Noise insulation, vibration reduction, architectural acoustics

Concert Halls with Electric Acoustics

Concert and multipurpose halls equipped with sound amplification systems currently make up the vast majority of audience halls worldwide. It can be concert halls, theaters halls, circuses, sports facilities, etc. In short, all cultural and entertainment facilities where the sound or audio is of one of the main or important values.

Concert Halls with Electric Acoustics

Most of these halls are equipped with linear array systems - powerful and modern electroacoustic emitters, which are connected in groups, forming the so-called clusters. Clusters are assembled from similar loudspeakers, which are oriented in space in such a way as to best cover the part of the hall assigned to them with a uniform sound. Thus, a properly designed and configured set of linear arrays using two or three clusters (usually left, right, and central clusters) can provide a uniform sound in a hall with a capacity of 500 to 5,000 people. However, all this, surely, becomes possible with the correct acoustic design of the hall.

As in the case of cinemas, a hall with electric acoustics can be both "over-sounded" and "muffled" by using special sound-absorbing materials. In the first case, an increased reverberation (echo) will interfere with the correct perception of the soundtrack, which, due to multiple reflections, will be distorted by timbre and intelligibility, and in especially bad cases, it will turn into a "mess". In the case of "muffling" of the room, the sound in the hall becomes dry and sharp, and the unevenness of the sound field on the audience seating increases. In addition, even if the hall is completely covered with a uniform sound from a premium audio system, in the case of "dead" acoustics, we will hear a completely different sound in each part of the hall. If the listener with his eyes closed is moved from one part of the hall to another (for example, from the stalls to the balcony), he/she will feel that he was listening to the same phonogram in general at two different concert venues.

Surely, as compared to halls with live acoustics, a hall with electric acoustics forgives many more mistakes to its designers. However, really good halls are carefully balanced in terms of the amount of sound-absorbing and sound-scattering materials and structures. At the same time, of course, in such halls, there shall be no place for obvious acoustic defects, such as a fluttering or theatrical echo.

When designing halls with sound amplification systems, the following principles should be observed:

  • The shape and proportions of the hall should be selected based on the requirements of the best diffuseness (uniform distribution) of sound in the room. Of course, even in a hall with bad proportions, you can get a good result using electrical and architectural acoustics. However, with the right proportions of the room, it can be achieved much easier.
  • Depending on the hall volume, the reverberation time in it must be within the range as recommended for halls with sound amplification.
  • The hall interior shall contain a uniform and most importantly balanced alternation of sound-absorbing and scattering surfaces.
  • Any acoustic defects such as "fluttering" and "theatrical" echo must be avoided in the hall. Such defects occur in the presence of parallel sound-reflecting surfaces, as well as in the presence of reflective surfaces of a large area, which are placed at large distances from the sound source (portal clusters) and sending the sound back to the performer (the microphone on the stage), but with a long delay.
  • In the interior decoration of the audience hall, fireproof and environmentally friendly materials suitable for the long-term operation must be used, featuring a well-known and stable acoustic performance.

A separate role in the design of rooms with sound amplification is plaid by computer acoustic modeling. Already at the stage of building a model, in addition to the shape of the room and the types of finishing materials, engineers select specific types of electroacoustic systems and their exact location. Building a computer model allows you to identify significant acoustic defects and problem areas of the hall as early as at the design stage, to consider various solutions, and to choose the best one.

The construction of halls with electrical acoustics widely uses Decoustic panels, SOUNDBOARD Fine and SuperFine panels, Ecophon Akusto wall panels, Ecophon Focus ceiling panels as well as Gyptone and Rigitone Air wall and ceiling boards. The acoustic splayed SonaSpray coating can also be used.

As the internal sound absorbing material, you can use ecologically safe nonflammable Shumanet-ECO boards. To prevent rattling of the metal frame, the Vibronet-profile system is used for installation of decorative acoustic materials. As internal sound absorbing material, ecologically safe nonflammable Shumanet-ECO boards are used. To prevent rattling of the metal frame, the Vibronet-profile system is used for installation of decorative acoustic materials.