Acoustics of Korean Traditional Architecture: A Case Study of Magoksa Temple

Sungjoon Kim – sungjoon.kim@kaist.ac.kr

Instagram: @jooon.kim
291, Daehak-ro, N25, Yuseong-gu, Daejeon, 34141, South Korea

Popular version of 1aAA2 – Acoustics of Korean Traditional Architecture: A Case Study of Magoksa Temple
Presented at the 189th ASA Meeting
Read the abstract at https://eppro02.ativ.me//web/index.php?page=Session&project=ASAASJ25&id=3979424

–The research described in this Acoustics Lay Language Paper may not have yet been peer reviewed–

Western churches typically evoke the impression of long, reverberant echoes. This acoustic quality is largely influenced by their domed ceilings and stone construction, which amplify and sustain sound. A single note from an organ or choir can travel far and linger in the air, creating a bright and grand sound field.

In contrast, Asian temples often have acoustic characteristics that differ significantly from those of Western churches. In particular, traditional Korean temples have a soft and warm sound environment. Their structures are primarily composed of wood, soil, and paper, reflecting Korea’s architectural philosophy of harmony with nature and the surrounding landscape. Instead of a strong, ringing echo, the listener experiences a gentle and intimate atmosphere.

Our study explores the acoustic characteristics of Magoksa Temple in South Korea, a Buddhist temple complex whose main halls date back to the 17th century. We measured the reverberation and other acoustic properties of three main temple halls and analyzed how sound behaves in these wooden spaces. The goal of this study is to understand these unique sound behaviors and to consider how they can be recreated when digitally restoring historical sites in virtual reality content and other media.

Figure 1: Main worship hall (Daegwangbojeon) of Magoksa Temple and surrounding courtyard.

To carry out the measurements, we played test signals through a loudspeaker and recorded the responses using microphones, including a three-dimensional (3D) microphone array. These room impulse responses capture the “acoustic fingerprint” of each hall: how long sound lasts, which frequency bands are emphasized or reduced, and how sound energy arrives from different directions around a listener.

Figure 2: Acoustic measurement setup inside a temple hall with a loudspeaker and 3D microphone array.

We found that all three temple halls share two distinctive features:

  1. Strong low-frequency resonance – Deep sounds, such as drums or low chanting, tend to linger longer than higher-pitched sounds. One important reason is structural: the floors are hollow beneath the wooden planks, and this cavity reinforces low-frequency energy, similar to the body of a musical instrument.
  2. High-frequency absorption – Soft materials such as paper doors, soil walls, and exposed wood absorb much of the high-frequency content. This reduces sharp reflections and makes the space sound calm and close, rather than bright or very echoey like a stone cathedral.
Figure 3: Frequency responses of the three main halls at Magoksa Temple.

Using the 3D microphone array, we also examined spatial characteristics, such as which parts of the structure (floor, ceiling, or side walls) create the most prominent reflections, and how sound surrounds a seated listener. These results help us understand more deeply how traditional Korean temples use their wooden structures and natural materials to create such distinctive acoustics.

Understanding these sound patterns helps us preserve more than just the visual beauty of cultural heritage—it allows us to capture the aural identity of a place. By integrating these findings into digital reconstructions and virtual reality experiences, we can make presentations of traditional Korean architecture feel more realistic and immersive, allowing future generations not only to see history but also to hear it.

Room Design Considerations for Optimal Podcasting

Madeline Didier – mdidier@jaffeholden.com

Jaffe Holden, 114-A Washington Street, Norwalk, CT, 06854, United States

Twitter: @JaffeHolden
Instagram: @jaffeholden

Popular version of 1aAA2-Podcast recording room design considerations and best practices, presented at the 183rd ASA Meeting.

Podcast popularity has been on the rise, with over two million active podcasts as of 2021. There are countless options when choosing a podcast to listen to, and unacceptable audio quality will cause a listener to quickly move on to another option. Poor acoustics in the space where a podcast was recorded are noticeable even by an untrained ear, and listeners may hear differences in room acoustics without even seeing a space. Podcasters use a variety of setups to record episodes, ranging from closets to professional recording spaces. One trend is recording spaces that feel comfortable and look aesthetically pleasing, more like living rooms rather than radio stations.

Figure 1: Podcast studio with a living room aesthetic. Image courtesy of The Qube.

A high-quality podcast recording is one that does not capture sounds other than the podcaster’s voice. Unwanted sounds include noise from mechanical systems, vocal reflections, or ambient noise such as exterior traffic or people in a neighboring room. Listen to the examples below.

More ideal recording conditions:
Media courtesy of Home Cooking Podcast, Episode: Kohlrabi – Turnip for What

Less ideal recording conditions:
Media courtesy of The Birding Life Podcast, Episode 15: Roberts Bird Guide Second Edition

The first example is a higher quality recording where the voices can be clearly heard. In the second example, the podcast guest is not recording in an acoustically suitable room. The voice reflects off the wall surfaces and detracts from the overall quality and listener experience.

Every room design project comes with its own challenges and considerations related to budget, adjacent spaces, and expected quality. Each room may have different design needs, but best practice recommendations for designing a podcasting room remain the same.

Background noise: Mechanical noise should be controlled so that you cannot hear HVAC systems in a recording. Computers and audio interfaces should ideally be located remotely so that noises, such as computer fans, are not picked up on the recording.
Room shape: Square room proportions should be avoided as this can cause room modes, or buildup of sound energy in spots of the room, creating an uneven acoustic environment.
Room finishes: Carpet is ideal for flooring, and an acoustically absorptive material should be attached to the wall(s) in the same plane as the podcaster’s voice. Wall materials should be 1-2” thick. Ceiling materials should be acoustically absorptive, and window glass should be angled upward to reduce resonance within the room.
Sound isolation: Strategies for improving sound separation may include sound rated doors or standard doors with full perimeter gaskets, sound isolation ceilings, and full height wall constructions with insulation and multiple layers of gypsum wallboard.

In the example below, the podcast studio (circled) is strategically located at the back of a dedicated corridor for radio and podcasting. It is physically isolated from the main corridor, creating more acoustical separation. Absorptive ceiling tile (not shown) and 2” thick wall panels help limit vocal reflections, and background noise is controlled.

Podcast recording room within a radio and podcasting suite. Image courtesy of BWBR and RAMSA.Figure 2: Podcast recording room within a radio and podcasting suite. Image courtesy of BWBR and RAMSA.

While the challenges for any podcast room may differ, the acoustical goals remain the same. With thoughtful consideration of background noise, room shape, finishes, and sound isolation, any room can support high-quality podcast recording.