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Yamaha AFC3 Delivers Dramatic Improvement At Lørenskog Hus

Jul, 2014

Even the most modern venues can suffer from acoustic issues, but with Yamaha’s AFC3 acoustic enhancement system, virtually all can be overcome. A Norwegian venue has employed it to transform its main auditorium into an acoustically enhanced space.

Opened three years ago, Lørenskog Hus is a multi-purpose municipal venue located 20 minutes from Oslo. Covering 15,000m2 over eight floors, it features five auditoriums, four cinema screens, seven meeting rooms, a restaurant and a library. Providing a focal point for the regional community, it stages a wide variety of live productions and hosts conferences, corporate and cultural events, as well as showing films and other activities.

“When the venue was built, the goal was to make the acoustics in our main auditorium flexible enough for all genres of music - everything from choirs, marching bands and symphony orchestras to pop, rock and rap,” says Kristoffer Engen, Technical Manager at Lørenskog Hus.

“The problem was that we ended up with a very dry room, which was very good for amplified music, but which gave musicians onstage during unamplified performances very little acoustic return.

“We knew that we needed to find a solution for the acoustic musicians, without ruining the excellent qualities that the room has for amplified music. We quickly found that an electroacoustic system was not only the best solution for us, but also the most cost efficient.”

Yamaha AFC3 was the chosen solution, with the system installed and commissioned by Panpot Acoustic Systems, a company which has made electronic acoustic enhancement systems its core business.

“Although we have used other systems, it was not until we listened to AFC3 that we knew we had a system that could match our very high quality demands,” says Jo Wang, Panpot tuning engineer.

“The fact that AFC3 is a hybrid-regenerative system makes it act as a truly integrated part of the room acoustics, not just as an electronic reverb effect. The audience and the performers are in the same reverberant space and the room reacts just as much to the audience applause as to the performing artists. The communication and connection between the stage and the auditorium is enhanced both ways.”

  • 1. The stage shell, which helps performers communicate better between each other on stage.
  • 2. The reverberation system in the auditorium, which makes the performers feel that they are connecting with the audience. It also makes the audience aware of themselves as a part of the same acoustic environment as the artist.
  • 3. The under-balcony zone, acoustically connecting this area to the rest of the auditorium.
  • 4. An early reflection zone to maintain speech intelligibility and the ‘attack’ in music when bringing more reverb into the room. This part of the system is tuned exceptionally finely to work seamlessly with the speakers on stage and in the auditorium.

“Installing a lot of loudspeakers and microphones within the proscenium often conflicts with other equipment such as lightning, trusses and moving stage technology. There are also many different kinds of set decorations that may affect the performance of this kind of system,” says Roy Knudsen, Panpot tuning engineer, who worked with Jo on the project.


Location Norwegian

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