SOLUTIONS: GÄDDVIKEN REHEARSAL HALL, NACKA
settings allowing the selection of ‘off’, ‘rehearsal short’, ‘rehearsal long’ and ‘concert long’ presets. More comprehensive control is provided by an ICP1 panel, with access to the independent levels of the diffuse reverberation field and of the early reflections. It is password protected, so that only authorised staff can access those settings.
TESTING, TESTING
Setting up and tuning of the system took place over four days. Led by Takayuki Watanabe and supported by Bakker, Collin, Matthias Winther of Audile and Tim Harrison, electroacoustic senior specialist from Yamaha’s London support centre, the first day comprised line checking and final adjustments for all the microphones and loudspeakers. After a second day of setting up and tuning the requested presets, these provided a stable, colour-free acoustic performance within the space.
“During the final two days
we fine-tuned the system to make it sound really beautiful,” says Bakker. “Having the full orchestra was a luxury, allowing very detailed tuning to be done. Conductor Lawrence Renes was very
important at this stage, providing us with feedback to ensure the overall response didn’t deviate too much from the orchestra pit at the Royal Opera House.”
“One of the big advantages
of AFC3 is its automated way of creating a stable system. This lets you focus on the fine- tuning and making more time to work with the different presets,” adds Collin. “The ease of basic tuning and hardware set-up allows you to focus on what’s really important – how it sounds. It’s amazing to work with a system that allows you to tune it to such a fine level that even 0.25dB makes a difference. Importantly, the system behaved exactly as planned, which is vital when it comes to the predictability of such designs. “A major advantage of
Yamaha working with local
tuning partners on AFC3 is that we can go back to the facility and add new presets if the need arises, without the costly prospect of getting the whole Yamaha team back on site.” Of all the participants in the
project, Ehn was under the most pressure to ensure the AFC3 system delivered everything that was required. “Acoustics are critical when
working with musicians and singers at this level and we knew that the demands of its sonic quality would be very high. Moreover, using microphones and loudspeakers for acoustic correction still encounters a lot of scepticism, raising the critical listening levels even higher,” he says. “It was a big challenge, we didn’t have much time to consider different options nor did we have a very big budget either, especially
L-R; Lars-Göran Ehn (Royal Swedish Opera), Matthias Winther and Mikael Collin (Audile), Ron Bakker and Tomas Nylen (Yamaha)
not compared with traditional acoustic treatments. “One thing we were totally confident about was that we could trust the equipment, as AFC3 is based on Yamaha’s DME64 processor. But it should be made clear that an AFC3 installation is far more than getting a couple of DMEs with AFC cards and connecting them to a bunch of speakers. In order to get a premium result it takes serious tuning and the high level of excellence demonstrated by Audile and Yamaha.”
Once the tuning of the AFC3
system was complete, it was time for the acid test. “We all held our breath when the orchestra played the first notes in the new acoustic environment, but in no time everyone had their complete concentration on the score. Playing was easy and communication between parts was much improved,” says Ehn. “The simple truth is that we turned a room considered pointless for our musicians to rehearse in into a hall where they now enjoy making music. In short: it used to be really bad, but now it’s really good.” “We had very positive
reactions to the improved ensemble conditions from both the musicians and conductor,” says Bakker. “I’m grateful to Lars-Göran for his
[ABOUT THE INSTALLER]
n Audile was formed in December 2012 by Mikael Collin of AVP Sales AB and Mattias Winther of Live Audio Consulting AB, to work with AFC3 and other electroacoustic products
n This project was the first for the company, although the partners plan to do many more
n Collin’s focus is on technical solutions and products, while Winther is a sound engineer experienced in measurements and speaker design
confidence in Yamaha and enjoyed helping to deliver the perfect solution to his needs. It was a truly international collaboration of Swedish, English, Japanese and Dutch engineers, ‘creating Kando together’ and achieving the best possible result – a fantastic sounding rehearsal hall where all musicians enjoy playing.” n
www.audile.se www.diffusor.com http://hybridmic.adkmic.com www.operan.se www.yamahaproaudio.com/afc
62 June 2013
www.installation-international.com
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