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The Importance of Bass Clarity in Pop and Rock Venues Downloaded from orbit.dtu.dk on: Oct 10, 2021 The importance of bass clarity in pop and rock venues Adelman-Larsen, Niels Werner; Thompson, Eric Robert Published in: Journal of the Acoustical Society of America Link to article, DOI: 10.1121/1.2932922 Publication date: 2008 Document Version Publisher's PDF, also known as Version of record Link back to DTU Orbit Citation (APA): Adelman-Larsen, N. W., & Thompson, E. R. (2008). The importance of bass clarity in pop and rock venues. In Journal of the Acoustical Society of America (Vol. 123). Acoustical Society of America. https://doi.org/10.1121/1.2932922 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Users may download and print one copy of any publication from the public portal for the purpose of private study or research. You may not further distribute the material or use it for any profit-making activity or commercial gain You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. TUESDAY MORNING, 1 JULY 2008 ROOM 252B, 8:00 TO 10:00 A.M. Session 2aAAa Architectural Acoustics: Acoustics of Concert Halls II Takayuki Hidaka, Cochair Takenaka R&D Institute, 1-5-1, Otsuka, 270-1395 Inzai, Chiba, Japan Daniel E. Commins, Cochair Commins Acoustics Workshop, 15 rue Laurence Savart, Paris, 75020, France Contributed Papers 8:00 8:40 2aAAa1. Acoustical design consideration for the new IFEZ concert 2aAAa3. New design tendencies in modern concert hall design. Alban hall. Jin Yong Jeon ͑Hanyang University, Department of Architectural En- A. Bassuet ͑Arup Acoustics, 155 avenue of the americas, New York, NY ͒ gineering, 133-791 Seoul, Republic of Korea, [email protected] , Yong 10013, USA, [email protected]͒ Hee Kim ͑Hanyang University, Department of Architectural Engineering, 133-791 Seoul, Republic of Korea, [email protected]͒, Shin-Ichi New concert hall design trends are emerging as seen from recently com- Sato ͑Hanyang University, Department of Architectural Engineering, 133- pleted halls around the world and recent international architectural 791 Seoul, Republic of Korea, [email protected]͒ competitions. Analyzing the current situation, the paper starts by differenti- The design of a new concert hall for the Incheon Free Economic Zone ating the acoustical characters of major traditional concert hall forms such as ͑IFEZ͒ Arts Center in Korea is in progress. The hall is supposed to be the the large shoe-box, the Vineyard and the surround hall. It discusses in par- home of the Asia Philharmonic Orchestra. It has over 1,700 seats, including ticular the balance of acoustical energy that characterize these different basic 150 choirs. A vineyard seating arrangement will be applied, but the seats hall shapes, the sensation of intimacy in relation to the listener’s distance to around the stage area will be minimized in order to form a solid stage the performance area and the different early reflection patterns inherent from enclosure. Lateral walls are designed for each seating block to increase these hall shapes. As an example of modern concert halls design tendencies, acoustical intimacy. Average width between lateral walls has been designed the paper then describes a design option chosen by Arup Acoustics for the to be less than 15 m, and every seat is arranged within 7.5 m to the closest Paris Concert Hall Architectural design competition with Zaha Hadid lateral wall. All lateral walls are designed to be inclined to lead first reflec- architect. The paper describes the development of the form and shape of the tions and to improve spatial impression at the audience area. Diffusers are hall in response to the brief, the concept chosen for the design of sendin- functionally installed to the effective reflecting surfaces from the source on g receiving surfaces to improve the early reflection ЉefficiencyЉ and Љstabil- stage. The design considerations are investigated through both computer ” Љ simulation and scale modelling. ity and the use of an overhead reflector to improve the balance between soloist and orchestra and the balance between the orchestra and the rever- beration in the hall. 8:20 2aAAa2. Objective and subjective analysis of acoustical response in newly renovated Palais Moncalm, Quebec City, Canada. Jean-Philippe 9:00 Migneron ͑Lab. d’acoustique, École d’architecture, 1, Côte de la Fabrique, 2aAAa4. Acoustic design and evaluation of a multi-purpose hall of a Vieux Séminaire, Université Laval, Québec, QC G1K 7P4, Canada, new conference centre. Attila Balázs Nagy ͑Kotschy Bt., Álmos vezér u. ͒ ͑ [email protected] , Jean-Gabriel Migneron Lab. 4, 2045 Törökbálint, Hungary, [email protected]͒, Ferenc d’acoustique, École d’architecture, 1, Côte de la Fabrique, Vieux Séminaire, Tamás ͑Kotschy Bt., Álmos vezér u. 4, 2045 Törökbálint, Hungary, Université Laval, Québec, QC G1K 7P4, Canada, [email protected]͒, András Kotschy ͑Kotschy Bt., Álmos vezér u. [email protected]͒, Jean-François Hardy ͑Lab. d’acoustique, École 4, 2045 Törökbálint, Hungary, [email protected]͒ d’architecture, 1, Côte de la Fabrique, Vieux Séminaire, Université Laval, ͒ Québec, QC G1K 7P4, Canada, [email protected] At Forum Acusticum 2005 the building and room acoustic design of a To celebrate the 75th anniversary of Palais Montcalm, the building has new Conference Centre was presented. Since then the construction work has been almost entirely rebuilt to convert it into the House of Music. The main been finished and the Centre is now open. The Conference Centre itself is a room, named Salle Raoul-Jobin, has been designed specifically for the resi- multi-functional building, having three wings of different functions. The dent chamber orchestra: Les Violons du Roy. Collaboration between acous- Main Hall of the Centre is a room for 750 people which can be extended tical consultant, Larry S. King, and architect Jacques Plante of MUSE con- with adjacent section rooms for 1100 persons, giving a total volume of sortium results in a 979 seats concert hall with variable acoustic to 14000 m3. It was designed to host conferences, lectures, and - most of the accommodate different kinds of musical events. Since reopening in March time - to be used as a concert hall. The extremely different acoustical de- 2007, the general acoustic has been enthusiastically acclaimed by profes- mands of being a concert hall and a lecture room had been fulfilled with sionals, by world known musicians, and by the public. The principal objec- appropriate room acoustic design and with variable acoustics by employing tive of this study is to characterize acoustical response of the room with a DCR ͑Digital Control of Reverberation͒ system. In this paper we give a various adjustments of wall curtains and motorized canopy. This important reflective area is software-controlled in a range of 3 meters depending on report on the achieved acoustical performance of the Main Hall of the Con- musical needs. Acoustical objective parameters, such as reverberation time, ference Centre. We have performed extensive room acoustic measurements early decay time, impulse response or C80 factor will be analyzed and com- in the Main Hall, the results of which are compared to the designed values pared to musical subjective perception of a few instruments played at mul- and are presented in this paper. The design of the DCR system is discussed tiple positions on stage and for different listening locations. in a different paper. 3088 J. Acoust. Soc. Am., Vol. 123, No. 5, Pt. 2, May 2008 Acoustics’08 Paris 3088 9:20 were removed to get rid of unwanted reflections at the recording micro- 2aAAa5. Renovation of the concert hall The Doelen: A case study on phones positions just below the canopy. Since then, a significant percentage the impact of a stage canopy on stage and room acoustics. Margriet R. of the orchestra is unhappy about the acoustic conditions on stage. During Lautenbach ͑Peutz BV, PO Box 696, 2700 AR Zoetermeer, Netherlands, the design process of the renovation, possibilities to re-introduce a stage [email protected]͒, Martijn Vercammen ͑Peutz, De Grip- canopy are investigated. Objective acoustic parameters obtained by carrying pen 1124, 6605 TA Wijchen, Netherlands, m.vercammen@mook out measurements in the hall as well as in a 1:10 scale model and by cal- ͒ ͑ .peutz.nl , Klaus-Hendrik Lorenz-Kierakiewitz Peutz BV, Kolberger culations with a ray-tracing computer model are examined. Parallel, three ͒ Strasse 19, D-40599 Duesseldorf, Germany, [email protected] questionnaire rounds gave an impression about the musicians’ subjective When opened in 1966, the main concert hall in De Doelen, Rotterdam, judgement about the stage acoustics. In this paper the acoustic differences of the Netherlands, was provided with six canopies above the stage platform. three situations ͑without canopy, with original canopies and with new Their function was twofold: to provide a large part of the audience with canopy design͒ and the search for an optimal balance between improving the early reflections; to create good ensemble conditions for the musicians on stage acoustics without altering room acoustical conditions in the audience stage. Despite good reviews after the opening, a few years later the canopies are discussed. Invited Paper 9:40 2aAAa6. Evaluation of virtual acoustic stage support for musical performance. Wieslaw Woszczyk ͑McGill University, Schu- lich School of Music, 555 Sherbrooke Street West, Montreal, QC H3A 1E3, Canada, [email protected]͒, William L.
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