ERATO Proceedings Istanbul 2006.pdf - Odeon

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5.2 Reverberation Time T 30 vs. Frequency 7,00 6,00 5,00 Aosta & Aphrodisias Odea: T 30 vs. Frequency T 30(s) 4,00 3,00 2,00 1,00 0,00 63 125 250 500 1000 2000 4000 8000 Frequency (Hz) Aosta Roman Empty Aosta Roman Full Aphrodisias Roman Empty Aphrodisias Roman Full Aphrodisias Present Empty Aphrodisias Present Full Figure 5. Calculated reverberation time T30 as a function of frequency in different configurations of Aosta and Aphrodisias Odeon. The parameter values are averaged over all source-receiver positions. From figure 5, showing T30 as a function of frequency, it is seen that T30 decreases with increasing frequency in all the Odea in the Roman configuration. For the Odea fully occupied it is seen that T30 decreases most notably at low and mid frequencies, which is due to the absorption from the people. For the 4000-8000 Hz frequency bands there is not a big difference between empty and occupied, and this is due to the air absorption at high frequencies. 8
5.3 Strength G vs. Distance 16,00 14,00 Aosta & Aphrodisias Odea: Strength (G) vs. Distance G (dB ) 12,00 10,00 8,00 6,00 4,00 2,00 0,00 1,00 10,00 100,00 Distance (m) Aosta Roman Empty Aphrodisias Roman Empty Aphrodisias Present Empty Aosta Roman Full Aphrodisias Roman Full Aphrodisias Present Full Figure 6. Calculated strength G in different configurations of Aosta and Aphrodisias Odeon. The parameter values are for one source position and averaged over mid-frequencies from 500-1000 Hz in 1/1-octave bands. Figure 6 shows that G decreases with distance from the source in all the odea. For the case of Aosta Odeon in empty state the G parameter seems to be almost constant with distance. This shows that a more or less diffuse sound field is obtained in this highly reverberant room. In all the odea it is seen that the strength decreases when the room is full due to the reduced reverberation time. 6 DISCUSSION The acoustic simulations of the reconstructed spaces show a clear difference between the theatres and the odea. In the theatres the reverberation times are surprisingly long, even with a full audience it is around 1,6 s in the theatres with a colonnade. In Jerash without a colonnade reverberation time is significantly shorter, and this raises the question if it is possible that also the Jerash South theatre had originally a colonnade? The reverberation in the Roman theatres can be explained from the big frons scaenae in closed connection with the auditorium and the surrounding colonnade. This allows high order sound reflections even without ceiling. In the odea the reverberation time depends strongly on the ceiling height and the size of the windows, which contribute some sound absorption to the spaces. In general there is no firm information available about the ceiling height, and in the case of the Aphrodisias Odeon a moderate height of around 15 m has been assumed, leading to a quite moderate reverberation time of around 9
Page 1: RTD project in the EC 5th Framework
Page 7 and 8: THE ERATO PROJECT AND ITS CONTRIBUT
Page 9 and 10: 3 ROOM ACOUSTICAL PARAMETERS The fo
Page 11 and 12: 4.2 Reverberation Time T 30 vs. Fre
Page 13: 5.1 Aosta & Aphrodisias Odeon The A
Page 17 and 18: VITRUVIUS AND ANCIENT THEATRES: ANA
Page 19 and 20: a line is drawn to touch the outsid
Page 21 and 22: Actually the colonnade (portico) im
Page 23 and 24: VIRTUAL REALITY AND ARCHITECTURAL C
Page 25 and 26: As a result, maybe the most critica
Page 27 and 28: The absorption and scattering prope
Page 29 and 30: Figure 3. Sound sources and receive
Page 31 and 32: In Figure 5 the reverberation time
Page 33 and 34: ACOUSTICAL MEASUREMENTS IN ANCIENT
Page 35 and 36: channels four different signals, on
Page 37 and 38: The clarity for music C80, whose pl
Page 39 and 40: References [1] EU Project ERATO - I
Page 41 and 42: 2.1 The Greek Theatre The GE theatr
Page 43 and 44: 4 MEASUREMENT SETUP A high frequenc
Page 45 and 46: stage building causes the RT to dec
Page 47 and 48: 5.3 The Sound Level In Figure 6 the
Page 49 and 50: colonnade where the stage wall as a
Page 51 and 52: Table 1. Theaters and odea to work
Page 53 and 54: A Color Order System is a method of
Page 55 and 56: Figure 9. Seating rows of Jerash Th
Page 57 and 58: Figure 11. Lightmap and diffusemap
Page 59 and 60: Interactive visualization of the As
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Page 63 and 64: 3.5 Real-time Illumination with ‘
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correlation between the parameters
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Third, once the texturing and garme
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[19] Tecmath AG. Avilable from http
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2 Crowd Engine Resume The crowd eng
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3 Scenario Authoring Since the begi
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Part Description User control 1.0 I
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3.4 Results To conclude, Fig 6 illu
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ANCIENT THEATRES AND ODEA AND CRITE
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3. Conferences and Receptions: Oran
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6 CHARTERS and the USE of ANCIENT P
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7. Interpretation and presentation
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References [1] ICOMOS - Internation
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The measurements performed by UNIFE
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1.3 Assessment of acoustic preferen
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Distance 90,0 80,0 70,0 60,0 50,0 4
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Multiple Regression « Speech » R2
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References 1] Barron, M: 2004 The c
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YTU Theatre Club “Male Group Acto
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