Cultural and event venues today need to do more than serve a single type of use. Concert halls are opening up to cross-genre programmes, cultural centres shift between conferences, theatre and concerts, industrial monuments are transformed into performance venues, and power plants into concert halls. With each use, the requirements for room sound, reverberation, speech intelligibility and musical impact change.
Electronic room acoustics makes this adaptability precisely controllable. It extends spaces by adding acoustic scenarios that can be adapted to the programme, ensemble, use and artistic intent – without masking the character of the room.
Music needs a resonant space. At the same time, different formats place very different acoustic demands on a venue: a symphonic concert, an opera production, an amplified concert, speech, rehearsals or a hybrid event format each require their own acoustic conditions.
If a hall is optimised for only one type of use, conflicting requirements quickly arise. If the room sound is neutralised for amplified music, acoustic instruments often lack the supportive effect they need. If the acoustics are strongly geared towards natural sound development, sound-reinforced formats can become challenging.
This understanding has led to a product family that makes electronic room acoustics available for different applications. It enables performance venues to respond to change without losing their acoustic character: technically precise, musically sensitive and reliably controllable in operation.
For large opera houses, concert halls and demanding performance venues.
As the flagship of the VIVACE product family, VIVACE.maestro delivers premium-level electronic room acoustics – for spaces with high demands in terms of spatial impression, reverberation enhancement and musical differentiation.
For smaller spaces with high acoustic requirements.
VIVACE.studio enables flexible and reproducible room impressions in studios, rehearsal rooms, production environments and more compact performance venues.
With VIVACE, electronic room acoustics is not a technical end in itself. The systems are based on the acoustic expertise of the Müller-BBM Group and on practical project experience with cultural buildings, architects, clients, technical directors and artistic teams.
The focus is on the natural effect of sound. The electroacoustic components should not be perceived as a system, but should extend the room in such a way that sound quality remains precisely controllable. What matters is the precise coordination of space, use, technical infrastructure and musical intent.
