{"id":26522,"date":"2023-01-21T01:56:48","date_gmt":"2023-01-21T00:56:48","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=hot-news&p=26522"},"modified":"2023-01-31T11:19:01","modified_gmt":"2023-01-31T10:19:01","slug":"l-acoustics-technology-extends-performance-portfolio-of-philharmonie-essen","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/l-acoustics-technology-extends-performance-portfolio-of-philharmonie-essen\/","title":{"rendered":"L-Acoustics Technology Extends Performance Portfolio of Philharmonie Essen"},"content":{"rendered":"\n

The flexible Kara II delivers a 21st<\/sup>-century sound system that matches the diverse program of entertainment at this leading European concert venue<\/em><\/p>\n\n\n\n

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ESSEN, Germany \u2013 January 2023 –<\/strong> The Alfried-Krupp-Saal at Philharmonie Essen in western Germany is renowned for its marvelous acoustics and for being home to the Essen Philharmonic Orchestra. Philharmonie Essen stands on a site that has been home to a concert venue since the mid-19th century. A second building was opened there in 1904, only to be destroyed during World War II and then modernized during a rebuild between 1949 and 1954. A total renovation costing some 72 million Euros took place in 2003 and 2004, during which the most significant venue within the complex, the Alfried-Krupp-Saal, was extended to a capacity of almost 2,000.<\/p>\n\n\n\n

In 2019, as the Hall\u2019s program had developed beyond a traditional classical music repertoire, venue management realized there was a need for a new audio system that could offer enough power to handle pop, rock, and jazz concerts. Venue management launched a project of acoustic renovations and an upgrade of the sound reinforcement system, choosing an L-Acoustics installation that centers around the manufacturer\u2019s highly flexible Kara II.<\/p>\n\n\n\n

Acoustic consultant M\u00fcller-BBM Building Solutions had performed all the acoustic planning for renovation in the early aughts and was again approached by Philharmonie Essen in 2019 as the natural choice for the new design. Previous renovations included extensive architectural renovation, such as the addition of an 18-tonne adjustable polygonal panel above the stage, designed to improve the auditory experience for both musicians and audience by optimizing the hall\u2019s reverberation characteristics to make the room\u2019s acoustics ideal for live orchestral works.<\/p>\n\n\n\n

\u201cThe previous system had worked very well, but with the evolving music program, there was a need for a little more power,\u201d says M\u00fcller-BBM\u2019s Harald Frisch, who planned and designed the hall\u2019s previous system and is now responsible for its current loudspeaker and electroacoustic design. We knew the room’s acoustics very well. We even had the models from the first planning, which we used to check to confirm if they were still as close to reality as possible before planning the new loudspeaker system.\u201d<\/p>\n\n\n\n

Frisch and his team organized a blind loudspeaker shoot-out with an audience of around 20 people, using an L-Acoustics system and two systems of highly qualified competitors. Since the original system was self-powered, two separate technical specifications were drawn up for the new system, one self-powered and one using external amplifiers. When accurate costings were compared, it was discovered that L-Acoustics was preferable in terms of audio quality while also being more cost-effective.<\/p>\n\n\n\n

One of the challenges M\u00fcller-BBM faced was the venue\u2019s side galleries which had not been adequately covered with the previous system. \u201cTo address this, we used larger arrays for the side galleries rather than delays,\u201d explains Frisch. \u201cWhile delays may be the usual choice, it has the unhappy side-effect of localizing sound away from the stage for the gallery audiences. We wanted to have a sound source coming from the stage that was strong enough to reach the galleries and localize sound from the stage, no matter where the audience is seated.\u201d<\/p>\n\n\n\n

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Tuned to the shape of Philharmonie Essen\u2019s concert hall, are left\/centre\/right L-Acoustics Kara II arrays, with KS21 subs providing low frequency energy at each side of the stage. Image courtesy of Philharmonie Essen<\/figcaption><\/figure>\n\n\n\n
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For classical concerts, Philharmonie Essen\u2019s L-Acoustics system can raised up to the roof, making it invisible.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Since the Alfried-Krupp-Saal is primarily a Concert Hall for classical music, all arrays must be raised up to the roof during classical concerts, making the sound reinforcement system invisible. \u201cThis created some rigging and cabling challenges to solve,\u201d Frisch says, but the benefits were worth the effort.<\/p>\n\n\n\n

Frisch continues, \u201cWe also included a delay line for the gallery opposite the stage to prevent late reflections from the rear wall. With the new system, the main balcony on the opposite side of the stage only gets a little impulse from the main system to create an acoustical localization towards the stage. A powerful delay system is installed to fully cover the balcony with proper sound pressure level.\u201d<\/p>\n\n\n\n

The new Kara II-based system was supplied, installed, and commissioned by Amptown System Company GmbH, an L-Acoustics Certified Partner Integrator in Germany. Amptown Project Manager, Michael Kl\u00f6tzer, remarks, \u201cThe basic design was done by Martin Rode, Senior Application Project Engineer at L-Acoustics, who collaborated with the M\u00fcller-BBM team to achieve the final outcome.\u201d<\/p>\n\n\n\n

\u201cPart of the specification was to improve the coverage in the upper balcony, which was always tricky with the old system,\u201d explains Rode. \u201cSince the horizontal dispersion of Kara II<\/a> is adjustable, it\u2019s possible to tune that to the shape of the room. We set the upper cabinets in the main arrays to 90 degrees, which gave us a great result. This is unique to Kara II, giving us much greater clarity than other systems can achieve.\u201d<\/p>\n\n\n\n

The audience area is covered by Left\/Center\/Right arrays of Kara II arrays comprising 12 cabinets left and right, with eight Kara II in the center. Four KS21<\/a> subs per side in cardioid configuration provide low-frequency energy at each side of the stage with nine compact 5XT<\/a> spread across the stage lip to provide front-fill while keeping sight lines clear. A pair of A10<\/a> (one Wide, one Focus) sit atop the KS21, allowing the audience to localize vocal content at stage level.<\/p>\n\n\n\n

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Along with the main L-Acoustics Kara II system, 5XT spread across the stage lip to provide front-fill and a pair A10 sit atop the KS21 for localize vocal content at stage level. Image courtesy of M\u00fcller-BBM<\/figcaption><\/figure>\n\n\n\n
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Close up of the main L-Acoustics Kara II arrays, with additional Kara II covering the upper side balconies, A10 Wide arrays for the choir balconies, plus A10 Wide for the rear balcony area. Image courtesy of M\u00fcller-BBM<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The design throughout the hall is effectively a distributed system covering 360 degrees. Arrays of three Kara II cabinets per side cover the upper side balconies, once again using the adjustable dispersion – two of the enclosures are trimmed to a very narrow horizontal dispersion of 70 degrees while the lowest cabinet is set to 90 degrees to cover the middle balcony. The choir balconies, above and behind the stage, are served by four arrays of A10 Wide<\/a>: the two inner consisting of three A10 Wide and the two outer arrays counting one each of A10 Focus and Wide. Additionally, the rear balcony area at the side behind the Kara II arrays are covered by an A10 Wide for the upper balcony and two A10 Wide per side for the lower balcony. \u201cAlthough the main system covered those areas, the additional speakers gave us a little more energy and a bit of freshness there,\u201d Rode notes.<\/p>\n\n\n\n

Calibration was performed using a P1<\/a> Processor in combination with M1<\/a> software, and despite having up to 122 separate measurements to analyze, the process only took around two hours as the M1 measurement sequence handles up to four mics at the same time.<\/p>\n\n\n\n

Rode reports that the venue\u2019s team has been fascinated with the homogeneity achieved. \u201cThe sound image is constant with the acoustic orientation always towards the stage, he says. \u201cRegardless of where you are in the room, the sound image is always in the right place.\u201d<\/p>\n\n\n\n

\u201cThis is the first time in my career that I have replaced my own system and put in a new one,\u201d Frisch concludes. \u201cThe results from the new L-Acoustics system are impressive and deliver the power, coverage, and clarity that Philharmonie Essen deserves.\u201d<\/p>\n\n\n\n

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Front row, from Left to right: Dennis Streich (Philharmonie Essen), Martin Rode (L-Acoustics), Dennis Drewermann (Philharmonie Essen), J\u00f6rn Sprenger (Amptown-System-Company). Rear row, from left to right: Michael Kl\u00f6tzer (Amptown-System-Company), Christian Schmid (L- Acoustics), Sebastian Wittrock (L- Acoustics), Julius Hoffmann (Amptown-System-Company).<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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