Konzerthaus Berlin, Germany 🇩🇪

 Influence of acoustics on emotional impact of music in Konzerthaus and Philharmonie Berlin, Conference: DAGA 2016, At: Aachen - Deutsche Gesellschaft für Akustik e. V., Winfried Lachenmayr (Müller-BBM BSO GmbH), Jukka Pätynen (Aalto University) - https://lnkd.in/d2y2rTGY

"The emotional impact of music on the listener is an important feature - possibly more important than "preference". How is this influenced by the acoustics of a concert hall? Which acoustic properties offer the more effectful, moving experience and which role do loudness and dynamic of the music play?

Recordings with the same real orchestra taken in two halls (rectangular and vineyard) from each two receivers (close and far) are compared regarding their subjective impact in a PC-listening test. At the same time, the participants gave adjectives for each pair to investigate why a certain stimulus was chosen over the other one. It can be seen that the rectangular hall and the closer seats are rated with higher impact.

Analysis of the vocabulary shows that loudness related attributes are driving the decisions (1/3 of answers). In a second step, the stimuli were adjusted to have the same mean loudness. Even though loudness related attributes then loose importance - as expected and visible in the vocabulary data-, the impact ranking stays the same. Spatial attributes, proximity and bass perception take over importance." - https://lnkd.in/dXXTRvyt

Konzerthaus Berlin Finds Clarity With Meyer Sound CAL Column Arrays,

Meyer Sound  Feb 6, 2015 - Live Design Magazine

"Ranked amongst the top five symphonic concert venues, Konzerthaus Berlin has recently installed the steerable Meyer Sound CAL™ column array loudspeakers in its Great Hall (German: Großer Saal).

Blending inconspicuously into the hall’s neoclassical architecture, the slender, elegant arrays are used for music reproduction as well as voice applications from concert narration and conductor commentary to emergency alarm systems.

...

The 1,418-capacity Konzerthaus Berlin was opened as a theatre in 1821 and rebuilt as a concert hall in 1977. The acoustics in the shoebox-shaped Great Hall have been ranked among the world’s five best for symphonic music by eminent acoustician Leo Beranek. " - https://lnkd.in/dxw7XfBg

#acoustics #acousticsolutions #architecture #audio #proaudio #acousticdesign #sounddesign #audioengineering #audioengineer #music #loudspeakers #musictech #musictechnology #concerthall #livemusic #soundsystem

United Nations General Assembly Hall, 🇺🇸 United Nations Security Council Hall, ACOUSTICS and SOUND SYSTEM

 United Nations General Assembly Hall, 🇺🇸

United Nations Security Council Hall

ACOUSTICS and SOUND SYSTEM

(Checking out UN's acoustics and sound systems)

"VCA (Video Corporation of America) is a global technology integrator. VCA was selected to install a variety of AV products into the large remodeled meeting space of the United Nations.  This room is extremely vital to operations due to its deliberative, policymaking and representative nature. Heads of state routinely meet in this space, countless news outlets broadcast these meetings around the world.

...

Because of the historical nature of the room, the remodel was done to preserve the original look of the space. To the naked eye it appears almost identical to how it looked prior to the renovation. The layout of the room includes approximately 500 delegate microphone seats, and an additional 1500 listen-only seats. The project required the integrated systems to support the organization’s campus wide systems; and also provide feeds to major news outlets. This was accomplished via leveraging both broadcast and professional audio-video technology solutions to work as one.

...

The United Nations audio systems contain products from QSC Q-sys, Yamaha Corporation CL-series used for mixing, processing and video conferencing, TAIDEN HCS 8300-series for Congress Microphone and Simultaneous Interpretation, Renkus-Heinz, Inc. ICII-R steerable arrays and Bag End subwoofers for room sound re-enforcement. The PureLink PM-series routers provided transport and stereo audio feeds into QSC. QSC and Taiden are redundantly linked via analog and AES audio while QSC and Yamaha are digitally linked directly via a 64×64 Dante™ audio transport bridge. QSC Q-sys campus wide audio network provides 16-channel program audio directly into the centralized broadcast router and embedded into the HD-SDI stream." - https://lnkd.in/eRj5GJCE , Bag End Press

"In the second half of 2014, the TAIDEN conference system equipment of the eight conference rooms including the United General Assembly Hall in the second phase of the United Nations Headquarters Project was installed and put into use. So far, the TAIDEN conference system equipment of 18 conference halls (rooms) of the United Nations Headquarters project, including the United General Assembly Hall and the Security Council Conference Hall, has been installed and put into use.

...

The continuous, low-volume sound enables people to hear a clear direct sound in every position of the venue, and it is not easy to produce a howling sound. When using headphones to listen to the simultaneous interpretation, the original sound will not affect the simultaneous interpretation voice, and it will be difficult to hear. 

" - https://lnkd.in/ezazKH6d , Taiden

https://www.linkedin.com/posts/renato-profeta_acoustics-audio-proaudio-activity-6988462700028665857-ZHPl?utm_source=share&utm_medium=member_desktop

#acoustics #audio #proaudio #soundsystem #sounddesign #audioengineer #audioengineering #signalprocessing #dante #microphones #loudspeakers #headphones #systemsintegrator #architecture #soundsystem #sound United Nations #unitednations

Inside the Opéra National de Paris - Palais Garnier, Paris, France

#paris #opera #concerthall 00:00:00 The Exterior 00:01:05 Rotonde 00:02:06 Cave of Pythia 00:03:09 Grand Staircase 00:05:05 Auditorium 00:07:52 Lodge of the Phantom of the Opera 00:09:35 The Salons of the Sun and Moon 00:10:00 Grand Foyer "After Charles Garnier designed the Paris Opera in the 1870's, he called acoustics a ''bizarre science.'' ''Nowhere did I find a positive rule to guide me,'' he wrote. ''I must explain that I have adopted no principle, that my plan has been based on no theory, and that I leave success or failure to chance alone.'' He compared the acoustician to an acrobat ''who closes his eyes and clings to the ropes of an ascending balloon.''" - ttps://www.nytimes.com/2004/05/22/arts/if-music-is-the-architect.html "The auditorium has a traditional Italian horseshoe shape and can seat 1,979. The stage is the largest in Europe and can accommodate as many as 450 artists. The canvas house curtain was painted to represent a draped curtain, complete with tassels and braid. In the tradition of Italian theaters, the French-style horseshoe-shaped performance hall, because of the seating arrangement according to category, was designed to see and be seen. Its metal structure, masked by marble, stucco, velvet and gilding, supports the 8 tons weighing bronze and crystal chandelier equipped with 340 lights. The stage curtain was created by the theater painters-decorators Auguste Rubé (1817-1899) and Philippe Chaperon (1823-1906), according to the indications of Charles Garnier. The curtain was replaced in the same way in 1951 then in 1996. The ceiling painted by Marc Chagall and commissioned by the Minister of Culture André Malraux was inaugurated on September 23, 1964. Located exactly above the vault of the former rotunda of subscribers, the large auditorium is the heart of the palace. In a horseshoe shape, with four balconies, lodges and five-storey stalls, the place is designed according to the model of Italian theater where visibility is variable. Its dimensional characteristics are impressive: nearly thirty-one meters wide, thirty-two meters deep and twenty meters high. His gauge is approaching two thousand seats, with a little more than one thousand nine hundred seats. This place is dressed in dominant tones of reds and golds. The ceiling area which surrounds the chandelier was originally painted by Jules Eugène Lenepveu. In 1964 a new ceiling painted by Marc Chagall was installed on a removable frame over the original. It depicts scenes from operas by 14 composers – Mussorgsky, Mozart, Wagner, Berlioz, Rameau, Debussy, Ravel, Stravinsky, Tchaikovsky, Adam, Bizet, Verdi, Beethoven, and Gluck. Although praised by some, others feel Chagall’s work creates “a false note in Garnier’s carefully orchestrated interior.” Large clearances provide access to the five levels with mosaic floors. All doors are mahogany and have a porthole. The orchestra (formerly parterre and parquet) The fourteen rows of seats in the orchestra are located on either side of a central aisle, the armchairs are in black wood and dressed in velvet, their padded backs are covered with an elegant bronze easel bearing the number of the armchair. At this level are the baths which are lodges on the ground floor. ... The lodges The boxes and backs, and their seats and benches are dressed in velvet and their partitions, damask and hangings. All the furnishing materials have a subtle play of crimson shades. The most famous and mysterious lodge has a gateway where (since 2011) is a bronze plaque indicating “Lodge of the Phantom of the Opera”; it is located at the level of the first lodges. This famous box bears the no. 5 proscenium lodges overlook the orchestra pit in the arc Doubleau forming the proscenium. For centuries, it was customary to have ten lodges directly on the stage, for the authors, composers and other actors of the show. Garnier had not been able to remove this obligation from his plans. In 1916, director Jacques Rouché announced his intention to suppress and redevelop these sites in order to install the control rooms and command posts, which was done in 1917. Immediately, Marie Garnier, widow of the architect, s’ indignera by writing to the newspaper Le Figaro: “We dare to attack the beautiful work of Charles Garnier, without fear of destroying this admirable acoustics, without worrying about the art with which the room was connected to the scene by these boxes” These locations, d a width of 1.70 meters, are used to reinforce the access to the projectors installed on the bridge and the frames forming the mobile frame." - ttps://www.hisour.com/auditorium-palais-garnier-51031/

Inside the Hamburg State Opera (Hamburgische Staatsoper), with Backstage Access, Germany

#hamburg #opera #germany Inside the Hamburg State Opera (Hamburgische Staatsoper), with Backstage Access, Germany 00:00:00 Exterior 00:02:21 Entrance 00:03:02 The Auditorium 00:03:16 The Orchestra Pit 00:03:40 Inside the Stage 00:04:12 Under the Stage - Opera Storage 00:05:40 Costumes - Men's Costume Atelier "The sound makes the music – acoustic systems for the Hamburg State Opera The Hamburg State Opera has been gradually modernized since 2020. The recent game break was used by our BASWA-certified team to replace the ceiling paneling. With an acoustic system from the manufacturer BASWA acoustic , we created a place for sound experiences - away from the box. Since 2020, the State Opera’s breaks have been used for extensive renovation and modernization work. Sprinkenhof GmbH, which as project manager plans and organizes the performance of the work at the listed venue, is in charge of the construction measures. In addition to removing the asbestos pollution typical of the construction period, the focus is on modernizing the fire and noise protection. Our professionally trained team used the most recent break from the beginning of July to mid-August to replace the ceiling paneling in the parquet foyer of the historic building. The work included the installation of a sound-absorbing acoustic system from the manufacturer BASWA acoustic. Absorb sound - reduce stress - intensify conversations With the aim of freeing another section of the building from components contaminated with asbestos, the existing ceiling cladding was dismantled and the contaminated material removed. At the same time, an acoustic system was installed that makes it possible to improve speech intelligibility. In accordance with the requirements of a heavily frequented room, the challenge lay in reducing the reverberation times. To achieve this, a two-layer system (BASWA Phon Classic Top) was used, which corresponds to sound absorption class C (up to αw 0.75). The seamless system consists of an acoustic panel as a carrier panel and an acoustic plaster made of fine marble sand. The BASWA acoustic system works according to the principle of an absorber: A porous sound absorber system is placed in front of the hard reflection wall, the so-called "reflection absorber". The sound waves penetrate the porous material, lose some of their energy through friction, then hit the hard wall surface and are reflected. On the reflection path, the sound waves pass through the absorber again, which in turn absorbs part of the sound energy. To illustrate how it works, imagine a rectangular floor plan with a loudspeaker in the middle. Without an absorber system, a few milliseconds after switching on the sound source, a sound field consisting of superimposed waves would result. The direct sound that reaches our ears without reflection from the loudspeaker is dominant. But immediately afterwards, the sound waves are reflected off the walls of the room countless times, each time being somewhat weakened by the reflection process. If the walls are particularly hard and slippery, the waves will bang back and forth for seconds. The listener perceives the direct sound first. Immediately afterwards, the reflections are superimposed in his ear, some of which have already covered considerable distances and therefore bring their signals in with a delay. The result: The sound absorber system counteracts this: the sound reflection is reduced, better speech understanding is achieved and the quality of well-being is improved." - https://www-otto--gerber-de.translate.goog/akustikdecke_staatsoper/?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en-US&_x_tr_pto=wapp "The Hamburg State Opera In 1678, the citizens of Hamburg vote in the Senate to build a public opera house on the corner of the Gänsemarkt and the Colonnaden. The opera house is not uncontroversial: the Lutherans are for the idea; but the Pietists regard the theatre as too much of a place of worldly pleasures. Nevertheless, the “Operntheatrum” develops into one of the leading centres of music in Europe. Telemann is the Director of Music of the City of Hamburg starting in 1721; Handel is employed as a violinist and harpsichordist. Financial mismanagement and lack of audience interest lead to an end of the enterprise in 1738, but the building serves as a venue for travelling comedy companies until 1763, when it is torn down. During the First World War, the number of performances is not reduced. In 1925 the stage house is rebuilt, and is used in this form until the present day. After the National Socialists take power in 1933, the “Stadt-Theater” is renamed the “Hamburgische Staatsoper” in 1934. The auditorium is destroyed in an air raid in 1943. The “Stiftung Wiederaufbau der Hamburgischen Staatsoper” raises 1.5 million Marks from sponsors for a new auditorium with 1690 seats, and the opera house opens with Mozart´s “Zauberflöte” on October 15th, 1955. - https://www.staatsoper-hamburg.de/en/service/history/history.php