Concert halls and theatres

In some of these examples, the experience for the conductor and audience positions has been simulated. The conductor position is definitely the most special one as the musicians are very close and the positions are at very different angles – in the range of +/-90 degrees – while for the audience positions will typically be less than +/-30 degrees. Also, it is evident that there is a problem with the balance between instruments for the conductor experience due to the variation of distances between the conductor and different instruments, which is much more significant than for a typical audience position.

All examples with auralisation are marked with the icon . In order to have an optimal performance when listening to the audios, please use headphones (better than e.g. stereo or surround sound system). You can read more about auralisations, openGL and measurements vs. simulations at the bottom of the page.

teatro_foto1
Photo by Ricardo Gomes

Theatro Treze de Maio

Santa Maria, Brazil. G. Verdi “Di tale amor, che dirsi”.

Elmia concert hall

Jönköping, Sweden.

Photo by Ukiws

Aspendos theatre

Antalya, Turkey

Photo by Brian McNeil

Usher concert hall

Edinburgh, Scotland.

Bayreuth Festival Theatre

Bayreuth, Germany. Donizetti, Verdi, Puccini and Machaut.

Liederhalle

Stuttgart, Germany. Brahms’ Symphony no 4, 3rd movement

Musikverein

Vienna, Austria. Mozart’s 40th Symphony

Concertgebouw

Amsterdam, Holland. Ludwig van Beethoven’s Symphony No. 8 in F Major, Op. 93, movements 1, 2 and 4

Photo by RhinoMind

Aarhus House of Music

Aarhus, Denmark. Brahms’ Symphony no 4, 3rd movement

Compton Verney opera house proposal

 Warwickshire, England.

Concert hall in Rome

Concert Hall in Rome by Matteo Novembri, Advanced Technologies S.r.l., Rome, Italy.

In ODEON it is possible to simulate how an orchestra, speech, or any other source would sound in the room you wish, at any position. The simulation results in a binaural audio, which is a highly realistic 3D sound or “out-of-head localization”, known as auralisation. For creating the auralisations, a dummy head (having a microphone in the entrance of the left and right ear) is simulated in each receiver position.

  • Streaming convolution: Almost real time. Listen to the room immediately after an impulse response has been calculated; switch between your favourite sound examples (speech, music, hand clap, etc.).
  • Headphone presentation with your preferred HRTF filter and adjustable m-factor: Highly realistic 3D sound; out-of-head localisation
  • Loudspeaker presentation through surround setup. Number of loudspeakers from two to 50: High quality sound presentation of room simulations; for customers or for research.
  • Built-in mixer for multiple sources: Easy management of auralisation with multiple sources.

 

Ideally, for concert halls, all listeners should not only be able to see the orchestra playing, but also experience the sound with the same quality. Actually, concert halls are typically large rooms, so it is inevitable that the distance from the orchestra will vary considerably from position to position. Even the listening and viewing angle may differ. This is all taken into account when calculating the binaural room impulse responses to be convolved with the anechoic recordings for the final auralisation. When listening to the closest and the farthest receivers, the difference is very noticeable. Because the early reflections are not as strong for the listeners in the back of the hall in comparison with the ones close to the orchestra, it results in a more reverberant audio in most of the cases.

The examples with a 3D view are taken from the ODEON’s 3D OpenGL, which is an alternative way of checking your room model and the sources and receivers’ positions. The red spheres are sources and the blue spheres are receivers.

When simulating an existing place, it is usually difficult to have the information of the absorption coefficient of every surface in the room. A great idea to make sure your simulations are as real as possible, is to match the results with the measurement.

You can get the impulse responses with a computer, ODEON 12 or newer, a source (omnidirectional) and a microphone (omnidirectional). It is also possible to load the impulse response (.wav audio file) measured with any other device.

After running the multi-point calculation and comparing the measurement vs. simulation results, you should start tuning the model manually, trying different absorption and scattering coefficients in order to have less error. From ODEON 13, the genetic optimization tool is available, which is capable of tuning the model automatically for you.