1-4 . These parameters, however, each provide only a single value computed from an impulse response. In concert halls, the impulse responses are often measured with an omnidirectional sound source and microphone. However, such a single source is far from a typical sound source - an orchestra. Therefore, a wide sound source would intuitively be preferable in studying the concert hall acoustics. This article describes a proposal for a loudspeaker setup that mimics a symphony orchestra. Several loudspeakers are installed on a concert hall stage as a loudspeaker orchestra. Individually recorded anechoic instrument tracks of orchestral works are then played through the loudspeakers as an ensemble in order to produce an impression of a symphony orchestra. The authors are not aware that a loudspeaker orchestra of this scale would have been used in acoustical music reproduction. Instead, large loudspeaker setups for electroacoustic music performances have been described 5-7 . In this article the loudspeaker setup is demonstrated in a single concert hall, although the system is particularly designed to be repeatable in other halls as well. This paper is organized as follows. First, the loudspeaker setup as well as the concert hall is described. Then, subjective opinions gathered with in-situ listening of the loudspeaker orchestra are presented. Finally, possible error sources are discussed and future enhancements of the system are proposed.
[1]
Tapio Lokki.
How many point sources are needed to represent strings in auralization
,
2008
.
[2]
Tapio Lokki,et al.
Anechoic recording system for symphony orchestra
,
2008
.
[3]
Jürgen Meyer,et al.
ACOUSTICS AND THE PERFORMANCE OF MUSIC
,
2024,
Spring Conference 1981.
[4]
Jos Mulder,et al.
The Loudspeaker as Musical Instrument
,
2010,
NIME.
[5]
René Causse,et al.
Radiation Synthesis with Digitally Controlled Loudspeakers
,
1997
.
[6]
Matti Karjalainen,et al.
A System for Multi-Channel and Binaural Room Response Measurements
,
2001
.
[7]
René Causse,et al.
Radiation of Musical Instruments and Control of Reproduction with Loudspeakers
,
1992
.
[8]
Dana S. Hougland,et al.
Concert and Opera Halls: How They Sound
,
1996
.
[9]
Nick Zacharov.
Subjective appraisal of loudspeaker directivity for multichannel reproduction : On the loudspeaker directivity considerations for 5.1-channel audio-visual reproduction: A subjective appraisal
,
1997
.
[10]
Nicolas Misdariis,et al.
DIRECTIVITY SYNTHESIS WITH A 3D ARRAY OF LOUDSPEAKERS APPLICATION FOR STAGE PERFORMANCE
,
2001
.