MUSIC ROOM
GENERA L C ONSIDERA TIONS
DESIGNED SPECIFICALLY FOR MUSICAL PERFORMANCES WHERE MUSICIANS AND AUDIENCES ARE IN THE SAME ROOM
Danish Radio Concert Hall, Copenhagen, Denmark
• Ideal number of concert hall seating between 1700-2600
• Above 2600, the acoustic success rate is decreasing.
• There is no boundary between the stage and the audience
• The orchestra's venue is located on a raised stage
• If the stage is on the end usually using a sheath
• If the stage is in the middle usually without a veil
CLASSICAL DESIGN OF RECTANGULAR
FLOOR PLAN WITH ORCHESTRAL STAGE IN
ONE OF ITS FILLED
DESAIN KLASIKAL DENAH PERSEGI
PANJANG DENGAN PANGGUNG ORKESTRA
DISALAH SATUSISINYA
• Concert hall seating at the front is made lower with a stage
• The more backwards are made the higher
• Sometimes the back is added balcony
• Reverberation time concert hall between 1.5-2.2 seconds but the most recommended is 1.8 – 2.0 seconds
• Reverberation time concert hall depends on the type of music and the volume of the room
• Baroque music : 1.5-1.7 seconds
• Classicalmusic : 1.6-1.9 seconds
• Romantic music : 1.8-2.2 seconds
• To get a long reverberation:
• High ceilings over 15 m
• The ceiling is diffusive with a depth of 15 cm
• Walls with columns, pillars, sculptures, convex shapes greatly help the process of diffusion and reflection of sound energy
THE OPERA HOUSE IS A FUSION OF THEATRE AND CONCERT HALL
Buxton Opera House
• The stage must be made deep enough to put down the show's properties
• Stage set lifting structure must be made 1.5 x high stage mouth
• Orchestra placed on the floor below the stage
• The conductor must not cover the stage, so the height of the stage adjusts the height of the conductor
• In large spaces, orchestras that are open to an audience have the best results
• In small spaces, overhang floors for orchestra can control the power of sound
• The direction of view is an important factor, so usually the opera house is designed with a space that is not in the
• The furthest seat is no more than 30m from the stage and rises as high as 30 from the front seat
Max 30 m 30⁰
• The design of the opera house in Europe is largely horseshoe-shaped with multi-layered balconies
• The capacity of opera house chairs is made smaller so that the energy of the vocalist's voice is not too big
• Most of the performances are performed in the center of the stage, so the singer should be able to listen to the bounce from the room
• So that the sheath of the building at the front of the stage is made parallel, the part close to the front of the stage is decorated with ornament columns and balconies
• This element will create a field of local diffusion and reverberation where the singer stands
• Reverberation time of opera house is lower between 1.2-1.5 seconds
• The Baroque theater-style U-shape is by far still the most commonly used form
GENERAL PARAMETERS OF MUSIC ROOM DESIGN
• The audience must feel surrounded by sound it takes sound energy that bounces from the strong side
• The room must support musical instruments by conditioning the
reverberation field with the duration according to the type of music.
• Increased reverberation along with a frequency that drops below 500 Hz is beneficial for creating sound warmth
GENERAL PARAMETERS OF MUSIC ROOM DESIGN
• For music characters with fast tempo requires a high level of clarity so that the time delay gap can be shortened
• To shorten the delay time, a reflective media that is close to the sound source and receiver is needed
• The sound must be evenly distributed with balanced power throughout the hall
• If the number of seats is above 2600, the strength and clarity will be reduced
GENERAL PARAMETERS OF MUSIC ROOM DESIGN
• A wide frequency range should be anticipated.
• Musical instruments emit a frequency range between 30 Hz to 12,000 Hz.
• The hall should not shake the natural nature of the musical spectrum
• Noise from exterior sources and mechanical equipment must be controlled so as not to mask the smallest intrusion sound
GENERAL PARAMETERS OF MUSIC ROOM DESIGN
• Background noise must be no more than NC 20 for small hall and NC 15 for large concert hall
• Reverberant characters must be made with soft reverberant ends, no echoes, sound shadows, coloring.
• Performers must be able to hear their own reflective sounds clearly so that they can feel also what the audience is experiencing
HALL SIZE
• BUSSINESS VS QUALITY
• Concert thing at its best has little seating capacity and rectangular shape
• The average capacity of the world's best hall is 1850, while the most disliked hall has an average capacity of 2800 (Branek, 1996)
• Capacity 1750 and 2200 most easily designed for good sound quality
HALL SHAPE
• The most consistent acoustic performance is the shape of the box hall and horseshoe
• Rectangular betung creates a lateral reflecting effect that is essential for creating an even sound sheath
• Shallow shapes produce short deci deposit times that are useful for producing fast bounce times
• The shape of the hall that surrounds the stage further frees up the expression of its design, but reduces the consistency of sound quality.
HALL SHAPE
• The most consistent acoustic performance is the shape of the box hall and horseshoe
• Rectangular betung creates a lateral reflecting effect that is essential for creating an even sound sheath
• Shallow shapes produce short deci deposit times that are useful for producing fast bounce times
• The shape of the hall that surrounds the stage further frees up the expression of its design, but reduces the consistency of sound quality.
GOOD SHAPE
INCONSISTENT SOUND
RECTANGULAR NARROW LOW CAPACITY OVERHEAD REFLECTOR
VOLUME HALL
• Volume affects reverberation time & space
• In halls with small capacity and large volume required excessive sound hardness control
• Large capacity with small volume will streamline the need for sound energy
• In a large volume hall, a transferable refelctor element is required
SURFACE MATERIAL
• Plaster walls are standard materials found in concert halls and operas
• On the back using bricks or wood
• In more modern buildings the back uses metal or gypsum
• If the surface of the wood should be used, a heavy and thick wooden pilik attached to the masonry wall or concrete structure
• The use of thin, hollow wood paneling has a huge absorption effect on low frequency sound
SURFACE MATERIAL
• Floor using concrete or wood material on concrete
• If the floor uses concrete, on the access road is equipped with carpets
• If using hardwood floors use double layers
BALCONY AND OVERHANG
• Balcony aims at growing number of audiences close to performers
• The room under the long balcony is a moistening area of energy reverberant that causes uneven sound sheaths
• So the depth of the beam needs to be taken into account, the shallower the better
• Comparison of depth and height, for concert hall no more than 1, and for opera hall no more than two
SEATING
• The seat is the largest sound-absorbing surface
• To maintain acoustic consistency all seat materials must have the same sound absorption as the audience's absorption
Stage
• The breadth of the stage should be planned roots musicians can hear and hear
• Small stage provides better sound
• The average area of panggun is based on a unit of 1.9 m2 per musician
• Musical instruments also affect the area of the stage
ORCHESTRAL SHEATH
• The orchestra stage must use a sheath that can reflect the sound back to the musician
• The veil of the stage must be reflective towards the musician
ORKESTRA PIT
• Pit serves to reduce the power of orchestral sound against singers (opera)