Fig 3 - uploaded by Jason Erik Summers
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depicts a decay curve formed by the sum of two exponential decays and illustrates the location of the crossing time.
Source publication
A number of performance halls incorporate into their design a volume (or ‘‘chamber’’) surrounding the stage platform and coupled to the stage platform through the orchestra shell. Bass Performance Hall utilizes this design concept, while incorporating into the orchestra shell an array of apertures backed by adjustable doors. Measurements have been...
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The acoustics on stage has been recognized as an important design consideration for concert halls and other performance or rehearsal spaces. Stage acoustic parameters such as STearly and STlate are used to judge the early and late reflected sound levels on the stage. However, correlation of these parameters to perceptual attributes have not always...
This work reports the acoustics of the Roman Theatre in Benevento evaluated for discrete listening points positioned in the cavea along three radial directions. The theatre, built in the second century A.D, was abandoned due to historical reasons and natural events. The recovery works ended in 1950. The theatre is the centre of important social act...
Stage acoustic parameters aim to quantify the amount of sound energy reflected by the stage and hall boundaries and the energy decay over time. In this research, the effect of orchestra presence on parameter values is investigated. The orchestra is simulated by dressed mannequins, which have been compared with humans with respect to acoustic proper...
Citations
The coupled-volume concert hall and its signature double-sloped sound decay attempt to reconcile the often-competing qualities of clarity and reverberance. By wrapping a room with another more reverberant room, and allowing for apertures to control the sonic transparency between the two rooms, designers use coupling to provide a sound field that is variable, longer, distinct, and performance-piece-specific. For this study a coupled-volume concert hall (based on an existing hall) is conceived with a fixed geometric volume, form, and materiality. Aperture size is established as variable. The simulated hall undergoes statistical and geometric (ray tracing software) analysis. Results show disparity in the absolute decay patterns projected by the two methods; however, both statistical and geometric relative analyses suggest a highly sensitive relationship between the aperture size exposing the coupled-volume and the double-sloped condition. To test the model, simulations are compared to real-room measurements taken in a coupled volume concert hall.
How does sound decay when one room is partially exposed to another (acoustically coupled)? More specifically, this research aims to quantify how operational and design decisions impact sound fields in the design of concert halls with acoustical coupling. By adding a second room to a concert hall, and designing doors to control the sonic transparency between the two rooms, designers can create a new, coupled acoustic. Concert halls use coupling to achieve a variable, longer, and distinct reverberant quality for their musicians and listeners. For this study a coupled-volume shoebox concert hall is conceived with a fixed geometric volume, form, and primary-room sound absorption. Aperture size and secondary-room sound absorption levels are established as variables. Statistical analysis of sound decay in this simulated hall suggests a highly sensitive relationship between the double-sloped condition and (1) architectural composition, as defined by the aperture size exposing the chamber and (2) materiality, as defined by the sound absorptance in the coupled volume. The theoretical, mathematical predictions are compared with coupled-volume concert hall field measurements and guidelines are suggested for future designs of coupled-volume concert halls.
