There is a very good possibility that the acoustic situation of your concert hall can also be substantially improved as well by means of acoustic shaping.
The acoustic shaping concept works with previously unused acoustic properties to achieve the electro acoustic optimisation of concert halls. The existing acoustics are enriched by carefully selected and modelled spatial sound components which are then formed in the required direction.
The quality of sound produced by acoustic shaping is comparable to the impact of very expensive architectural acoustics work, and achieves the same results at considerably less cost and, above all, enables solutions to be implemented which it would be impossible to achieve in any other way in many buildings.
The spatial impression created by acoustic shaping is suitable for the most diverse styles of music and can be set up to match a client's specific wishes and requirements.
The equipment consists of 4 to 6 microphones for the orchestra and soloists (or choir), a rack with transducer and a signal processing unit as well as 6 small loudspeakers for a medium sized hall.
The equipment which can be permanently installed or transported for use at different venues, depending on requirements, is inconspicuous. The loudspeakers can be positioned flexibly in the hall to meet the specific on-site circumstances.
Saalakustik.de creates and stores corresponding basic set ups for various arrangements of orchestra, soloists and choir and for varying podium sizes in various concerts.
A tonmeister does not have to be present at subsequent concerts and, after instruction given by Saalakustik.de, the equipment can be operated by a sound or event engineer for every concert.
Modifications to fit your hall:
The first time Saalakustik.de visits your venue we carry out acoustic measurements of your concert room. The measurements are then processed in the Saalakustik.de laboratories to develop the »acoustic shaping« signal processing to meet the individual requirements of the room. The second phase in modifying the signal processing to your hall involves the aural fine tuning which takes place before the actual demonstration during rehearsals of the orchestra or musicians.
Compared with acoustic shaping other methods on the market which work to achieve similar results are a great deal more expensive (costing at least four times as much), produce a sound which tends to be considerably louder than a venue's natural acoustics and which, much like amplification, has a rather rigid character: in other words, a sound which does not „breathe“ in aesthetic harmony with the music itself. Competing methods cannot be demonstrated either before they have been installed.