Stage acoustics for symphony orchestras in concert halls

Dammerud, Jens J

doi:10.1121/1.3438481

Cited by 33 publications

(52 citation statements)

References 60 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…However, as Dammerud 10 concluded, an advantage of measuring close to the source is that ST parameters are least influenced by the presence of the orchestra. When comparing the original ST early to ST early,d measured at 1 m, it seems that ST early,d is least influenced.…”

Section: B Early Soundmentioning

confidence: 99%

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

Wenmaekers

Hak

Hornikx

2016

The Journal of the Acoustical Society of America

View full text Add to dashboard Cite

Stage acoustic parameters aim to quantify the amount of sound energy reflected by the stage and hall boundaries and the energy decay over time. In this research, the effect of orchestra presence on parameter values is investigated. The orchestra is simulated by dressed mannequins, which have been compared with humans with respect to acoustic properties. Impulse response measurements were performed in a concert hall, a theatre, a rehearsal room, and in two orchestra pits. Conditions were empty stage floors, stage floors with music stands and chairs only, and floors occupied by the mannequin orchestra. Results show that the direct and reflected sound levels and the energy decay are significantly affected by the orchestra compared to an empty stage or a stage with chairs and stands only. Both the direct sound and early reflected sound levels are reduced by the orchestra with the distance. The late reflected sound level is reduced considerably more than can be expected based on Barron's revised theory. It can be concluded that measurements on a stage without the orchestra being present results in significant differences. A practical method is presented to perform a "musician friendly" stage acoustic measurement with a real orchestra.

show abstract

Section: B Early Soundmentioning

confidence: 99%

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

Wenmaekers

Hak

Hornikx

2016

The Journal of the Acoustical Society of America

View full text Add to dashboard Cite

show abstract

“…In ISO 3382-1, no scientifics tudy is quoted that motivates the 12.5 • rotation method, nor is its accuracyd iscussed. Among others, this method has been applied by Barron and Lee [7], Aretz and Orlowski [20] and Dammerud [21]. In this paper,this method will be denoted the 'single plane free field method'.…”

Section: Calibration Methods In Room Acousticsmentioning

confidence: 98%

The Sound Power as a Reference for Sound Strength (G), Speech Level (L) and Support (ST): Uncertainty of Laboratory and In-Situ Calibration

Wenmaekers

Hak

2015

Acta Acustica united with Acustica

View full text Add to dashboard Cite

Some room acoustic parameters require the sound power of the sound source. The Sound Strength G uses the free field sound pressure levelat10meters distance as areference value. Speech intelligibility parameters likethe Aweighted Speech Level, L p,A,S,4m ,and the Speech Transmission Index, STI, can require an absolute source level defined at 1mdistance from the sound source. The Early and Late Support parameters use the sound levelat1m distance as areference level. In this paper,all proposed methods to obtain the sound power levelfor room acoustic applications are investigated, using various omnidirectional sound sources with adodecahedron shape containing 12 loudspeakers. It is shown that, for octave bands 250 to 8,000 Hz, the sound power can be determined with 0.8 dB uncertainty when using precision methods (diffuse field, intensity or free field). Alternative laboratory calibration methods, that only measure in as ingle plane of the sound source, showd eviations up to 2dBp er octave band. Different stepwise rotational averages, used in such as ingle plane free field method, have been investigated. It can be concluded, that the uncertainty is significantly reduced only when using 12.5 degree steps (ISO 3382-1)a nd when using equal-angular rotations with 5o r7s teps. Furthermore, the uncertainty of insitu calibration has been investigated. Acomparison of results from different researchers shows that acorrection factor should be applied to correct the in-situ calibration for its deviation from the laboratory calibration. Foreach calibration method the uncertainty is presented. Results showthat some methods might be sufficiently accurate to be able to measure single number ratings for G, ST, L p,A,S,4m and STI with an uncertainty in the order of magnitude of 1JND, provided that no other measurement errors are introduced in the measurement chain. PACS no. 43.55.Br,43.55.Mc, 43.58.Vb, 43.58.Fm Received07July 2014, accepted 05 August 2015.sured in the free field at ac ertain distance. Also, when determining speech intelligibility parameters, like STI,the signal to noise ratio is determined based on aratio of absolute sound pressures (following ISO 16268-16 [2], only if background noise is taken into account, and following ISO 3382-3 [3], for all measurements in open plan offices). Following ISO 3382, all of these room acoustic parameters should be determined using an omnidirectional sound source. Ac ertain deviation from omnidirectionality is allowed and the deviation limits are giveninthe standard.Lundeby et al.[4] asked 8different teams to determine room acoustic parameters for 10 source-receiverc ombinations in a1,800 m 3 auditorium. He found astandard deviation for the levelp arameter Sound Strength G of only 0.2 to 0.3 dB for the octave bands 125, 1,000 and 4,000 Hz. These results would suggest that G can be measured with very high accuracy, even when using av ariety of loudspeaker types (a single loudspeaker in abox, acube with six loudspeakers and ad odecahedron with twelvel oudspeakers). Unfortunately,intheir...

show abstract

“…The overall impression of balance [13]can be subdivided into the previously mentioned spectral balance as well as orchestral and spatialb alance [8]. The attribute blend is also commonly used to describe howthe sounds of various instruments mix together so that the listener finds them harmonious [12,6].…”

Section: Overviewmentioning

confidence: 99%

Wheel of Concert Hall Acoustics

Kuusinen¹,

Lokki²

2017

Acta Acustica united with Acustica

View full text Add to dashboard Cite

SummaryMore than ah undred years of research on concert hall acoustics has provided an extensive list of attributes to describe and evaluate the perceptual aspects of sound in concert halls. This brief overviewdiscusses the current knowledge, and presents a"wheel of concert hall acoustics" in which the main aspects are gathered together with the descriptive attributes that are commonly encountered in the research literature.

show abstract

Stage acoustics for symphony orchestras in concert halls

Cited by 33 publications

References 60 publications

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

How orchestra members influence stage acoustic parameters on five different concert hall stages and orchestra pits

The Sound Power as a Reference for Sound Strength (<I>G</I>), Speech Level (<I>L</I>) and Support (<I>ST</I>): Uncertainty of Laboratory and In-Situ Calibration

Wheel of Concert Hall Acoustics

Contact Info

Product

Resources

About