1. The Solaris and Leisure Centre is a new performing arts complex in Tallinn, Estonia that includes a multifunctional auditorium. 2. Key aspects of the auditorium design include its acoustics, which were informed by an acoustical consultant. Materials with high sound absorption values were selected to regulate reverberation time. 3. The primary sound reinforcement system anchors twin arrays of line array loudspeakers to left and right of the stage, with an overhead array to provide clarity for both music and spoken performances.

1. AUDITORIUM ACOUSTICS
THE SOLARIS AND LEISURE CENTRE, ESTONIA.
- AKSHATA P FARAKATE
1700701016
FOURTH YEAR

2. ● What is auditorium?
● The auditorium is a room built to enable an audience
to hear and watch performances at venues such as
theatres.
● The auditorium ,as a place for listening developed
from the classical open-air theaters. An auditorium
includes any room intended for:
○ theaters
○ churches
○ Classrooms
○ Meeting rooms
● The design of various types of auditoriums has
become a complex problem, because in addition to
its various , sometimes conflicting, aesthetics,
Functional , technical ,artistic and economical
requirements.

3. ● The room in which we listen to sounds has an
important influence on what we hear.
● This section will identify some of the principal
means currently available for judging the quality
of an auditorium.
● The basic acoustic criteria are :
Must have a low ambient noise level from the internal
and external sources:
• Provide a reasonable level of acoustic gain
• Provide appropriate reverberation time
• Avoid artifacts such as echoes.
● Hearing conditions in any auditorium are
considerably affected by purely architectural
considerations like:
1.Shape
2. Layout of boundary surfaces
3. Dimensions
4. Seating arrangements
5. Volume
6. Audience capacity
AUDITORIUM ACOUSTICS

4. ● REVERBERATION :
1. A reverberation, is created when a sound or signal is
reflected causing a large number of reflections to
build up and then decay as the sound is absorbed
by the surfaces of objects in the space – which
could include furniture, people, and air.
2. Reverberation is an important parameter that helps
define the sound quality of an acoustic space.
● ECHO :
1. Echo is a reflection of sound that arrives at the
listener with a delay after the direct sound.
2. The delay is proportional to the distance of the
reflecting surface from the source and the listener.
3. Large enclosed spaces are all potentially subject to
the problem of discrete echoes.
4. The long path lengths and multiplicity of seating
positions near and far from the sound source can
easily create echo problems.

5. ● ABSORPTION :
1. The majority of absorption is provided by the
audience, therefore, the room surfaces can be
relatively reflective.
2. In larger halls, where there is greater room
volume per seat , relatively greater room
absorption is needed.
3. A reflective front stage provides strong early
reflections that are integrated with the direct
sound and enhance it.
4. Strong late reflections and reverberation, such
as from rear walls, would not be integrated and
may produce echoes.
5. To accommodate this, the stage area and front
of the hall are made reflective and absorption
is placed in the seating area and rear of the
hall.

6. ● NOISE BARRIERS :
1. These materials range from dense materials to block the transmission of
airborne sound to devices and compounds used to isolate structures from one
another and reduce impact noise.
2. Sound barrier materials are used to reduce the transmission of airborne sound.
3. The Block Aid series of products include the standard one pound per square
foot non reinforced barrier, transparent material when observation or
supervision is required, reinforced vinyl to create a hanging barrier partition.
● COMPOSITES
1. Composite materials are manufactured from combinations of various materials
from open and closed celled foams to quilted fiberglass and barrier.
2. These products are used to block and absorb sound for machine enclosures
as well as blocking airborne sound and impact noise.
3. Some of these products include Composite Foams, StratiQuilt Blankets and
Floor Underlayment.
● VIBRATION CONTROL
1. Vibration control products are used to absorb vibration energy and prevent
structural noise transmission.
2. These include vibration damping compounds and vibration pads, isolation
hangers, and resilient clips.
3. They improve sound transmission loss.

7. ● TYPES OF MATERIALS SOUND
ABSORBERS :
• These sound absorbing acoustical panels and
soundproofing materials are used to eliminate
sound reflections
• Typical materials are open cell polyurethane
foam, cellular melamine, fiberglass, fluffy fabrics
and other porous materials.
• These materials vary in thickness and in shape
to achieve different absorption ratings
depending on the specific sound requirements.
● TYPES –
1. Acoustical foam panels
2. White paintable acoustical wall panels
3. Fabric wrapped panels
4. Acoustical wall coverings
5. Ceiling tiles Baffles and banners for ceiling
6. Fiber glass blankets and roll

8. ● SOUND DIFFUSERS
1. These devices reduce the intensity
of sound by scattering it over an
expanded area, rather than
eliminating the sound reflections as
an absorber would.
2. Traditional spatial diffusers, such as
the polycylindrical (barrel) shapes
also double as low frequency traps.
3. Temporal diffusers, such as binary
arrays and quadratics, scatter sound
in a manner similar to diffraction of
light, where the timing of reflections
from an uneven surface of varying
depths causes interference which
spreads the sound.

9. The Solaris And Leisure Centre, Estonia.
Introduction :
The Solaris and Leisure Centre is a new hub for the
performing and entertainment in the heart of
Estonia's capital city of Tallinn.
Among the new developments now revitalizing the
city's historic core is the Solaris Centre, a
multifunctional complex with its name inspired by
gleaming glass and roof sections that capture the
sun's energy for the light and heat.

10. Owner :
Solaris Keskus AS
Managing Partners :
Baltic Development Group
Principal Architect :
Raivo Puusepp Architects
Cinema and Theatre Architecture : Mesbur + Smith
Toronto, Ontario, Canada
Acoustical Consultant :
Linda Madalik
Audio System Design and Tuning :
Dave Dennison California, USA
Meyer Sound :
Berkeley, California, USA
Audio System Installation :
Eventech

11. 1. Reverberation: it is created when a sound or signal is reflected causing numerous reflections to build up
and then decay as the sound is absorbed by the surfaces of objects in the space.
2. The reverberation time is the time measured in seconds that passes from when a sound source is
interrupted until the sound dies out it's the character and acoustic properties of the surrounding
surfaces that determine how sound waves behave and spread.
3. Sound waves behave and spread when a sound wave hits an obstruction is reverberated, if the surface
is hard and flat the sound wave would be reverberated directly while a soft and uneven surface will
absorb part of the sound waves and delay or muffled the reverberation normally a long reverberation
time is undesirable as the echo effect of the first sound waves mixes with the subsequent sound waves
the result of a noisy imprisonment lose the image in which is difficult to distinguish individual sounds
with a short reverberation time.
Abstract :

12. Long reverberation times can be reduced by using
materials which are good at absorbing sound this
property can be described by means of a sound
absorption value ah no sound absorption value while
materials were the soft uneven or porous surface
typically have a high sound absorption value the
higher the proportion of the room's total surface area
that absorbs the sound the less reverberation there
will be in the room it's therefore important to select a
material with a high sound absorption value for large
surfaces in this way it's possible to regulate and
reduce the reverberation time to achieve a good
acoustic environment with a clear acoustic image.
Sound Absorption Coefficient :

13. Nokia Concert Hall :

14. ● Primary Sound Reinforcement
System :
1. The main sound reinforcement system is
anchored by twin arrays of ten each MICA
line array loudspeakers to the left and right of
the proscenium, with an array of ten M’elodie
line array loudspeakers arcing over the
center.
2. The left and right arrays provide ample
power for reinforcing high-energy rock music
while exhibiting very low distortion.
3. The center array of M’elodie loudspeakers
also provides ample headroom for
high-decibel artists, but more importantly it
affords extraordinary clarity for both spoken
word presentation and the primary vocal
channel in musical theatre productions.

16. 1. Constellation system for
the Nokia Concert Hall
entailed several
interrelated goals. First,
and most importantly, the
system would augment
the physical acoustics of
the auditorium, offering
several options for longer
reverberation times—up to
2. around 2.3 seconds for
choral and organ music.
Constellation System Configuration
1. The system would also provide the Ensemble feature, a virtual orchestra shell with ample,
balanced early reflections and reverberation throughout the stage area. Finally, the
system had to achieve nearly complete
2. visual transparency, with all 276 loudspeakers either recessed and hidden or color
matched to their backgrounds.

17. SECTION :
1. The incorporation of UMS-1P subwoofers enables constellations to
reproduce a full bandwwidth reverbration envelope.
2. The frequency balace of electronically augmented reverbration
faithfully tracks curve of the physical acoustics.

18. Nokia Concert Hall :

19. Nokia Concert Hall : 1. 1829 seats multipurpose concert hall
2. The aim od design : Host the widest possible variety
of performances, special events and conferences.
● Constellation system :
1. 189 stella 4C loudspeakers
2. 22 stella - 8C loudspeakers
3. 17 UPM - 1P loudspeakers
4. 12 UP junior loudspeakers
5. 22 UP - 4XP loudspeakers
6. 56 omnidirectional constellation
micrphones
7. 16 cardioid constellation microphones
8. 1MS constellation processor
9. 6 MS - VRAS processor
10. 5 MS expansion processor
11. 1 Lemur touch screen controller

20. The outcome:

21. ● Optimized Acoustics for Each Performance at the Push of a Button
● Five Constellation presets are programmed by the Constellation design team to vary in their reverberation times and early reflection content.
Each preset is recalled by a button on a Meyer Sound Lemur touch-screen controller.
● The technical management can choose the most appropriate preset from the following:
1. Physical acoustics (off) :
– This selection is optimum for louder amplified music, and for most spoken word applications when the
PA system is used for reinforcement.
2. Very Short :
– This preset is appropriate for chamber music performances, and works well for musical theatre applications. With
emphasis on early reflections, a very short reverb time also provides the Voice Lift feature: spoken word can be heard throughout
the hall without use of the main PA system.
3. Short :
– This setting also works with chamber music, and applies well to solo vocal and instrumental performances, small ensembles,
and opera.
4. Medium :
– Romantic orchestral and choral music are best served by the longer reverberation times and fuller low frequency
response of this setting.
5. Long :
– This acoustical characteristic expands orchestral music for a “Wagnerian” effect, with deep, sonorous low frequencies
particularly appropriate for pipe organ and early music chants

22. THANK YOU !