ERATO Proceedings Istanbul 2006.pdf - Odeon

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more difficult is to keep a correct intelligibility or clarity to the speech. The existence of some architectural elements is of interest, but it is not really possible to give here an immediate proposal for these aspects, as to improve the hearing comfort of the public in old theatres 3) Guidelines for the acoustic adaptation of an old theatre for modern performance The possible guidelines for the modern use and performance in old theatre consist in the presence of a stage wall, that has an influence on several physical aspects; to build modern colonnade has little interest for acoustical purpose. A virtual reconstruction of the roof-canopy at the theatre of Orange in France; this is a project to improve acoustic and to preserve the original wall. This project shows a heavy roof ( 200 tons) and a possible negative effect of echo can result from the roof; this demonstrates the interest of a research like ERATO Courtesy Theatre d’Orange 20- 12 2005 A clear guideline for a better efficiency is to modelise the acoustic of the theatre, with the software ODEON, for instance, that has provided changes in sounds’ characteristics very well perceived by the subjects of the experiment, that can be considered as “ the public”. For people sitting on the second half of rows in the theatre, it seems particularly difficult to keep a good intelligibility, with a reverberation time in the range of 0,9 to 1,5 second: the temptation shall be high, in this conditions to use electro acoustic systems ; a good acoustic model of the theatre will be essential at this moment: however it should be interesting to test how an electroacoustic system like CARMEN can improve the acoustic in old theatre. This active technique [8] has been recently positively tested in auditoriums, but it is not known if it is performing for an open space.
References 1] Barron, M: 2004 The current status of spatial impression in concert halls; Proceedings of the 17 th ICA, Kyoto, Th2.B1.1 2] Soulodre,G: 2004 New objective measures of listener envelopment: Proceedings of the 17 th ICA, Kyoto, Th2.B1.5 3] Rindel J.H. 2002: Modelling in auditorium acoustics: from ripple tank and scale models to computer simulations, Invited Conference at Forum Acusticum, Sevilla. Revista de Acústica vol. XXXIII no 3-4, p 31-35 4] ISO 3382: 1997: Acoustics – Measurements of the reverberation time of rooms with reference to other acoustical parameters 5] Gade, A.C, Lisa, M., Lynge, C., Rindel, J.H. 2004: Roman theatre acoustics: comparison of acoustic measurement and simulation results from the Aspendos theatre, Turkey; Proceedings of the 17 th ICA, Kyoto, Th5.B2.4 6] Rindel, J.H., Otondo, F., Lynge Christensen, C. 2004: Sound source representation for auralization. Proceedings of International symposium on room acoustics: design and science, Hyogo, Japan 7] Yuksel Z, Erdogan S, Virtual conservation of acoustical Heritage: CAHRISMA and ERATO projects. Proceedings of the Forum Acusticum, 2005, Budapest. 8] Vuichard O, Meynial X, On microphone positioning in electroacoustic reverberation enhancement systems, ACUSTICA, Acta Acustica, 2000, vol 86
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RTD project in the EC 5th Framework
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THE ERATO PROJECT AND ITS CONTRIBUT
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3 ROOM ACOUSTICAL PARAMETERS The fo
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4.2 Reverberation Time T 30 vs. Fre
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5.1 Aosta & Aphrodisias Odeon The A
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5.3 Strength G vs. Distance 16,00 1
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VITRUVIUS AND ANCIENT THEATRES: ANA
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a line is drawn to touch the outsid
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Actually the colonnade (portico) im
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VIRTUAL REALITY AND ARCHITECTURAL C
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As a result, maybe the most critica
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The absorption and scattering prope
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Figure 3. Sound sources and receive
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In Figure 5 the reverberation time
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ACOUSTICAL MEASUREMENTS IN ANCIENT
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channels four different signals, on
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The clarity for music C80, whose pl
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References [1] EU Project ERATO - I
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2.1 The Greek Theatre The GE theatr
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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
Page 61 and 62: oofing, the works of Izenour [11] w
Page 63 and 64: 3.5 Real-time Illumination with ‘
Page 65 and 66: correlation between the parameters
Page 67 and 68: Third, once the texturing and garme
Page 69 and 70: [19] Tecmath AG. Avilable from http
Page 71 and 72: 2 Crowd Engine Resume The crowd eng
Page 73 and 74: 3 Scenario Authoring Since the begi
Page 75 and 76: Part Description User control 1.0 I
Page 77 and 78: 3.4 Results To conclude, Fig 6 illu
Page 79 and 80: ANCIENT THEATRES AND ODEA AND CRITE
Page 81 and 82: 3. Conferences and Receptions: Oran
Page 83 and 84: 6 CHARTERS and the USE of ANCIENT P
Page 85 and 86: 7. Interpretation and presentation
Page 87 and 88: References [1] ICOMOS - Internation
Page 89 and 90: The measurements performed by UNIFE
Page 91 and 92: 1.3 Assessment of acoustic preferen
Page 93 and 94: Distance 90,0 80,0 70,0 60,0 50,0 4
Page 95: Multiple Regression « Speech » R2
Page 99: YTU Theatre Club “Male Group Acto
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