Recreating the Sound of Stonehenge

Abstract

Stonehenge is the largest and most complex ancient stone circle known to mankind. In its original form, the concentric shape of stone rings would have surrounded an individual both visually and aurally. It is an outdoor space and most archaeological evidence suggests it did not have a roof. However, its large, semi-enclosed structure, with many reflecting surfaces, would have reflected and diffracted sound within the space creating an unusual acoustic field for the Neolithic Man.This project has reconstructed the acoustic sound field of Stonehenge based on measurements taken at a full size replica in Maryhill, USA. Acoustic measurements were carried out using modern techniques and the response collected in both mono and B-Format at various source-receiver positions within the space. A brief overview of a few acoustic parameters together with a comparison to a recent measurement in the current Stonehenge site is provided.The auralisation process presented uses a hybrid ambisonic and wave field synthesis (WFS) system. Anechoic recordings were rendered as focussed sources in the WFS system whilst their reverberant B-Format counterpart was rendered using ambisonic technology. Using this technology, the original acoustics of the space have been reconstructed for listeners.The paper discusses the measurement, acoustic response and rendering of single, focused sources within the space. The use of multiple B-Format impulse responses for various source positions allows embedding of these focussed sources within the reverberant field.

Sound Archaeology: A Study of the Acoustics of Three World Heritage Sites, Spanish Prehistoric Painted Caves, Stonehenge, and Paphos Theatre

“…Further study by the author [35,36] analysed the acoustics present in the final arrangement of the original complete monument, pointing out low frequency resonances, echoes, and reverberation. Field studies by the author with the acoustics researcher Bruno Fazenda [37,38], analysed the Maryhill Monument, a full-size concrete Stonehenge model in the United States, which has an approximately similar design. That research identified higher reverberation than in the remaining monument, and a powerful low frequency resonance at 47-48 Hz; similar low frequency modal effects are discussed further below.…”

“…The acoustics of the later (final) modelled arrangement of the site, Stonehenge C, dated c.2200 BC, has been examined in earlier publications by this author and Fazenda [35][36][37][38]. Those papers used various theoretical approaches to explore the acoustics of the site, as well as acoustic field tests at a full-size concrete replica that has a design based on Stonehenge, the Maryhill Monument in Washington State, USA.…”

Review of Acoustic Sources Alternatives to a Dodecahedron Speaker

“…Numerous examples can be found in the literature where alternative sound sources were used. Some examples and the sources that were used are: The measurement of impulse responses in open-air theatres (firecracker) [44,45], in churches (pistol shots and balloons) [46], in Buddhist temples (balloons) [47], measuring the acoustics of catacombs (balloons and firecrackers) [48,49], measurements in Stonehenge (balloons) [50], measurements in the Notre-Dame cathedral (balloons) [51], measurements in the Hagia Sofia (balloons) [52], measurements in urban environments (pistol shots) [53], green roofs absorption (pistol shots) [54], measurements in subway stations (firecrackers) [55], the acoustic of caves (balloons) [56,57], room acoustics (handclap) [58], barrier attenuation (shotshell primer) [59] and classroom acoustics [60] (wooden clapper). The reason that prompted the use of these alternative sources will be presented in the following related chapters.…”

Theatrical virtual acoustic rendering with head movement interaction

“…We can find many approaches that have been used for the acoustic reconstruction of buildings and events as examples of integration of acoustic environments. In Fazenda and Drumm (2011), the authors study the acoustics of Stonehenge. In Collecchia et al (2012), the authors make a computational model of Chavín de Huántar in Peru to study an acoustical problem in the building.…”