Why do concert halls sound different - and how can we design them to sound better?

• Autores: David Griesinger
• Localización: Proceedings of the ISRA 2007 Seville, Vol. 3, 2008 (Oral Session Communications), ISBN 9788469082676
• Idioma: español
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• Resumen

  • This paper presents the results of a series of binaural experiments into the audibility of the direct sound in a range of listening positions and hall geometries. Although in a typical hall more than half the seats have a direct to reverberant ratio (d/r) of less than -10dB, in the best halls the direct sound is distinctly audible over a wide range of seats. When this is the case a majority of the seats experience high clarity, low perceived distance to the performers, good azimuth localization, and high envelopment. We find that the detection of direct sound depends critically on the d/r and the time gap between the direct sound and the time that the reverberation from a continuous excitation builds up to 1/10th the final energy. When this gap is small � due to the size and dimensions of the hall � higher values of d/r are necessary for good sound. The data presented allow a hall designer to optimize the seating distance, RT, and hall shape for best results.