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|venue type||Opera Hall|
This is a small program to auralize the effect of the evoke and aQflex technologies on the reverberation in a venue. Chose evoke or aQflex and switch them 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 further change the reverberation time at various octave bands. Press "Generate Reverb" to apply such changes.
The model is based on approximate acoustic and geometric properties of actual halls. Reverberation times are calculate with the basic acoustic formulas in agreement with hall volume and absorption data of respectively audiences and evoke/aQflex. Audience is taking up a given part of the floor area; in these models approx. 1/3 of the floor area. Upholstered seating can be thought of as having the same impact on reverberation as a (seated) audience. So choosing “no audience” makes for a hall without seating/audience. While the aQflex is applied in the entire ceiling area the evoke has been incorporated to and extend so as to achieve the necessary change of reverberation time in order to be able to perform all types of music within the same venue (from chamber music and choir, over brass music and opera to amplified music and spoken word performances) - all with ideal reverberation time.
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 stage/loudspeakers. So the total sound impression is, that clarity drops further away from stage. When absorption is added in a hall the line of critical distance is pushed towards the back of the hall increasing clarity for everyone. In any given position in the hall the sound gets dryer when adding absorption and this is equivalent to a different dry/wet setting.
Different sizes of venues have different values of ideal reverberation time for a given purpose. For instance a hall of 5.000 m³ has an ideal RT of app 1.0s for pop & rock while a 25,000 m³ hall needs around 1.6s of RT in the 125 Hz octave band in the unoccupied hall to sound good. This fact is adapted into the program, and further different dry/wet settings for different size venues¹ are applied.
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 especially 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. Unamplified, classical music genres need reverberation not just to sound good, but also to acoustically amplify the sound level.