What is VIVACE?

Because sound has many facets…

A unique listening experience is a combination of many factors: A gifted composer, a creative conductor, a well-rehearsed orchestra, world-class soloists, also, outstanding acoustics. But what constitutes ideal acoustics or the perfect sound? Are they things that only exist in our imagination?

VIVACE, our electronic room acoustics system, offers an innovative approach to achieving the optimum in natural sound. VIVACE improves the acoustics of a listening space without robbing it of its individual characteristics. The room retains its unique sound. Strengths are emphasised, and weaknesses compensated for. A well-rounded, vital acoustic is created, providing the essential balance between unique character and the acoustic ideal. The result is an unforgettable listening experience.

VIVACE allows for custom-created amendments to the fundamental room acoustic situation of event venues using electro-acoustics – while maintaining excellent quality and meeting the highest demands. VIVACE encompasses the detailed acoustic structure of the room, while enhancing it to perfection – in line with the most wishful artists’ dreams. The newly created immersive acoustic follow the basic physical laws or natural room acoustics – such that the active electro-acoustic room design is imperceptible in quality or detail. As if by magic, room acoustics starts to play a supporting role in an event rather than being a limiting factor.

The expectations of a modern audience are very high. On one hand, the listener is seeking a natural, authentic sound, on the other hand they expect a perfect, three dimensional audio image that can stand up against sophisticated modern recording techniques.

There are many possible reasons why the natural acoustics of a space may meet their limits under these conditions. That is where VIVACE comes into play and optimises the acoustics of different opera houses, theatres, open-air venues, concerts and multifunction rooms.

Application range:

• Acoustic optimisation of concert halls
• Enhanced variability and usability for multi-purpose halls and town halls
• Tonal flexibility for opera houses
• Concert hall sound for open-air events with classical music
• Temporary venues for classical music
• Better speech intelligibility in straight theatre performances
• 3D sound for theatres, events, booths
• High-class directional sound reinforcement
• Production tools for new cinema sound formats
• Design of acoustically particular situations in churches, stadiums, theme parks, museums and test laboratories

SOUND ART FOR ROOMS

A large number of loud-speakers all around the auditorium serve to enhance the existing acoustics with supplementary room reflections. But how is this supplementary audio energy generated? The use of impulse responses has already been mentioned. The other ingredients are input signals collected by precisely adjusted high quality microphones. The microphone set-up for a VIVACE system consists of multiple main microphones to collect a perfect orchestra sound, and a number of ambience microphones to collect the existing room sound. These components are then both integrated into the system processing. The loudspeaker setup consists of wide-angle, constant directivity conventional loudspeakers installed around the walls and ceiling of the auditorium, as well as line-array sources in the walls, whose directionality can be electronically steered. The precise focussing and minimal loss of level over distance provided by the line-array principle allows for free creative control of the room sound for all seating positions.

SIX FACTORS FOR OPTIMAL NATURAL ACOUSTICS

1. Primary studio microphones in the stage area
2. Secondary condenser microphones in the auditorium
3. Recorded impulse responses from acoustically excellent rooms
4. Patented internal signal processing
5. Loudspeakers all around the audience
6. And not the least of it, the expertise of our sound engineers, to create the perfect mix for the room

The electronic room acoustics system is planned by a certified specialist planner or by the acoustics specialist of Müller-BBM Acoustic Solutions GmbH. The scope of planning includes the specification of the required audio equipment, such as processor, audio interfaces, power amplifiers, speakers including the mounting brackets and microphones. The system planning takes place with the help of a 3D room model, which is created on the basis of the architectural drawings. This model determines the positions of the microphones and speakers.

Commissioning a VIVACE system consists of between two and four days of basic set-up, and then fine adjustments during rehearsals. During the basic set-up, the frequency response, level and required delay is measured for each loudspeaker, and the system as a whole is tuned to harmonise with the auditorium. Then the microphones on stage are set and tuned. The aim is to create a homogeneous acoustic in all parts of the auditorium. The familiar criterion reverb time is very important, but not alone the deciding factor in this.

Particularly the early reflections are very significant in how we perceive the characteristics of a room. Accordingly, we pay great attention to the composition and energy level of this component of the room acoustics. The final stage occurs during rehearsals with the orchestra, singers or actors. The room acoustics are fine tuned to appropriately enhance the real sources on the stage, and to fulfil creative requirements and wishes. During this final stage, the end-users are intensively involved in the process. This is always an exciting time: the Artistic Director, the Musical Director, orchestra musicians and sound engineers get to hear the VIVACE system in their own house and experience directly its acoustic characteristics in their familiar setting.

The release for execution and the calibration is done exclusively by acousticians of the Müller BBM Acoustic Solutions GmbH.

USING VIVACE INTUITIVE AND VERSATILE

• Presets for varying usages of the space recallable via Touchscreen
• Remote control software for the creation of new presets, automation of moving sources and control of ³D sound effects
• Remote control possible from external devices e.g. the audio console (MIDI, OSC) play-back systems (MIDI-Timecode, MMC) media control systems (Ethernet, MIDI), tracking systems
• Remote monitoring of the processor via router connection and internet is possible

We have aroused your interest?

Then read our brochures either online or offline as a download. We are also happy to advise you on other components e.g. microphones, AD/DA converters and speakers. Feel free to call us or write us an e-mail.

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