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Michael Barron - One of the best experts on this subject based on the ideXlab platform.

  • auditorium acoustics and architectural design 2nd edition
    Noise Control Engineering Journal, 2011
    Co-Authors: Gary W Siebein, Michael Barron
    Abstract:

    The book considers the principles of acoustic design for the following types of auditorium: concert halls, recital halls, drama theatres, opera houses and multi-purpose halls. Over 40 case studies are included. The book is well-illustrated and contains plans and sections of 80 auditoria at the uniform scale of 1:500. Historical detail is also given. Though the book contains technical detail, it is also aimed at all disciplines associated with audiotrium design.

  • auditorium acoustics and architectural design
    1993
    Co-Authors: Michael Barron
    Abstract:

    Part 1 Sound and rooms: the essence of sound waves the nature of music and speech sounds sound propagation sound in rooms reflections and the ear sound propagation in detail acoustic defects sound level distribution. Part 2 Acoustics for the symphony concert hall: the subjective dimension objective descriptions size, volume and form early reflection design balconies and other modulations design for the performers, A.C.Gade acoustic modelling objective characteristics. Part 3 The development of the concert hall: early developments the classical rectangular concert hall the directed sound hall the fan-shaped hall the synthesis in British post-war halls the diffuse solution a subdivided acoustic space? the terraced concert hall the lateral directed reflection sequence hall concert hall design in the 80s. Part 4 12 British concert halls and concert hall acoustics: Royal Albert Hall, London Usher Hall, Edinburgh Philharmonic Hall, Liverpool Town Hall, Watford Royal Festival Hall, London Colston Hall, Bristol Free Trade Hall, Manchester Fairfield Hall, Croydon Wessex Hall, Poole Barbican Concert Hall, London St. David's Hall, Cardiff Royal Concert Hall, Nottingham acoustical design of concert halls in subjective and objective terms solution of the large concert hall problem. Part 5 Chamber music and recital halls: reverberation time and loudness room form for chamber music Wigmore Hall, London Queen Elizabeth Hall, London The Maltings Concert Hall, Snape, Suffolk Faculty of Music Auditorium, Cambridge conclusions. Part 16 Acoustics for speech: the nature of speech speech in the open air speech in rooms is there an optimum profile for theatre design? design for speech in theatres the early reflection ratio acoustic measurement of theatres. Part 7 Theatre acoustics: classical Greek and Roman theatre Elizabethan theatre in London the development of the proscenium theatre the acoustics of six proscenium theatres the open stage theatre in the round. Part 8 Acoustics for opera: the elements of opera house design: stage and pit design opera house form and acoustics British opera houses objective behaviour in opera houses. Part 9 Acoustics for multi-purpose use: variable acoustic elements the totally variable acoustic space meeting the requirements of both speech and music variable acoustics through electronics the "Proscenium Concert Hall". Part 10 Multi-purpose halls in Britain: Wembley Conference Centre Central Hall, University of York Arts Centre Hall, University of Warwick Assembly Rooms, Derby The Hexagon, Reading Eden Court Theatre, Inverness Theatre Royal, Plymouth Derngate Centre, Northampton. Part 11 The art and science of acoustics.

  • auditorium acoustics and architectural design
    1993
    Co-Authors: Michael Barron
    Abstract:

    1. Introduction 2. Sound and Rooms 3. Acoustics for the Symphony Concert Hall 4. The Development of the Concert Hall 5. British Concert Halls and Conclusions for Concert Hall Acoustics 6. Chamber Music and Recital Halls 7. Acoustics for Speech 8. Theatre Acoustics 9. Acoustics for Opera 10. Acoustics for Multi-Purpose Use 11. Multi-Purpose Halls in Britain 12. The Art and Science of Acoustics Appendix A: Sound Reflection and Reverberation Calculation Appendix B: Objective Measures for Music Auditoria Appendix C: Further Objective Results in Concert Halls Appendix D: Objective Measures for Speech Auditoria

Boaz Rafaely - One of the best experts on this subject based on the ideXlab platform.

  • high resolution plane wave decomposition in an auditorium using a dual radius scanning spherical microphone array
    Journal of the Acoustical Society of America, 2007
    Co-Authors: Boaz Rafaely, Ilya Balmages, Limor Eger
    Abstract:

    The spatial and temporal distribution of early reflections in an auditorium is considered important for sound perception. Previous studies presented measurement and analysis methods based on spherical microphone arrays and plane-wave decomposition that could provide information on the direction and time of arrival of early reflections. This paper presents recent results of room acoustics analysis based on a spherical microphone array, which employs high spherical harmonics order for improved spatial resolution, and a dual-radius spherical measurement array to avoid ill-conditioning at the null frequencies of the spherical Bessel function. Spatial-temporal analysis is performed to produce directional impulse responses, while analysis based on the windowed Fourier transform is employed to detect direction of arrival of individual reflections at selected frequencies. Experimental results of sound-field analysis in a real auditorium are also presented.

  • sound field analysis by plane wave decomposition using spherical microphone array
    Journal of the Acoustical Society of America, 2005
    Co-Authors: Munhum Park, Boaz Rafaely
    Abstract:

    Directional sound-field information is becoming more important in sound-field analysis and auditorium acoustics, and, as a consequence, a variety of microphone arrays have recently been studied that provide such information. In particular, spherical microphone arrays have been proposed that provide three-dimensional information by decomposing the sound field into spherical harmonics. The theoretical formulation of the plane-wave decomposition and array performance analysis were also presented. In this paper, as a direct continuation of the recent work, a spherical microphone array configured around a rigid sphere is designed, analyzed using simulation, and then used experimentally to decompose the sound field in an anechoic chamber and an auditorium into waves. The array employs a maximum of 98 measurement positions around the sphere, and is used to compute spherical harmonics up to order 6. In the current paper we investigate the factors affecting the performance of plane-wave decomposition, showing that...

  • Sound-field analysis by plane-wave decomposition using spherical microphone array
    The Journal of the Acoustical Society of America, 2005
    Co-Authors: Munhum Park, Boaz Rafaely
    Abstract:

    Directional sound-field information is becoming more important in sound-field analysis and auditorium acoustics, and, as a consequence, a variety of microphone arrays have recently been studied that provide such information. In particular, spherical microphone arrays have been proposed that provide three-dimensional information by decomposing the sound field into spherical harmonics. The theoretical formulation of the plane-wave decomposition and array performance analysis were also presented. In this paper, as a direct continuation of the recent work, a spherical microphone array configured around a rigid sphere is designed, analyzed using simulation, and then used experimentally to decompose the sound field in an anechoic chamber and an auditorium into waves. The array employs a maximum of 98 measurement positions around the sphere, and is used to compute spherical harmonics up to order 6. In the current paper we investigate the factors affecting the performance of plane-wave decomposition, showing that the direct sound and several reflections in an auditorium can be identified experimentally. This suggests that the microphone arrays studied here can be employed in various acoustic applications to identify the characteristics of reverberant sound fields.

Asst. Prof. Dr. Halil Zafer Alibaba - One of the best experts on this subject based on the ideXlab platform.

  • Auditorium Acoustics From Past to Present
    International Journal of Engineering Research and Applications, 2017
    Co-Authors: Kabiru Maishanu, Asst. Prof. Dr. Halil Zafer Alibaba
    Abstract:

    The main aim of this paper is to identify how acoustics where generally achieve in Auditoriums base on the method, technics and the materials been used. This paper will discuss the transition over time. It will cover how the design began from the past (Roman, Greek baroque, renaissance periods) to the present (twentieth century). The paper will further discuss some case studies which are from different periods. The selection of the case study was based on their excellent acoustics qualities of the spaces. It will provide better understanding on how acoustics solution where been achieve in Auditoriums/theaters from the past to the present. Finally, the paper will point out some major benefits of using acoustics in Auditoriums and also discuss on what causes poor quality sound in the present Auditoriums and then suggest the use flat panels technology and line-stone material as it has great impact in in achieving good and qualitative acoustics in the past

W J Davies - One of the best experts on this subject based on the ideXlab platform.

  • the sensitivity of listeners to early sound field changes in Auditoriums
    Acustica, 1993
    Co-Authors: W J Davies
    Abstract:

    The sensitivity of listeners to small changes in the early sound field of auditoria has been measured. This was done using a realistic artificial simulation system of a concert ball sound field. The simulation system was designed so that standard objective parameter values were typical of those found in real halls, and within ranges known to be subjectively preferred. The following difference limens were measured: early lateral energy fraction; inter-aural cross correlation coefficient; clarity index and centre time. From these results it was shown that when changes are made to the early sound field, changes in perceived spatial impression will usually be larger than those for clarity. Furthermore it was found that acousticians can gain most by paying attention to lateral sound. Other measurements showed that: (i) the initial time delay gap is not significant to listener preference, and (ii) diffuse reflections in the early sound field are not perceived differently from specular reflections.

Sollenby Emil - One of the best experts on this subject based on the ideXlab platform.

  • Auditorium design for niche cinemas : Gathering of general design guidelines and implementation at Cinema Capitol
    KTH Maskinkonstruktion (Inst.), 2018
    Co-Authors: Sollenby Emil
    Abstract:

    Under 1900-talets första decennier var biografer något som utformades med ståtlig arkitektur och varierade uttryck, men sedan 1970-talets ”biografdöd” har det blivit mer lukrativt att driva biografer i stora komplex med tiotals salonger under samma tak. Utvecklingen av nya multibiografer och ständiga nedläggningar och ombyggnader av äldre biografer har lett till en mycket likriktad design hos en absolut majoritet av Sveriges biografer. Den här uppsatsen undersöker hypotesen att denna likriktning leder till att många potentiella kundönskemål förbises, och försöker presentera nya tankar kring hur en biograf kan utformas. Nytänkande i utformingen är något som är särskilt viktigt för nischbiografer som av sin natur riktar sig till kunder som på något vis är missnöjda med de kommersiella alternativen, eller åtminstone önskar kunna välja en annan typ av upplevelse emellanåt. Uppsatsen består av en forskningsdel där principer och kundbehov som ligger bakom dagens utformning av biografsalonger undersöks och listas. Till dessa riktlinjer adderas sedan de förbisedda kundbehoven som kartläggs via kundundersökningar och analyser av andra biografdriftsstrategier. På detta sätt skapas och presenteras ett ramverk av kundbehov och designmöjligheter. I uppsatsens genomförandedel konkretiseras detta ramverk genom konceptförslag för utformandet av de två huvudsalongerna på nischbiografen Capitol som under tiden för uppsatsskrivandet rustades inför ett nyöppnande under hösten 2017. Capitol var en biograf på Sankt Eriksgatan 82 i Stockholm som hade sin premiärvisning under biografernas guldålder på 1920-talet. Biografen lades ned 1985 av SF Bio men ska nu åter användas för sitt ursprungliga syfte. Bakom projektet står människor från de två filmdistributionsföretagen Njutafilms AB och Nonstop Entertainment AB. Investerarnas ambition är att skapa en alternativ biografscen för smalare film, med utökad komfort och en mogen publik. En bistro är fullt integrerad i biografverksamheten och mat och dryck kommer serveras i biosalongerna. Koncepten som presenteras i den här uppsatsen visar bland annat prov på olika metoder för att höja attraktionsvärdet för traditionellt sätt mindre attraktiva delar av biografsalongen, med den önskvärda effekten att fler bra platser finns kvar även för kunder som bokar biljetter sent. De flesta av de identifierade kundönskemålen har tillgodosetts genom utformande av platsöversikten i salongerna. Bättre publikflöden har skapats och problematik med klaustrofobiska känslor har försökts förebyggas. Förslag presenteras på hur biografsalongen kan göras mer anpassningsbar för olika typer av evenemangsvisningar och för att bättre passa besökares skilda behov. Ett problem som visade sig vara mycket vanligt bland kunderna var de obefintliga lösningarna för hanterande av ytterkläder och dylikt. De presenterade slutkoncepten innehåller även förslag på hur detta kan lösas. I stort strävar uppsatsen efter att bistå med redskap för hur man kan analysera och samverka slutkundens behov och uppdragsgivarens förutsättningar i en så komplex process som biografutformande innebär.During the early 1900s, cinemas were built with imposing architecture in varied expressions, but since the “death of cinema” in the 1970s the design has developed towards multiplex cinemas with tens of screens due to changed economic circumstances. The establishing of new multiplex cinemas combined with constant shutdowns or renovations of older cinemas has led to a uniform design of the absolute majority of the cinemas in Sweden. This thesis investigates the hypothesis that this uniformity of the design of cinema Auditoriums overlooks many of the customers’ or potential customers’ needs, and it tries to present new thoughts of how a cinema auditorium, or certain aspects of it, can be designed. The need of new thoughts is especially important for niche cinemas, which by their nature aims for customers who in some way are annoyed with the commercial alternatives or simply wishes for a different type of experience occasionally. The thesis consists of two parts, one research part and one implementation part. In the research part, principles and customer needs that has created todays’ design are initially mapped out and presented. User studies and analyzes of alternative design strategies for cinemas are thereafter conducted to map out the overlooked customer needs. By combining the study of overlooked customer needs and the prior study of the established design a framework of customer needs and design opportunities to considered when designing a niche cinema is created. In the implementation part of this thesis, the framework is concretized in design concepts for the two main Auditoriums at the niche cinema Capitol. The project was in an intense phase during the thesis work with a scheduled premiere in the autumn of 2017. Capitol is a classical cinema at Sankt Eriksgatan 82 in Stockholm and was built during the golden age of cinema in the 1920s. The cinema was shut down by SF Bio in 1985, but this year it will re-open and return to its original business. The people behind the project usually works for the independent film distributors Njutafilms AB and Nonstop Entertainment AB. Their ambition is to create an alternative scene for less independent movies with enhanced comfort and a mature audience. A bistro will be fully integrated with the cinema business and food and drinks will be served in the Auditoriums. The concepts in this thesis present, among other things, ways of making traditionally unpopular parts of the cinema auditorium more attractive, with the intended effect of having more tickets in the popular parts remaining for late bookers. Most of the identified customer needs are fulfilled by the design of the seating plan. A better customer flow is created and issues of claustrophobia have been attempted to be reduced or prevented. The thesis also includes suggestions of how the auditorium can be better adapted to different kind of screenings and audiences and how outerwear and luggage can be disposed.    In whole, the thesis aims to offer a tool for analyzing and interacting the end user’s wishes and needs and the client’s prerequisites in something as complex as cinema establishing