Workshop Listening Test: Results Muziekcentrum Eindhoven Row 4, seat 14 90 90 EK 13 April 2010 - Vioolconcert nr 4 Master Class Room Acoustics for the Performing Arts 12-14 april 2010 Eckhard Kahle
Introduction On 12, 13 and 14 april 2010 the master class Room Acoustics for the Performing Arts with Eckhard Kahle took place in the Laboratorium voor Akoestiek in Eindhoven. During the master class a workshop took place on the use of questionnaires to measure subjective acoustical parameters in a concert hall. The technique of performing questionnaires was first elucidated in various lectures and the background of the existing questionnaire developed at Ircam was treated. After that a workshop took place in the laboratory where participants listened to binaural recordings of pieces of music played back on a Yamaha Disklavier in the chamber music hall of Muziekcentrum Eindhoven. While listening to the samples through headphones seats were changed and different acoustical aspects were discussed. The final part of the workshop consisted of a visit to a concert in the large concert hall of Muziekcentrum Eindhoven. During the concert participants filled out the Ircam questionnaire at two different positions in the hall. The next day, results of the questionnaires were discussed within the group. In the next pages the concert hall is described and the results of the workshop are presented.
Introduction Orchestra: Symphony Orchestra of New Russia Yuri Bashmet, conductor Gidon Kremer, violin Works: - Vioolconcert nr 4 - Symfonie nr 6 Pathétique Date and Time: di 13 apr 2010-20:15 uur Concert hall: Muziekcentrum Frits Philips Eindhoven Eindhoven Airport Zaal Seats: 1250 Volume: 14.400 m³ Volume/seat: 11,5 m³/seat Stage area: 190 m² Architect: Van Aken Architecten (NL) Acoustics: Prof. P.A. de Lange and Ir. L.C.J. van Luxemburg lc a B Muziekcentrum Frits Philips Eindhoven - Concert Hall y n o
Reverberation Time (s) Hall Parameters Empty Occupied Frequency (Hz) RT 1.9 2,1 s EDT 2.0 2.0 s C80 0.0-0.5 db G 5.7 2.7 db LEF 0.12 0.20 - lc a B y n o
Part 1: Perception of the Hall Part 2: Perception of the Sound Sources (+optional questions) Part 3: Spectral Balance Part 4: General Impressions
Perception of the Hall 1 7 6 Very Strong Very Big Very Strong 5 4 3 2 1 Very weak Very Small Very weak 0 Subjective Loudness Subjective dynamics Reverberance 1-6 scale 1-6 scale 1-6 scale
Perception of the Hall 2 5 4 Big Strong 3 2 1 Small Weak 0 Subj. Hall Size Subj. Envelopment 1-4 scale 1-4 scale
Coloration 1 4 3 Intimate Warm Lively Brilliant 2 1 lack of intimacy lack of warmth dry lack of brill. 0 Intimacy Warmth Livelyness Brilliance 1-3 scale 1-3 scale 1-3 scale 1-3 scale
Coloration 2 1,0 YES 0,5 0,0 NO Muddy Heavy Acid Aggressive Hard
Perception of sound sources 7 6 Very close very clear 5 masking of the soloist 4 edgy fluid 3 2 precise strong 1 Very far diffuse weak very muddy flat stumbling masking of the orchestra 0 Sub. Distance Localization Presence Clarity Detail Att. 1 Detail Att. 2 Balance 1-6 scale 1-2 scale 1-2 scale 1-6 scale 1-4 scale 1-4 scale 1-5 scale
Spectral Balance 4 3 strong 2 1 weak 0 Reverb Bass Freq Reverb High Freq Loudness Bass Freq Loudness High Freq 1-3 scale 1-3 scale 1-3 scale 1-3 scale
6 5 4 Very Good General Impressions 3 fair 2 1 Very Bad 0 General impression Overall Balance Adaptation of hall to music Musical interpretation Appreciation of music 1-5 scale 1-5 scale 1-5 scale 1-5 scale 1-5 scale
Discussion During the discussions is was shown that most participants found it hard to judge the acoustical aspects in the questionnaire. Among other things, the type and appreciation of the music seemed to be an important factor. Relation between the results of different parameters were also discussed and explained. It was made clear that for a more accurate and reliable measurement a larger group is needed that fill in the questionnaires. Also, to be able to compare different halls, it is important to have the same listening group and to calibrate the results of this group. Participants of the master class were encouraged to fill in the questionnaire during the upcoming concert visits. It proved to be a valuable tool for judging subjective room acoustical parameters.