Speaker
Description
Active acoustic systems whose algorithms are adapted to a room’s underlying passive acoustics can effectively modify acoustical conditions without compromising the room’s inherent character. This technology is particularly valuable for those rehearsal spaces that are designed to be highly absorbent in order to control sound strength. It can bridge the gap to the concert halls musicians are accustomed to, providing good cross-communication without raising sound strength.This paper presents a novel study investigating the artistic tuning process of an Amadeus ART Acoustics system in the orchestra rehearsal hall of the Finnish National Opera and Ballet in Helsinki.Rather than relying solely on objective measurements, the study employed an iterative, musician-driven tuning process. Several rehearsals were conducted with the orchestra, each comparing two different active acoustic settings. Following each cycle, participants completed an adapted questionnaire based on Mike Barron’s approach to evaluate room acoustics. By continuously assessing musicians’ perceptions and the impact on performance, informed parameter adjustments were made immediately. To maintain plausibility and focus, a maximum of two settings were compared by musicians and conductors. This gradual process significantly improved both the playing experience and the sonic impression, ultimately increasing consensus among musicians on the final acoustic preset. Statistical analysis of the feedback further provided insights into the evolution of survey criteria and the impact of preset adjustments on instrument sections. These findings offer a valuable and reproducible framework for tuning active acoustic systems in comparable situations.