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Controlling Multiple Acoustic Objectives During the Implementation of the European Directive 2003/10/EC at an Opera House

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Controlling Multiple Acoustic Objectives During the Implementation of the European Directive 2003/10/EC at an Opera House Controlling multiple acoustic objectives during the implementation of the European directive 2003/10/EC at an opera house Anton Schlesinger, Martin Ochmann Beuth Hochschule für Technik Berlin, Fachbereich II, Projektgruppe Computational Acoustics. Jan Michael Kimmich, Stefan Frank Hochschule für Technik und Wirtschaft Berlin, Fachbereich 2 - Ingenieurwissenschaften. Summary The European directive 2003/10/EC poses a challenge to opera houses. The directive stresses the reduction of noise related risks at their point of origin, which for the opera is the orchestra pit. The execution of classical means of noise reduction is impossible without compromising the opera as a cultural heritage and the artistic freedom of the art form. The approach given here is to gather room acoustical as well as general requirements and use them as an input for wave based and geometry based room acoustical simulation models. With these models a set of constructional changes that improve the situation in the orchestra pit without impairing the room acoustics of the auditorium shall be developed. The project was initiated by the Deutsche Oper Berlin. This contribution gives a report on the work that has been done to consult this venue on the implementation of the directive. First results allow for the tentative definition of solutions. PACS no. 43.55.Gx, 43.55.Ka 1. Introduction maintained from generation to generation and gener- ally heritage protected. Third, entering the domain of With the European directive 2003/10/EC being ef- the acoustics of an opera house, several primary aims fective for the entertainment branch, opera houses are balanced. Those are the projection of the acous- need to control the exposure level of musicians in the tic performance of singers and the orchestra into the orchestra pit. To give an example of significance, a hall, the balance between the stage performers and court in the UK recently decided in favor of a viola the orchestra across the hall, the right amount of re- player who incurred a hearing loss from a rehearsal of verberation (for opera and music performance) and Wagner's Valkyrie and ordered the responsible opera the individual and mutual audibility between stage house to compensate him financially [1]. performers and orchestra members. Secondary objec- However lowering the sound pressure level in the or- tives relate to further acoustical attributes, such as chestra pit is not a simple task. Opera houses are big the musical quality of timbre, intelligibility, dynamic and established enterprises with a dense schedule and range, loudness, spaciousness, envelopment and inti- a fixed manner of performance practice. Moreover, macy. Therefore, any constructional intervention for opera houses are often not profitable, depend of public lowering the exposure level in the orchestra may di- funding and do not have the means for constructional rectly affect multiple other objectives. Hence, the ap- changes, such as increasing the size of the orchestra proach presented aims at lowering the sound pressure pit while loosing the best paying parquet seats. Sec- level in the orchestra pit, while obeying the restric- ondly, the room acoustics of an opera house represent tions of the original design as well as the complex the design of its time. Usually, a carefully negotiated interplay of objectives of an opera house. compromise between architect, the performance prac- With respect to the exposure levels in orchestras, tice and the requirements of the facilities, e. g. the Brockt gave an overview on several studies on sound lighting system and room acoustics. All together this exposure levels for musicians [3]. He outlines a weekly forms the character of the house. It is passed on and and annual exposure level of 85 to 95 dB (A). For musicians that usually perform in orchestra pits, this level will be even higher [3]. It is widely known that (c) European Acoustics Association simple measure of absorption will have a negative ef- Copyright © 2018 | EAA – HELINA | ISSN: 2226-5147 - 2115 - All rights reserved Euronoise 2018 - Conference Proceedings fect on room acoustic support and the overall loud- need to adapt the simulation models to the measure- ness perception in the auditorium. A recent study ments. This task is simplified for detached sections of with a validated prediction model of sound pressure the total room. An inhomogeneity exists for the dis- level in open stages found that even extreme mea- tribution of the acoustic properties of surfaces across sures for sound level reduction on stage in terms of the room. This is typical for an opera and reverber- risers, absorption, volume per musician and screens, ation times therefore depend on the location of the are each not capable of reducing the exposure level measurement. sufficiently [2]. Nevertheless, both researcher conclude Around the turn of the year 2017/2018, a horizontal that a mixture of constructional measures, along with reflector at the ceiling was opened due to maintenance an improvement of audibility among musicians can work. This may influence the room acoustic parame- lead to a significant reduction of the exposure level. ters given in this report. The measurement positions The approach that will be pursued in this project is are depicted in Fig. 1. As can be seen, the selected based on a close description of the requirements and positions make use of the symmetry of the room and the acoustic situation of the opera house on the one were place at representative listener positions. hand and on the validation and optimization with a 3 2 1 SZ2 Z10 Z12 Z13 Z14 Z15 Z16 Z17 Z18 Z19 Z20 Z22 Z23 Z24 Z25 Z26 Z27 Z28 Z29 Z30 Z32 Z33 Z34 Z35 Z36 SZ1 Z11 Z21 Z31 SD Z2 Z3 Z4 Z5 Z6 Z7 Z8 Z9 hybrid simulation model on the other. Z1 With this publication, the authors present the current state of a two year project, named SIMOPERA (sim- ulation and optimization of room acoustical field at the example of the Deutsche Oper Berlin). The pa- VBZ2 VBZ1 per covers in the first part initial room acoustic mea- M 10 Hauptvorhang ortalblendenzug PBLZ- Spielvorhang surements and in the second part the setup of room P M9 acoustic simulation models. Finally, a discussion on M8 M7 further steps and initial conclusions is given. M5 M6 M4 M3 M6B M1B M2B M2 M1 S6 S1 S2 2. Room Acoustics 1 2 3 4 S4 TV TV TV TV S3 -4m bis 0m -4m bis 0m -4m bis 0m -4m bis 0m 2.1. Measurement setup and equipment S5 The standard 3382-1:2009 was followed to describe the present acoustical situation of the opera [6]. The analysis that is presented here describes the situation without audience. The volume of the auditorium is 3 3 11400 m , the volume of the fly tower is 17400 m M5 3 M4 M5 M1 and the orchestra pit has volume of about 400 m . M2 S4 S5 S6 S1 S2 The auditorium comprises almost 1900 seats. Acous- M6B M1B M2B tically active are mainly the upholstered chairs with a S5 porous covering, the wooden paneling from mahogany that covers the side walls almost entirely and the sus- pended Rabitz ceiling, which is designed as a stag- gered reflector. The fly tower was empty, the scenery curtains pulled in upper position and there was no scenery on stage. The side walls were covered by about one fifth of the surface area with thick, slightly ruffled theater cur- Figure 1. Source- (S) und measurement positions (M) of tains in order to prevent flutter echos between the the room acoustical analysis presented in this article at parallel walls. the Deutschen Oper Berlin in sectional view (upper plot) The orchestra pit was positioned in its standard po- and the floor plan (lower plot). sition for opera performances at -2.9 m below stage level. The instruments were removed. Only the music stands and thinly padded seats remained. The orchestra pit as well as the fly tower form each 2.2. Measurement method a coupled volume in accordance with the definition given in ISO 3382-1 [6]. Therefore, measurements were The logarithmic sweep was applied as the measure- executed with and without the safety curtain between ment signal. This excitation signal for measuring the the auditorium and the fly tower closed. The rever- impulse response is characterized by a high and fre- beration time of the orchestra pit was accordingly as- quency independent signal-to-noise ratio (SNR) and sessed separately. Another reason for executing mea- removes harmonic distortion of the signal chain [7]. surements without the fly tower open, is given by the In compliance with the ISO 3382-1, the reverberation - 2116 - Euronoise 2018 - Conference Proceedings time and energy criteria were calculated by backward curtain open (CO). The parameter was first calculated integration of the impulse response. The measurement in octave bands and then averaged across the bands signal had a spectrum broader than the analyzed fre- with the center frequencies of 500 and 1000 Hz. Figure quency range. It had a duration of 15 s, thereby being 3 shows the spread of EDTs for source positions S1 to considerably longer than the reverberation time of the S6 at each measurement position in the auditorium. DOB. The stimulus was recorded three times for each A diminishing effect of the source position can be ob- source-receiver combination to improve SNR further. served as a function of distance from the stage. Note Nevertheless, it was not possible to tap the full power that M6 and M7 are microphone position in the boxes from the omni-directional source and therefore in the close and high above the stage. Based on the mean one third octave bands below 160 Hz, the SNR was EDTs, a fairly constant sensation of reverberation is below 45 dB, which is too little for executing the T30 observed close to the long axis of the auditorium.
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