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Author Topic: Wall Fabric vs. Acoustic Panels Cameron Glendinning Jedi Master Film Handler Posts: 845 From: West Ryde, Sydney, NSW Australia Registered: Dec 2005 posted 06-26-2006 09:14 PM                     Paul Trimboli quote Wow that is a nice looking cinema Cameron, where abouts is that? The Hayden Orpheum Picture Palace in Cremorne, Sydney, Australia. That screen is called the Walsh and is inspired by the original Odeon Lester Square in London. It now has 6 screens. All are based and styled around a dress circle conversion into a stadium of the original 1935 Egytian inspired art deco auditorium in the 80's, quite a mouthful, please note that only 2 cinemas feature my speaker systems. nice cinema you have there Paul, whats its name? location? Dan Lyons quote What's the jumble of white stuff and railings up front on the right? Not sure what you mean, do you mean the disabled access in the entrance? or did you notice that the cinema doesn't have any light bulbs to change, as is 100 % consealed neon Mark Gulbrandsen quote I've always had a problem with full horn loaded systems sounding naisley on dialog though.. yes I think I know what you mean, horn loaded loudspeakers have a reputation for beeing hard to do right. The Lenard speakers I have heard simply sound better and more natural than any speaker I have built, I have not heard the Grand by K yet, so my references to 4 way systems are all based on Lenard Audio, Lenard has been building them in small quantities for 30 years or so, unfortunatly not for cinema. John Bernet who is in the photo in front of his prototype, was one of pioneers of high power amplifer design in the 1970s and whos company was instrumental in the development of the first 3" and 4" voice coiled loudspeakers. This project is his own personal vision. Richard Fowler quote but compared to some of their competition, not as bad I agree JBL and EV are very good It was the idea of the speaker coming from the same factory, the same hands and same design as the components that the films are actually mixed on, was pretty much the reason I liked using them, the shift in production simply gave me an excuse to use much cheaper but equally impressive sounding components. In the real world of loudspeakers, variations in specifications between different production runs in the same factory are normal. These variations can affect the tuning of bass reflex boxs. Not a big deal if you do small quantities and tune each box by ear like I did.  |  IP: Logged Jarrad Salmon Film Handler Posts: 25 From: Baulkham Hills, NSW, Australia Registered: May 2006 posted 06-28-2006 06:07 AM                     Some great designs there... Basicaly evey surface of an enclosure will have a resonance. They can just get rather complicated working out the resonant frequencies they absorb and reflect. Most of the quick fixes I see are carpeted pannel absorbers to dampen the reflections while absorbing the problem frequencies. You will need to hire a pro to come and look for the specific issues  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 06-28-2006 04:23 PM                        quote: Paul Trimboli I always wondered how some of these old cinemas could have such good accoustics with out the pading type acoustic panels or heavy curtains, but as you explained you can use plaster and 3D shapes. A lot of old movie theaters were simply modelled on actual theaters with the only difference that you had no live actors, therefore no deep stage and no stage house. But the rooms were built to be movie theaters and they could draw on a lot of experience from centuries of building theaters. It never ceases to amaze me how many old theaters and concert halls which were basically built by eye have so much better sound than many new concert halls which are the result of very complex acoustical design studies. Hahaha...  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 06-28-2006 06:21 PM                     Sabin units are a standard by which acoustical reflection/absorption are figured in a performing space based on studies done by Wallace Sabin at the turn of the last century. Symphony Hall in Boston, which opened in 1900 used his principals in construction. His research help to standardize the "art" of acoustics. "Collected Papers on Acoustics" based on his work was published 1993. There are acoustical computer programs available to measure Sabin units and reactions of wall treatment, room volume, and other factors. Acoustical Engineering based in the Netherlands has computer programs for this type of work. SIA software in New England handle industry favorite Smaartlive and Acoustic programs which where formerly distributed by JBL. As for acoustics, The old La Scala Opera House in Milan has great acoustics....it has been around for 228 years  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 06-28-2006 07:01 PM                        Design of the Symphony Hall in Boston was actually based on the Gewandhaus in Leipzig and the Concertgebouw in Amsterdam, mostly on the former though. It is actually a scaled down copy of the Gewandhaus. Or was it scaled up? No, I think down. Well, I don't remember. The old Gewandhaus isn't there anymore for comparison. It was bombed during the war. Apart from the scaling, Sabin did change one parameter though, and he used his new insights to arrive at the exact height of the ceiling based on the changes in scale he had made from the model building. Which in itself had been built in the traditional way, without much acoustical engineering. BTW, do you pronounce the name Saybn or Suhbeen? An impressive number of modern concert halls are either very problematic or suck completely, despite all the science, like Avery Fisher Hall in NY or the new hall in Philadelphia, or the Barbican Center in London. The new Walt Disney Hall in LA, on the other hand, is very successful. I wonder how much of that was just a good feel for design, and how much actual calculation based design. But we are wandering a little off topic here. Concert halls are infinitely more complex to design than cinemas, and in cinemas, you have at least a fairly well defined source of sound and fairly set standards.  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 06-28-2006 07:22 PM                     Say Bin...Yes, he based much of his work on research of successful acoustics in a survey of theatres. Like I said, most cinemas are dressed up warehouses and some benefit from the acoustic dead wall of a stack of stadium chair backs . Miami Performing Arts Center with 2400 + 2200 + 200 seat halls will open this October, two years behind schedule...hope it works well...it has sparked an upgrade of other spaces in the region to improve.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 06-28-2006 08:03 PM                        A performing arts center with opera house and concert hall. In Miami. Why? Deep overhanging tiers. That won't work. It never does. When will they learn?  |  IP: Logged Richard Fowler Film God Posts: 2392 From: Ft. Lauderdale, FL, USA Registered: Jun 2001 posted 06-29-2006 09:39 AM                     Miami's version of "Fitzcarraldo". I was on the advisory group in the initial planning many years ago...I it will be nice to see what was incorporated...if anything  |  IP: Logged

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