In this work, simulation techniques have been implemented to study the sound fields of a multi-configurable performance enclosure by creating computer acoustic 3D-models for each room configuration. The digital models have been tuned by means of an iterative fitting procedure that uses the reverberation times measured on site for unoccupied conditions with the orchestra shell on the stage. The initial virtual acoustic model is validated by comparing the other monaural and binaural acoustic parameters measured in the room in terms of their perception differential threshold. The procedure is applied to the Maestranza Theatre of Seville, built for the Universal Exhibition in 1992. The spatial distribution of the acoustic parameters in the audience area of the venue by measured parameters and simulation mappings enables the establishment of three zones of acoustic comfort, and are corroborated by the values of the Ando-Beranek function which provide a global quality coefficient of each zone.
The present work consists of a statistical study of the monaural (lateral-reflection fractions and level) and binaural acoustic parameters (inter-aural cross-correlation coefficients) that evaluate the amount of early and late lateral acoustic energy encountered in 9 performance halls in Andalusia (southern Spain). Hall volumes range between 6,163 m3 and 34,594 m3 and all enclosures are used for presentations of symphonic concerts and other music performances. The majority of these venues are located in provincial capitals of the community and often constitute the only premises in the city where symphonic concerts can be held. The acoustic parameters under study here were derived from impulse responses analyses using a sine-sweep signals which were generated and processed by WinMLS 2004 software in the octave- band frequency centred from 125 to 4 kHz, and all parameters were spectrally averaged according to the ISO 3382-1 standard. A comparison is presented of monaural experimental results as a function of source- receiver distance with the prediction of Barron’s revised theory for concert halls, and the analyses of the acoustic parameter results are carried out in terms of their respective just noticeable differences: at the many microphone positions for the two source positions on stage, for the spatial distribution of seats in the audience zone relative to the central axis (for left- and right-hand sides) of the rooms, and for the presence of the orchestra shell on stage. Results reveal that the orchestra shell propitiates a perceptible decrement in the values of the early lateral energy fraction and an increment in the late lateral level at the audience seats. In addition, a regression study reveals that the two kinds of measures of laterality, monaural and binaural, are correlated when the hall-average data is considered, but they remain uncorrelated when all individual positions are used. Likewise, the ranges of variation of the acoustic parameters found in these halls are narrower than those specified in the ISO 3382-1. The paper concludes with a discussion on the relationships of hall-average data of the five parameters with eight geometric and acoustic variables.