Todd L. Brooks

Vocal intelligibility and clarity in amplification: challenges for concert hall acoustics

The modern concert hall presents a range of programming from soloists and small classical ensembles to large orchestras with choir. In many communities the same concert venue is also required to host a range of amplified events from politely-reinforced ensembles to overtly amplified popular music artists. Maintaining intelligibility of vocals and clarity at high amplification levels depends upon a number of factors both within the control of the acoustics and sound system designers and not. This paper will discuss the programming for a typical season at one 1600-seat concert hall, the elements within its design to allow flexibility of program use, and experiences during the process of adjustment, tuning, and optimizing the hall over its first season.

Contemporary multi-use concert hall design: Experience and analysis

The acoustic design practice at Arup in New York has designed multiple performing arts spaces with a wide range of acoustic characteristics and functions, several of which have opened within the past few years. Many of these spaces make use of adjustable acoustics to accommodate a wide range of program within a single space, including acoustics control chambers, adjustable-height canopies, adjustable sound absorbing curtains and banners, and flexible configurations of various stage elements. Traditional objective parameters have been examined for both audience and stage acoustics, and additional spatial analysis is explored through visualization of 3D impulse responses. The relationships between these parameters and each venue’s program goals will be addressed. Our experiences and findings obtained through the process of design, construction, and post-opening will be shared.

Graduate research and education in architectural acoustics at Rensselaer Polytechnic Institute

The Graduate Program in Architectural Acoustics has been constantly advanced from its inception in 1998 with an ambitious mission of educating future experts and leaders in architectural acoustics, due to the rapid pace of change in the fields of architectural-, physical-, and psycho-acoustics. Recent years the program’s pedagogy using “STEM” (science, technology, engineering, and mathematics) methods has been proven to be effective and productive, including intensive, integrative hands-on experimental components that integrate architectural acoustics theory and practice. The graduate program has recruited graduate students from a variety of disciplines including individuals with B.S., B.Arch. or B.A. degrees in Mathematics, Physics, Engineering, Architecture, Electronic Media, Sound Recording, Music and related fields. Graduate students under this pedagogy and research environment have been succeed in the rapidly changing field. RPI’s Graduate Program in Architectural Acoustics has since graduated more than...

Graduate education and research in architectural acoustics at Rensselaer Polytechnic Institute

The rapid pace of change in the fields of architectural-, physical-, and psycho-acoustics has constantly advanced the Graduate Program in Architectural Acoustics from its inception in 1998 with an ambitious mission of educating future experts and leaders in architectural acoustics. Recent years we have reshaped its pedagogy using “STEM” (science, technology, engineering, and mathematics) methods, including intensive, integrative hands-on experimental components that fuse theory and practice in a collaborative environment. Our pedagogy enables graduate students from a broad range of fields to succeed in this rapidly changing field. The graduate program has attracted graduate students from a variety of disciplines including individuals with B.S., B.A., or B.Arch. degrees in Engineering, Physics, Mathematics, Computer Science, Electronic Media, Sound Recording, Music, Architecture, and related fields. RPI’s Graduate Program in Architectural Acoustics has since graduated more than 100 graduates with both M.S....

Acoustic re-radiation of structurally coupled instruments by stage floors and orchestra risers

The role that structural vibration plays on concert hall stage floors is a point of continous discussion in several lines of research. It is often discussed, if only briefly, in research relating to the perception of warmth in performance spaces, low-frequency sound propagation, and the musicians acoustic environment. Three effects have been researched: acoustic absorption, acoustic reradiation of structurally coupled instruments, and perceptible tactile stimulation. New measurements have been conducted to explore the role of reradiation by wood stage floor constructions and orchestra risers in two recently opened concert halls. Results of these measurements will be presented and reviewed in the context of previous research. Implications for design of musical environments will be discussed.

Coupled volumes in concert halls—impact on spatial perception

It has long been understood that the use of variably coupled volumes in concert hall design has an impact on room acoustics beyond reverberation and the perception of reverberance. In this presentation, Artec will discuss recent examinations of and experiences in coupled volume halls on spatial perception, both in terms of subjective experience and measured data. Various spatial phenomena experienced by both musicians and audience members will be compared and discussed by the presenter. Artec will further discuss future design considerations related to these new observations in light of previous designs with variably coupled upper volumes and with variably coupled side chambers.

Graduate education: Meeting the needs of the next generation of professionals in architectural acoustics

In the fields of architectural-, physical- and psycho-acoustics the pace of change results from research, materials science and professional practice. Integrating the latest advances into pedagogy poses challenges for educators who are charged with training future experts and leaders, many of whom do not have technical backgrounds. To meet this need, the Graduate Program in Architectural Acoustics at the School of Architecture at Rensselaer Polytechnic Institute has re-shaped its pedagogy using “STEM” (science, technology, engineering and mathematics) methods enabling individuals from a broad range of fields to succeed in this rapidly changing field. RPIs curricula in architectural acoustics-leading to both M.S. and Ph.D. degrees -includes intensive, integrative hands-on experimental components that fuse theory and practice in a collaborative environment- a “STEM” method. The program has attracted graduate students from a variety of disciplines- including individuals with B.Arch., B.S., or B.A. degrees i...

Artec concert halls - a new generation

In 2011, Artec opened new concert halls in Carmel, IN (USA), Reykjavik (Iceland), and Montreal (Canada). These three halls, each quite different from each other, indicate the directions that Artecs leadership will pursue and develop in the future. As on any major concert hall project, each tells a complex story about the Clients ambitions, expectations, resources and unforeseen challenges, as well as the interpersonal dynamics of the design teams. The differences of these halls development and final design will be discussed in regards to the acoustic adjustability, plan and sectional conformation, and the connection of the programming of each room relationship to its final form.

Finite difference simulation methods as an educational tool

Finite difference methods can be a valuable and unexpected tool in acoustics education. As a wave acoustic simulation method, it provides instructive time-domain visualizations particularly useful for illustrating broadband wave effects like diffraction and interference. Furthermore, the knowledge required to implement these simulations can be taught in just a few hours of instruction with or without calculus in contrast to several other wave acoustic methods. The exposition provides opportunities for discussion of basic numerical methods as well as the physics of wave and diffusion processes. We present example projects from students of mixed science, engineering, and music backgrounds. After only four hours of instruction, they were able to independently simulate various room geometries with impedance boundary conditions along with a variety of other acoustical systems. Beyond strictly educational value, this is a flexible and free tool that the modern acoustician can use for research, physics-based sim...

Variable acoustics systems and their impact on concert platforms

The modern purpose-built concert hall must accommodate an extremely wide range of program, ranging from unamplified solo and chamber music to large-scale symphony and amplified events. Adjustable systems designed for both acoustical and functional flexibility are essential to adapt the stage platform environment to the needs of these different performance types. The successful modern concert hall may include adjustable overhead canopies, adjustable absorption systems, orchestra riser platforms (possibly mechanized), chorus riser wagons, and platform extension/reduction lifts. We will share our experiences and some lessons learned in a variety of recently completed and in-construction projects. Audible differences resulting from differences in architectural contexts will be discussed. We will link possible correlations between aural variations and objective measures with subjective attributes important to the performers.