Abstract
Highly appreciated concert halls have their own acoustic signature. These signatures may not often be consciously appraised by general audiences, but they have a significant impact on the appreciation of the hall. Previous research indicates that two of the most important defining elements of a hall’s acoustic signature are (i) the reflection sequence and relative reflection levels at the listener position and (ii) the perceptibility of the reflections based on perception thresholds. Early research from Sir Harold Marshall identified the importance of unmasked early reflections to enhance a concert hall’s acoustic signature. The authors see an opportunity to extend the existing research by further examining the sequence of unmasked reflections. By analysing the cross-sections of three concert halls, this manuscript quantifies potential links between a hall’s architectural form, the resultant skeletal reflections, and the properties of its acoustic signature. While doing so, the manuscript identifies potential masking reflections through visual and analytical assessment of a hall’s skeletal reflections. It is hypothesized that the “rhythm” of the reflection sequence could hold key insights into the hall’s “personality” and acoustic signature. If so, this could present new design tools and considerations for new concert halls and the diagnosis of underperformance in existing halls.
Highlights
Sir Harold Marshall defined Presence as “a dimension in which cultural phenomena and cultural events become tangible and have an impact on our senses and our bodies” [1]
The authors of this manuscript believe that the foundational concept of reflection sequence and its potential to enhance the acoustic signature of a concert hall has not been explored in enough detail as of yet
While scattered reflections below the audibility threshold have the potential to increase acoustic parameters values such as Lateral Energy Fraction (LF) or Clarity, Lokki et al indicated that sound reflections from scattering surfaces will result in Temporal Envelope Distorting (TED) reflections, making it difficult for these reflections to be fused with the direct sound [10]
Summary
Sir Harold Marshall defined Presence as “a dimension in which cultural phenomena and cultural events become tangible and have an impact on our senses and our bodies” [1]. At least, one purpose which should be engineered by the acoustic architect through a detailed understanding of the nuts and bolts of acoustics [2] Spaces such as control rooms in recording studios are meant to be acoustically neutral, providing an exceptionally linear acoustic response that avoids any tone colouration between the monitors and the sound engineer. Concert halls are an extension of the orchestra, with their own character, and like any other musical instrument, should be designed to be rich and unique. Highly appreciated halls such as the Große Musikvereinssaal have a strong and unique sound, described as a character or acoustic signature that has a significant impact on the appreciation of the hall by an audience. The acoustics of a concert hall, along with adding character to the sound, should provide favourable acoustic conditions for the orchestra and the learning curve should be gentle so that visiting orchestras can adapt to its acoustics quickly within a short seating call or warm-up rehearsal
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