INSMAC concert hall

Tisseyre + Associés has 40 years of experience in the acoustics of performance halls, its core business originally. 30 years ago, anticipating the digital revolution and 3D visualization, we developed a tool for 3D models of performance halls: Hall Acoustics^®. Instead of using the sound ray shooting technique which does not take into account the architectural details, we use the finite element mesh technique which allows these details to be modeled with finesse in order to fully integrate them into the acoustic performance. of the room from its conception. Based on the observation that the acoustics of a performance hall are structuring for its architecture, we have developed a joint working methodology with the architect.

Complete room acoustic mission – “all-reflective” solution

Thanks to our 3D modeling tool, Hall Acoustics^®, we collaborated from the design phase with the architect in order to integrate the acoustic performance of the hall into the architecture. Our work therefore does not focus on the sizing of solutions a posteriori for acoustic absorbers to attenuate the effects of reverberations which would make the rooms unsuitable for use. We work with the architect on the choice of shapes (volumes, walls, moldings) and materials used in order to optimize the reverberations so that they contribute to the acoustic performance of the room, which can be summarized as:

• Sound strength, clarity and definition. The sound should be loud, clear and precise.
• The sound envelopment of all spectators. The people in the room feel like they are part of the show: the sound envelops them.

In view of the volume of the hall (4,000 m³) and 400-seat gauge, the possibilities for high Lev sound envelopment are met.

Tailor-made acoustic solutions

The integration of acoustic performance in the performance hall has led us to offer tailor-made solutions for the ceiling and the walls. The shaping of the ceiling has been designed in such a way that its reflexivity allows the sound to be evenly distributed in the space. In addition, the shape and the stiffened materials chosen for the walls have been designed so that they use the upper part of the volume to adjust the duration of reverberation (without echo, directed and homogeneous).