Concert hall design and Acoustics

Introduction

In recent decades, a concert hall tools have improved. Currently, the process of designing and building technologies are changing rapidly. Some are replaced by new construction technologies, without a genuine assessment of the acoustic effects. Often, professionals do not have access to data and construction details. Objective and subjective evaluation are often lacking or unpublished. As a result, the physician may not always be able to take advantage of up-to-date know-how to improve the chances of the development of good or exceptional concert hall. A new approach to the design of concert halls, it appears, so at this time. (Watson, 178-192) Some important issues must be investigated jointly by academics and practicing engineers. They could include the following subjects: subjective and objective information about the old and exclusive rooms, an acoustically correct methods of construction, a concert hall acoustic response components, the impact of safety regulations. Given that the acoustic engineers are responsible for the achievement of high standards, and that failure to do so could result in costly litigation, it appears necessary to fill the gap between theoretical work and the limitations of modern design and develop pragmatic criteria that would guarantee the quality of the speakers. (Dams 31-46)

Concert hall design process in practice

The main parameters, which may have important implications for the acoustic results are influenced by many factors: the requirement to meet the needs of the majority, that the building will serve the request of the sponsors, bands and musicians, the need for taking into account all types of creative activity, some of which may be acoustically controversial, the need for integration in the urban landscape, the requirements in accordance with the political and cultural ambitions, must master the construction and operating costs. The reality is often hidden behind the political or financial considerations. (Dams 31-46)

Acoustic targets, should be sustained on the basis of objective criteria, measurable. In contrast to the noise and vibration criteria, which can be compared with the calculated and measured values, room acoustics criteria are often unclear. In the ISO 3382 standard should evolve towards a better criteria. (Akutec 35-58)

Monitoring the design and construction process of the recent concert halls and evaluate the results obtained showed that existing criteria are not sufficient. The criteria, which guarantee the required result. Reverb time values are useful, but not significantly reflect the quality of room acoustics. (d'Errico 41-57)

The literature on acoustics concert hall has been enriched over the past half century, the remarkable work performed by talented acousticians. More information is available on the characteristics of concert halls, more than ever before. Nevertheless, still a gap between scientists and practitioners. Recently, an informal survey on the knowledge of the important acoustic details of teachers revealed that a number of important structural details are ignored by scientists. The rich technical literature includes a large amount of data, but does not take into account modern technology and construction methods. It contains little information about the authentic sound of failure or in simple ...