Acoustic Acoustic Control Systems BV Acoustic Acoustic Control - - PowerPoint PPT Presentation

Acoustic Acoustic Control Systems BV Control Systems BV Acoustic Acoustic Control Systems BV Control Systems BV GARDEREN GARDEREN THE NETHERLANDS THE NETHERLANDS THE NETHERLANDS THE NETHERLANDS

www.acs.eu www.acs.eu

50 60 70 80 90 East 10 20 30 40 1st Qtr 2nd Qtr 3rd Qtr 4th Qtr West North

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ACOUSTICAL ENHANCEMENT and THEATER and MULTI-PURPOSE hall design presentation for the Concert Hall Research Group Monday July 26. 2010

The Lensic, Santa Fe, NM

Arthur van Maurik & Keith Vanderkley

Todays Live Music Program

• 1. Music at 1.8 seconds RT60
• 2. Music System off (short)

y ( )

• 3. Stepping through the settings (short piece)
• 4. Sound Source demo,trompet player walks

, p p y around system while switching on/off

• 5. Invitation to walk around and experience

p the homogene spread of sound. Come on stage as well, but do not touch the musicians.

Different kinds of sound require different types Different kinds of sound require different types f ti f ti

• f acoustics
• f acoustics

Speech: B id t di t Besides strong direct sound speech requires support form early reflections and minor reverberation reverberation. Reverberation time 0.7-1.1 seconds Symphonic music: Symphonic music: Symphonic music sounds best in an environment with both supporting early reflections and significant reverberation. Organ music: For organ music long and significant reverberation. Reverberation time 1.7-2.3 seconds. g g reverberation times (2-5 seconds) are required to produce the characteristic sound.

A ti C t l S t (ACS) Acoustic Control Systems (ACS)

• A system to create variable acoustics in multi-

y functional halls

• Idea: simulate an acoustically ‘ideal’ room in

y the existing space

• Concept: (a spatially under sampled variant
• f) Wave Field Synthesis (WFS), paying

much attention to spatial naturality

• Technology:
• Past: analog (shift register principle)
• Present: digital delay matrix

The ‘ideal’ hall

V i bl h l b ti ffi i t Variables: shape, volume, absorption coefficients

The ideal hall simulated in the real hall

For each microphone: a ‘vector’ of delays

Δt1

Δ

1

Δt2 ΔtN Δt1 Δ

2

Δt2

• etc
• ΔtN

The Huygens principle

Wave Field Synthesis

• It was introduced, as a concept for spatial

d d ti ith t t t sound reproduction without sweet spot limitations, by Guus Berkhout (TU Delft) in the 1980s and further developed by the TU Delft 1980s and further developed by the TU Delft group and, later, also by others (NB EU “Carrouso” project) p j )

• WFS is based on Huygens’s principle and the

yg p p Rayleigh representation theorems

Sound you hear in an indoor environment can b di id d i th diff t ti i d be divided in three different time windows

1. direct sound and very early reflections 2. early reflections: Sound that arrives from 20 to 80-100ms after the direct sound 3. late reflections or reverberation: Sound that arrives after 80-100 ms. Each of the different time windows influences specific attributes of our perception of sound

Typical features of ACS Typical features of ACS ACS offers acoustical solutions for different situations and places for

– Listener R b ti i H ll

• Reverberation in Hall
• Early reflections in Hall

– Musicians

• Foldback to stage
• Orchestra Shell on stage

Changing acoustics with ACS Changing acoustics with ACS

The Acoustic Control System is an electro-acoustic system that produces the desired reflection pattern without changing the physical attributes of the hall

• ACS increases freedom for both the acoustician and the architect
• Compared with the costs of architectural changes to the building, ACS

ff hi h l f

• ffers a very high value for money
• By changing the architecture of the building alone it is impossible to reach

the same flexibility as with ACS the same flexibility as with ACS

• ACS can be installed in a building without (severe) changes to its

architecture architecture

• ACS is a specially developed for change of acoustics in halls, it honours

the generic properties of sound that are defined by the theory of physical g p p y y p y acoustics

Changing acoustics with mechanical devices Changing acoustics with mechanical devices

an ACS system is an investment

Design the Hall volume for speech and already save millions in architectural costs. ACS provides the user with additional means to enhance the income of the hall once a system is installed.

An ACS-system can be changed and An ACS system can be changed and adapted to new architectural circumstances instantly and forever. circumstances instantly and forever.

In some cases systems moved with the owner to newly build or In some cases systems moved with the owner to newly build or rebuild halls, making an ACS system a good investment.

ACS has specific solutions for Early Reflections and Reverberation on stage and g for the audience in the hall

S t lti h l t i ( i t i ll 18 t 24

• Separate multi-channel matrices (again typically 18 to 24

channels)for early reflections and reverberation allow for very accurate control for merging the architectural parameters and electro acoustic enhancement electro acoustic enhancement

• The ability to control the energy fed into almost individually

l d k ll f l i ti f th d loudspeaker allows for a close approximation of the way sound waves propagate naturally

ACS provides very homogene energy d th h l h ll Al t around the whole hall. Almost everybody gets the same music for the ti k t th b ticket they buy. During the demo we will invite you to walk around and experience this. p

The ACS system advantages in random order

• It does not limit the dynamics. (Compressing /

Companding always means coloration)

• It is extremely silent, no audible noise and

distortion

• ACS offers the best top end audio/acoustical

treatment available to create the desired ti t t i bl ti d/ acoustics, to create variable acoustics and/or repair the existing acoustics.

While creating acoustical enhancement, ACS will in no way touch the direct y sound

The ACS-system is multi-channel (typically 18 to 24 input channels) (typically 18 to 24 input channels)

• The multi-channel solution secures accurate positioning of

p g the sound sources

• It avoids localisation of the loudspeakers used.
• Even in very complex orchestral settings it assures that

the sound from a single instrument is perceived as coming form the exact position on stage. (sound source definition) form the exact position on stage. (sound source definition)

• While improving the way sound propagates trough the

hall, it makes sure that the sound source stays confined to th l it i i t i th d d ’t the place it originates, ensuring the sound source doesn’t grow bigger than it should be. (spatial properties)

ACS produces the correct atmosphere for the musicians on stage for the musicians on stage

• The ACS orchestra shell extension will

i th bl l i diti improve the ensemble playing conditions on stage and can even be used to enhance natural shells natural shells

• The foldback extension renders reverberation

back to stage, giving the musicians information of how the hall is responding to their play. The acoustics of the hall will become a part of their play allowing them to become a part of their play allowing them to play ‘lighter’

1 on 1 with the consultants

ACS believes in close co-operation with consultants and architects leads to the best solution.

Microphone Pick-Up

The ACS system is typically configured to pick up

Microphone Pick Up

The ACS system is typically configured to pick up in the direct sound field but it can, if desired pick-up sound anywhere in the hall, even in the reverberation tail or a mixture of all before If you believe that will bring the desired solution.

ACS’s tuning process is balanced such g p that including fine tuning it typically takes no more than 2-3 days to get it y g 100%right.

Some ACS parameters Some ACS parameters

dB

1 2

ER

dB

1 2

ER

1

• 1

ER

1

• 1

ER

sec Early and Later energy sec Early and Later energy

Tuning of an ACS system. Tuning of an ACS system.

ACS provides a system that continues to work for many, many years. It hardly y, y y y requires maintenance

Wrapping Wrapping-

• Up, Typical features of ACS

Up, Typical features of ACS

• ACS uses multiple microphones recording the direct sound field
• ACS uses multiple microphones recording the direct sound field
• f the performers with a high spatial resolution. It enables the

generation of reflections with a natural spatial distribution for all source positions source positions

• ACS is a multi-channel system that means that every channel can

b f d ith i l ith th t ti i d l h be fed with signals with the correct timing and volume, where every microphone is fed to all channels

Wrapping Wrapping – – Up Typical features of ACS Up Typical features of ACS ACS offers

– Flexibility with a large number of parameters it is possible to adjust the system for almost any situation j y y – High quality High dynamic range, low noise, generation of flexible acoustics without coloration

–

– Easy to use Select the different acoustics by simply pushing a button on the remote control

Natural acoustics with mechanical Natural acoustics with mechanical

• rchestra shell RT60 = 1.4 sec
• rchestra shell RT60 = 1.4 sec

Acoustics with ACS Acoustics with ACS

Kerkrade Theater Kerkrade Theater

RT60 = 1.6 sec RT60 = 1.6 sec

• Former ACS remote
• With ACS one can change the acoustics

ith h b tt with a push on a button

Former rack

ACS Block Diagram ACS Block Diagram

Remote Control

Early Reflection

Data Microphone pre amplification

Reverberation

ACS processor Microphones

Foldback extension (reverb. to stage) Reverberation in hall Early reflections in hall Orchestra Shell extension (stage) y Multi-channel Processing Matrix

Data audio

Multi-channel Processing Matrix additional I/O

level adjust level adjust

Amplifiers

loudspeakers mainly designated to "foldback" reverberation from the hall Orchestra shell loudspeakers on stage loudspeakers mainly designated to early reflections loudspeakers mainly designated to reverberation reverberation from the hall to stage early reflections reverberation

Lensic, Santa Fe

Cross section,

yellow = early reflection blue = reverberation red = orchestra shell green = foldback

m17 m18 m1 m2

Floor Plan,

l fl i yellow = early reflection blue = reverberation red = orchestra shell green = foldback

The NEW Rack The NEW Rack The NEW Rack The NEW Rack

Processing digital base system Max number of inputs 96 Max number of outputs 96 p (multiple systems can be coupled) 24 bit 48/96kHz AD/DA conversion 32/40 bit floating-point processing g p p g

Small rack with (only) 24 power amplifiers Small rack with (only) 24 power amplifiers

Graphical user interface of Graphical user interface of the new digital system the new digital system

ACS Block Diagram ACS Block Diagram

Microphones

Processing unit

Conne ctor Connector Connector

Microphone multi

Microphone pre-amplifiers

ACS rack

Line inputs Line outputs System

Early reflection processing Reverberation processing Foldback

User interface / control unit Soft-start

Orchestra Shell

Early reflection loudspeakers Orchestra Shell loudspeakers

• rc hes

Reverberation loudspeakers Under balcony loudspeakers

Remote control

Junction box near loudspeakers

Foldback loudspeakers

Transportable Demo System Demo System delivers proof!

Sydney Opera House Sydney Opera House acoustical repair

• Improved frequency response
• Improved transfer of sound within the hall

(Early reflections)

• Improved stage conditions

Sydney Opera House - Acoustics Trials September 2009 Sydney Opera House Acoustics Trials September 2009 Initiated by Kirkegaard and Associates

Sydney opera house, Concert Hall Sydney opera house, Concert Hall

2. 5 3. 1. 5 2. r at i

• n

Ti m e ( sec) 0. 5 1. R ever ber ACS Syst em On ACS Syst em Of f 0. 63 125 250 500 1000 2000 4000 8000 Octave Band Center Frequency (Hz)

3. 2. 2. 5 3. m e ( sec) 0 5 1. 1. 5 Rev er ber at i

• n

Ti m 9 Sep

• Sy

dney Sy m phony 10 Sep

• Sy

dney Sy m phony 11 Sep

• Sy

dney Phi l har m oni a 0. 0. 5 63 125 250 500 1000 2000 4000 8000 Octave Band Center Frequency (Hz) 11 Sep

• Sy

dney Sy m phony

Auditorium, Delft Technical University, Netherlands Auditorium, Delft Technical University, Netherlands

First Congregational Church of Battle Creek, MI, USA First Congregational Church of Battle Creek, MI, USA

Schouwburg ‘Het Park’ Hoorn, the Netherlands Schouwburg ‘Het Park’ Hoorn, the Netherlands

College of the Canyons, Santa Clarita, CA, USA College of the Canyons, Santa Clarita, CA, USA

The Hult Center, Eugene, OR, USA

The National Arts Centre Ottawa Canada The National Arts Centre Ottawa Canada The National Arts Centre, Ottawa, Canada The National Arts Centre, Ottawa, Canada

ACS installations currently under construction

• Staatstheater Braunschweig

g Germany

• Amphion Doetinchem

Netherlands(2 systems) ( y )

• Guildford Civic

United Kingdom

• Manitoba Centennial Concert Hall

Winnipeg Canada

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How do we move from here? How do we move from here?

We very much like the information exchange you are developing here, thank you for allowing us to share this with us. ACS will come up with new, additional, p , , technology in the near future. How do we keep you informed? How do we keep you informed?