Some effects of orchestra shells

Bradley, John S.

doi:10.1121/1.416213

Cited by 10 publications

(12 citation statements)

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“…B) The influence of the orchestral shell on the stage in the theoretical predictions is very small. In the experimental results the differences are small, similar to the findings obtained by Bradley (1996), but perceptible (in terms of JND), as will be analysed later. C) Barron's revised theory of sound propagation in halls indicates that late lateral sound levels are more sensitive to changes in reverberation time and room volume than early lateral fractions (Barron, 2001), and hence the effect of adding an orchestra shell may be the greatest on the late lateral arriving sound levels at audience seat locations.…”

Section: Spatial Distribution Of the Lateral Acoustic Parameters Effsupporting

confidence: 81%

“…The effect of the presence of the orchestra shell on this early lateral energy parameter in the audience seats although small is audible, as seen in Bradley's work on a set of American halls (Bradley, 1996).…”

Section: Early Lateral Energy Fraction Jlfmmentioning

confidence: 99%

“…Taking into account the aforementioned assumptions, the only reliable correlations are those of (1-IACC Em ) with A (with negative slope), (1-IACC Lm ) with T , whereby the parameter increases when reverberation time increases, and that of L Jm with V /N which also has a positive slope Eqs. (10)- (12). The values and linear regressions corresponding to the binaural parameters are plotted in Figs.…”

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confidence: 99%

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Objective Measures of Spatial Effects in Spanish Concert Halls

Girón¹,

Zamarreño²,

Bustamante³

2012

Archives of Acoustics

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The present work consists of a statistical study of the monaural (lateral-reflection fractions and level) and binaural acoustic parameters (inter-aural cross-correlation coefficients) that evaluate the amount of early and late lateral acoustic energy encountered in 9 performance halls in Andalusia (southern Spain). Hall volumes range between 6,163 m 3 and 34,594 m 3 and all enclosures are used for presentations of symphonic concerts and other music performances. The majority of these venues are located in provincial capitals of the community and often constitute the only premises in the city where symphonic concerts can be held. The acoustic parameters under study here were derived from impulse responses analyses using a sine-sweep signals which were generated and processed by WinMLS 2004 software in the octaveband frequency centred from 125 to 4 kHz, and all parameters were spectrally averaged according to the ISO 3382-1 standard. A comparison is presented of monaural experimental results as a function of sourcereceiver distance with the prediction of Barron's revised theory for concert halls, and the analyses of the acoustic parameter results are carried out in terms of their respective just noticeable differences: at the many microphone positions for the two source positions on stage, for the spatial distribution of seats in the audience zone relative to the central axis (for left-and right-hand sides) of the rooms, and for the presence of the orchestra shell on stage. Results reveal that the orchestra shell propitiates a perceptible decrement in the values of the early lateral energy fraction and an increment in the late lateral level at the audience seats. In addition, a regression study reveals that the two kinds of measures of laterality, monaural and binaural, are correlated when the hall-average data is considered, but they remain uncorrelated when all individual positions are used. Likewise, the ranges of variation of the acoustic parameters found in these halls are narrower than those specified in the ISO 3382-1. The paper concludes with a discussion on the relationships of hall-average data of the five parameters with eight geometric and acoustic variables.

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Section: Spatial Distribution Of the Lateral Acoustic Parameters Effsupporting

confidence: 81%

Section: Early Lateral Energy Fraction Jlfmmentioning

confidence: 99%

mentioning

confidence: 99%

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Objective Measures of Spatial Effects in Spanish Concert Halls

Girón¹,

Zamarreño²,

Bustamante³

2012

Archives of Acoustics

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“…Meyer (1977) found the ceiling (or overhead reflector) to be important for the brilliance, whereas the sidewalls were important for volume and sonority. Bradley (1996) found from his experiments with added stage enclosures (shells) on three existing stages, that the changes of objective acoustic conditions were more significant on stage compared to in the audience. Only looking at objective acoustic measures could for this study have limited the apparent changes for the audience.…”

Section: Effect Of Stage Enclosure For Conductor and Audiencementioning

confidence: 99%

Stage acoustics for symphony orchestras in concert halls

Dammerud

2010

The Journal of the Acoustical Society of America

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The main goals for this study were to better understand what are the acoustic conditions physically within a symphony orchestra on concert hall stages, how these physical conditions affect the players and ultimately how to design venues suitable for symphony orchestras. This was investigated through questionnaire surveys and dialogue with musicians, scale and computer modelling and measurements of existing stages. The results from the orchestra collaborations indicate that the impressions of acoustic conditions are related to complex perceptual effects. When relating these effects to acoustic conditions, a narrow and high stage enclosure with the stage highly exposed to the main auditorium appears most beneficial. Existing methods for assessing the stage acoustically by use of omnidirectional transducers without the orchestra present were found to have only limited relevance to perceived conditions. New methods and objective architectural measures have been proposed. The architectural measures successfully discriminate the most preferred from the least preferred stages of purpose-built concert halls. The results from judgements of existing stages support the finding of a narrow and high stage enclosure with a highly exposed stage being most beneficial. How to improve the assessment of acoustic conditions on stage is discussed. Copies of the thesis written in English can be obtained from Jens Jo/rgen Dammerud. E-mail address: jjdamm@gmail.com. 4

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“…Some effects of using orchestra shells in multipurpose halls, as described by Bradley in reference [3], are a general increase of the overall sound levels by 2-3 dB, a slight increase in the reverberation time and EDT (0Á1-0Á4 s), and a decrease in C 80 by up to 3 dB. In reference [4], one of the authors found similar results using an orchestra shell in an Italian opera house, with an increase of the reverberation time of up to 0Á5 s, a decrease of the clarity of up to 5 dB and an average decrease of the inter-aural cross-correlation coefficient (IACC) of 0Á2.…”

Section: Resultsmentioning

confidence: 99%