>mesure,<\/span>\u00a0<\/span>en <\/span>contr\u00f4ler<\/span>\u00a0<\/span>l\u2019<\/span>amplitude et <\/span>la <\/span>dur\u00e9e. Rappelez-vous<\/span> que le <\/span>son<\/span> est un <\/span>m\u00e9lange <\/span>de diff\u00e9rentes fr\u00e9quences (<\/span>tel <\/span>un orchestre). Quand cette cacophonie de <\/span>sons<\/span> est orient\u00e9e <\/span>vers une cloison trois choses se produisent :<\/span>\u00a0<\/span><\/p>\n