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|venue type||Opera Hall|
This is a small program to auralize the effect of aQflex on the reverberation in a venue. Switch aQflex on and off to see and hear what difference it makes. Or investigate what impact the presence of an audience has on the reverberation time. Or play directly with the sliders to get an idea on how reverberation changes the music experience.
The diagram above shows the reverberation time curves for the selected venue. The black curve marks the current settings and the coloured curves the different situations with aQflex on/off and audience present or not. Below the chart you can change the reverberation time by hand. Press "Generate Reverb" to apply the changes, if you change those manually!
The model is based on approximate acoustic and geometric properties of actual halls. Reverberation times are calculated with the basic Sabine formula in agreement with hall volume and absorption data of respectively standing audiences and aQflex. Audience is taking up a given part of the floor area while aQflex is applied in the entire ceiling as is usually the case.
The dry/wet setting is chosen to resemble the actual sound at shows. It is equivalent to the concept of critical distance: the level of reverberant sound is more or less constant at any position in the hall while the level of direct sound drops further away from the loudspeakers. When absorption is added in a hall the line of critical distance is pushed towards the back of the hall. At a given position in the hall the sound gets dryer when adding absorption and this is equivalent to a different value of the dry/wet setting.
Different sizes of venues have different values of ideal reverberation time for a given purpose. For instance a hall of 5000 m³ has an ideal RT of app 1.0s for pop % rock while a 25,000 m³ hall needs around 1.6s RT in the 125 Hz octave band in the unoccupied hall to sound good. This fact is adapted into the program by incorporating different dry/wet settings for the idfferent size venues¹.
It is important to note that while a completely dry sound is preferred when listening back to music in your home or car or on headphones, a somewhat wetter sound is preferred at pop and rock shows. It simply verifiably sounds too tame if the hall does not respond a little to the music at higher frequencies. It enhances the audiences’ sensation of taking part in a social experience and the musicians feel connected to their audience and each other through sound¹.