Resonate // MSD Studio 30 // Brief 1

The Spiraling Acoustic RESONATE BRIEF ONE STUDIO D, SEMESTER TWO 2020 JEREMY BONWICK 697718

STAGE 1_ ITERATIVE PHYSICAL MODEL GEOMETRIES

PERSPECTIVE

SAMPLE KEY_ S01_ LACRIMOSA S02_ CITY OF STARS S03_ BLACK BETTY

PLAN

ELEVATION ITERATION # OBSERVATIONS: _ General move from sculptural objects to more focus on the acoustics _ Learning from each previous iteration and moving to designs that trap and then amplify the sounds

02.

06.

04.

08_1.

08_2.

OBSERVATIONS: _ Curve shape with openings on top and side _ Small amplification and interesting reverb and direction _ Soften the harshness of S03 and the melody of S01 smoother towards the end of the sample.

OBSERVATIONS: _ Sleek shape with much more amplification when phone placed underneath the canopy, sound reproduction reasonably similar. _ Beat of S03 crisper and the orchestra of S01 had greater clarity.

OBSERVATIONS: _ Minor amplification, visual interest. _ Overall high clarity of sound amongst the samples, S02 sounded the most different with noticeable clarity in the vocals.

OBSERVATIONS: _ Potential to be expanded and turned into a full shaped cylinder. _ Minimal amplification in this iteration _ Reflections seemed to maintain the clarity of the samples and the beat of S03 was well reproduced.

OBSERVATIONS: _ Same as previous by horizontal _ With the phone paced in the centre there is amplification in the two directions. _ Overall the vocals of each sample were smoothed out, the beat of S03 was amplified as was the piano of S02.

EFFECT AND ECHO

EFFECT AND ECHO

VISUAL INTEREST

REFLECTION

AMPLIFICATION

AMPLIFICATION

VOCALS ACCOMPANIMENT BEAT

CLARITY ECHO

SOFTNESS

BROAD CATEGORY

07.

10.

11.

13.

14.

15.

16.

OBSERVATIONS: _ Simple geometry _ Minimal amplification _ Very noticeable softening of the samples, S02 sounded especially relaxing in this geometry and the quieter beginning to S01 was very muffled.

OBSERVATIONS: _ Most effective amplification of sound, totally envelopes the phone. _ Interesting to look at perforations and more enclosing of the phone. _ Samples all performed equally with the most noticeable being overall amplification.

OBSERVATIONS: _ Quite effective amplification, very simple geometry.

Phone placed right at the base of the curve to reach the maximum amplification. _ The clarity of the vocals in both S02 and S03 was increased, as was the crispness of the heavy drum beats in S03.

OBSERVATIONS: _ Inspiration from speaker designs, and Google Home etc. _ Noticeable affects on amplification _ Smothering brought an interesting reverb to the guitar in S03 as well as the operatic vocals in S01.

OBSERVATIONS: _ Overlapping angled geometry with three openings. _ Less effect on amplification but some interesting bass elements. _ Vocals seemed to be highly amplified in this iteration with the punchiness of S03’s vocals very noticeable.

OBSERVATIONS: _ Very pronounced amplification, directional. _ Directional made for interesting listening to S02 which seemed to become more ethereal, S03 lost a lot of its hard edges in the beat and in the guitar. S01 also had an otherworldly echo to its vocals.

OBSERVATIONS: _ Folding in four directions _ Very interesting acoustics. _ Omni-directional sound output _ The beat of S03 was very clear as was the piano notes, especially the high notes, in S02. Vocals were not notably influenced.

OMNI-DIRECTION

FOCUSING

AMPLIFICATION

AMPLIFICATION

FOCUSING

OMNI-DIRECTION

AMPLIFICATION

STAGE 1_2 SELECT SECTIONAL WATER TESTING

OBSERVATIONS: _ More amplification will result from models that demonstrate waves bouncing multiple times. _ Looking at how the sound source is obscured as well as how the waves exit the geometry.

13.

15.

16.

21.

23.

OBSERVATIONS: _ Waves intersect minimally, sound radiates outwards and is only channeled by the side flags. _ Very clean waves visible.

OBSERVATIONS: _ Sound moves from lower areas up _ Large number of intersections _ Waves reflect significantly off the ground surface.

OBSERVATIONS: _ Waves held within the geometry, allowed to bounce off internal walls creating an echo chamber of sorts _ Waves become entangled and influence each other — what would this result in air not water?

OBSERVATIONS: _ Waves follow along the curved edges, waves don’t intersect as much because they are following a path _ Less reflection that with a planar surface, or maybe that the waves lose their clarity on the curved surface.

OBSERVATIONS: _ Angled edges bounce the waves more than the previous _ Waves have more interactions, some are held in the tighter area of the spiral.

STAGE 2_ CATEGORISING

AMPLIFICATION

DESIRED RESULT VOCALS ACCOMPANIMENT BEAT

ECHO

CLARITY

EFFECT AND ECHO

REFLECTION

AMPLIFICATION

OMNI-DIRECTION

FOCUSING

SOFTNESS

INTENSITY

-- , -- ~ ~ ~ ~^ ~ ~~ , ~

~/

, > , ~ ~ ~~ `` .....

.

WAVEFORM

STAGE 2_ CATEGORISING ATMOSPHERE

LYRICAL LACRIMOSA

~ { ‘; . .}{ ‘; ~ ~ ~~

ACCOMPANYMENT PUNCTUATION

-

{ ‘; . .} { ‘;

,} ~ ~ ~ ~ ~

-

,} ~~~~~

. * [ “ , . ... { ” ’ ; } ( ‘ ; . . “ ,’ } ; } ^ ~ ~ }~ ~

ATMOSPHERE

CITY OF STARS

PUNCTUATION

& &&

º ¿¿ & >> • º• • ••• •O // & // & ¿ º •º

¿¿ & &&& °•

//

// /

&° •

&&

°• & ! ! ! ! !°• ! ! ! ! !°•

&

! ! ! ! !°

& •

! ! ! ! !° ! ! ! !

•

BROAD CATEGORIES AND THEIR EFFECTS ON THE SAMPLES

EFFECT AND ECHO

BLACK BETTY

REFLECTION

AMPLIFICATION

OMNI-DIRECTION

FOCUSING

0

+10

ATMOSPHERE

+20

VOCALS

+30

ACCOMPANIMENT

STAGE 3_ INTENTION AND AIMS FOR THE DESIGN

SOURCE OPEN

SOURCE OBSCURED

CLARITY

MOVING FORWARD DESIGN THAT LOOKS TO_

ECHO

1. AMPLIFY AND FOCUS THE SOUND FROM THE SMARTPHONE TO A SINGLE USER

2. SOFTEN THE PERCEIVED SOUND THROUGH OBSCURING THE DIRECT SOUND SOURCE

STAGE 3_ INTENTION AND AIMS FOR THE DESIGN

NOITALOPRETNI GNIDLOF DELGNA

TO_ 1. FOCUS 2. OBSCURE

STAGE 3_ INTENTION AND AIMS FOR THE DESIGN

ANALYSIS WITH 20 RAYS _ ONLY 3 REFLECTIONS _ 2 SOUND SOURCES

NOITALROAPERNEITLNIIVRGUNCIDLOF DELGNA

LARIPS NE RD AL EO NG ILIVRUC

THE GOLDEN SPIRAL

LARIPS NEDLOG

_ SIMILARITIES TO SECTIONS OF SOME OF THE PHYSICAL MODELS

_ ACHIEVES THE INTENTIONS SET OUT FROM THE ITERATIVE MODELS

STAGE 4_ ANALYSIS AND REFINEMENT

BASE CONDITIONS.

ITERATION 16.

TESTING AND DIAGRAMS TO BE COMPARED BACK TO THESE CONDITIONS FOR SOUND PRESSURE DISTRIBUTION WITH NO REFLECTIONS FROM SHELL SURFACES

ITERATION 16 1:5 DRAWINGS @A3

50

150mm

GEOMETRY

500

LISTENER

105 115

RAYTRACING OMNI-DIRECTIONAL TESTS

FOCUSED TESTS

105

240

SOUND PRESSURE LEVELS NOTES: _ The following tests were conducted in Grasshopper using the Pachyderm plug-in. _ Settings were for a gradient between 80 and 110 dB sound pressure levels at a 100 Htz. 80

110 GRADIENT SCALE

OBSERVATIONS: _ Omni-directional sound but focusing towards the corner _ Dead spots around the model are significant _ Amplification in minimal when compared back to the base condition, accept along the very focused paths that align with the openings.

OBSERVATIONS: _ Less consistent sound around the mode. _ With the sound source pushed to the rear the reflections focus in two primary directions _ Amplification is increased in certain paths and surprisingly the overall coverage is improved compared to the base condition.

ITERATION 15.

ITERATION 19.

ITERATION 15_2 1:5 DRAWINGS @A3

50

ITERATION 20.

ITERATION 19

ITERATION 20

1:7.5 DRAWINGS @A3

1:5 DRAWINGS @A3

ITERATION 21.

ITERATION 21 1:10 DRAWINGS @A3

20

150mm

200mm

50

150mm 25

500

75mm

LISTENER 500

LISTENER

500

LISTENER

500

500

LISTENER

230

451

177

630

161

222

171

228

42

160 106 220

OBSERVATIONS: _ Sound source placed at centre of the base _ Significant dead space at the front and sound is channeled down two lines spreading from the shape _ A significant amount spread to the side.

42

451160

160

172

190 171

230

140

OBSERVATIONS: _ Form with larger canopy _ More reflections down off the canopy that increase the dB at the front and decrease the dead spot _ However the overall distribution isn’t improved at greater distances.

106

OBSERVATIONS: _ More covered version of iteration 16 _ Very even sound distribution, focusing towards the centre of the space, almost symmetrical.

OBSERVATIONS: _ Sound source pulled forward _ Significantly more drop off in dB level. _ Spread is still consistent across the surface _ Overall amplification is less than previous position but still an increase on the base conditions.

OBSERVATIONS: _ The more refined design better distributes the sound and is effective in spreading across the audience surface _ Focusing occurs along two axes parallel to the edge of the geometry, perhaps because of the flags on the canopy.

OBSERVATIONS: _ Sound source is pulled forwards _ More reflections off the canopy that fall in the front of the audience _ There is now significant drop off in dB level the further away from the geometry.

375

OBSERVATIONS: _ Whisper wall effect sends the reflections along the curved edge which results in a significant focusing of the sound along an axis _ Amplification is also significant along that axis, but there is a quick fall-off outside this area laterally.

ITERATION 22.

ITERATION 23.

ITERATION 21

ITERATION 23

1:10 DRAWINGS @A3

1:10 DRAWINGS @A3

25

75mm

25

500

75mm

LISTENER

500

630

630

OBSERVATIONS: _ Vertical placement spreads the sound deeper into the audience _ Wider drop-off laterally across the audience,

228

228

240

OBSERVATIONS: _ With the sound source pulled back into the spiral the distribution is more even as the geometry has more reflections internally _ Surprising how different the change in position makes the distribution _ The focusing is less intense and there is still a significant amplification.

LISTENER

375

OBSERVATIONS: _ Wider space and folding geometry had a great impact on the overall amplification and spread as opposed to previous test _ Focusing on a single axis extending from the geometry is less noticeable and overall a very even distribution.

240

OBSERVATIONS: _ Similar to previous iteration (21) _ With the sound source deeper in the spiral amplification is less but the increase in reflections is creating a better distribution.

OBSERVATIONS: _ As opposed to iteration 21, this vertical positioning results in greater amplification, the impact of the flat angled surfaces perhaps. _ Focusing on a spot in the front of the audience but still filling backwards into the space pretty evenly.

375

OBSERVATIONS: _ Perforations increase the sound filling the non-axial areas _ This is with the sound source in the depths of the spiral, so comparatively more amplification but maybe will have more effect on the quality of the sound rather than dB levels.

OBSERVATIONS: _ Vertical positioning yields greater results here, _ Noticeable inc rease in amplification in the front of the audience _ More patchy distribution but this may be down to computation power to evaluate enough rays to get a smoother picture.

STAGE 4_ ANALYSIS AND REFINEMENT

SOUND SOURCE

KEY SECTIONAL ANALYSIS

ITERATION 19 POSITION 1

960 850

332

ITERATION 23 POSITION 3

800 375

650

RAYS_ 30 BOUNCES_ 10

STAGE 5_ FABRICATION OF DIGITAL FORMS

PERSPECTIVE

SAMPLE KEY_ S01_ LACRIMOSA S02_ CITY OF STARS S03_ BLACK BETTY

PLAN

ELEVATION ITERATION # OBSERVATIONS: _ Increase in scale from the iterative models, perhaps giving an overall echo because each sound now spends longer reverberating inside the model. _ Moving around creates noticeable drop offs in sound amplification as per GH.

21.

23.

OBSERVATIONS: _ Interesting to observe the whisper wall effect in physical model rather than just pachyderm _ Amplification much better than any previous iterative model. _ Overall sound smoothening, very pleasing for the operatic sweeping vocals in S01.

OBSERVATIONS: _ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.

DESIRED RESULT_

AMPLIFICATION

VOCALS ACCOMPANIMENT BEAT

CLARITY ECHO

SOFTNESS

BROAD CATEGORY

FOCUSING

AMPLIFICATION

EFFECT & ECHO

CLOSEST TEST TO THE PARAMETERS FOR THE INTENTION

resonate BRIEF ONE BLUE GROUP PRESENTATION JEREMY

/

KALLI

/

PHOEBE

The Music Samples 30 SECOND SAMPLES FOR ANALYSIS

ACCOMPANYMENT PUNCTUATION

MUSIC SAMPLES_

INTENSITY

-- , -- ~ ~ ~ ~^ ~ ~~ , ~

~ / —, >

, ~ ~ ~~ `` ......

!! !!!! ! !! , # # # .. !!!!!!!! !

!!!! ^ ^ . !!!! !!!! !!!! !!! . !!!!! ! ! / ^ . ! ! . ! ! ..

WAVEFORM

ATMOSPHERE

LYRICAL LACRIMOSA

ACCOMPANYMENT PUNCTUATION

~ { ‘; . .}{ ‘; ~ ~ ~~

-

,} ~ ~ ~ ~ ~

{ ‘; . .} { ‘;

-

,} ~~~~~

. * [ “ , . ... { ” ’ ; } ( ‘ ; . . “ ,’ } ; } ^ ~ ~ }~ ~

ATMOSPHERE

CITY OF STARS

PUNCTUATION

& &&

º ¿¿ & >> • º• • ••• •O // & // & ¿ º •º

¿¿ & &&& °•

//

// /

&° •

&&

°• & ! ! ! ! !°• ! ! ! ! !°•

&

! ! ! ! !°

& •

! ! ! ! !° ! ! ! !

•

BLACK BETTY

ATMOSPHERE

VOCALS

ACCOMPANIMENT

LACRIMOSA ZBIGNIEW PRESISNER 1998 OCHESTRAL, OPERATIC

MUSIC SAMPLES_ 1:36

2:06

0

+10

+20

+30

WAVEFORM

INTENSITY

LYRICAL

ACCOMPANYMENT

Lacrimosa, Zbigniew Preisner 1:36-2:06

Genre: Opera Tempo: Slow Texture: Homophonic

Composition ATMOSPHERE Melody by soprano voicing, accompanied by string orchestra and organ Sound Quality of Orginal Soundtrack Bright soprano voicing at first, but becomes hardly distinguishable when being blended into the high-frequency violins and organ at the climax ~ / —, >

!! !!!! ! !! , # # # .. !!!!!!!! !

!!!! ^ ^ . !!!! !!!! !!!! !!! . !!!!! ! ! / ^ . ! ! . ! ! ..

PUNCTUATION ~~ Desired Outcome - , -- ~ ~ ~ ~^ ~ , ~ ~ ~~ `` ...... , ~ Clarity among different musical instruments so that increased layers of details could be audible; appropriate resonance to enhance the spatial impression preferred by opera singing

LACRIMOSA

RYAN GOSLING, LA LA LAND 1977 MUSICAL, SOLO SINGER

MUSIC SAMPLES_ 0:47

1:17

0

+10

+20

+30

INTENSITY WAVEFORM

LYRICAL

ACCOMPANYMENT

City of Stars, Ryan Gosling 0:47-1:17

Genre: Pop Tempo: Slow Texture: Homophonic

Composition Vocal melody with simple piano backing ATMOSPHERE Sound Quality of Orginal Soundtrack Level of vocal and piano well equalized Desired Outcome . * Balanced treble and mid-frequenies,‘ appropriate level [ of to heighten “, “ , reverberance ‘ ‘ . ; ; ; { ... ” ; ’; } ( . . ’ }} ~ { . . } { and { . . ‘; ‘ PUNCTUATION the depth of ~ ~ ~the slow ,}calming ~ ~ ~ music} { ; , } ~ ~ ~ } ~

CITY OF STARS

-

~

~

-

~

~

~ ~

~

~

^

BLACK BETTY RAM JAM 1977 HAVY ROCK

MUSIC SAMPLES_ 3:08

3:38

0

+10

+20

+30

INTENSITY WAVEFORM

LYRICAL

ACCOMPANYMENT

Black Betty, Ram Jam 3:08-3:38

Genre: Rock Tempo: Fast Texture: Homophonic

Composition Melody by electric guitar (vocals join in at the later stage), ATMOSPHERE accompanied by bass guitar and percussion (mainly hit-hat, snare and bass drum) Sound Quality of Orginal Soundtrack Balance is attained among all instruments, music is formed as an ensemble instead & & && ¿¿ & of a distinct of solo/accompaniment, beats well !strengthened by! percussion & ! ! ! ! !° ! ! ! ! ! ! ¿ ! ! ! ! ! & && form º °• °• & ! ! °• ! ! °• ! ! °• • •••º •O // & // & ¿ ¿ &&& °• PUNCTUATION overriding & >> •• º• •the / / without melody /// º

Desired Outcome Maintenance of clarity, articulated beats and rhythms by means of the amplification of percussion

BLACK BETTY

Group Findings THREE DATA SETS

COMPARISONS_ QUALITATIVE ANALYSIS JEREMY_ AMPLIFICATION

DESIRED RESULT VOCALS ACCOMPANIMENT BEAT

ECHO

CLARITY

EFFECT AND ECHO

REFLECTION

AMPLIFICATION

OMNI-DIRECTION

FOCUSING

SOFTNESS

COMPARISONS_ Summary QUALITATIVE ANALYSIS RICHER TONE COLOUR

PHOEBE_

Design 25

SPL

DESIRED FOR

Design 12

Beats

SPL

Vocals Accompaniment

Design 2 MUFFLENESS

Design 7

Design 4

Design 3

SPL

SPL

SPL

SPATIAL IMPRESSION AMPLIFICATION RESONANCE CLARITY

DULLER TONE COLOUR

SPL

CLARITY

COMPARISONS_ QUALITATIVE ANALYSIS

1

AMPLIFICATION

2

KALLI_

DESIRED RESULT

VOCAL AND MELODIC CLARITY BASS AMPLIFICATION AND PROJECTION

ECHO

CLARITY

FOCUS ON QUANDRANT 2-3 OF AMPLIFICATION AND CLARITY OF MUSIC.

effect and echo reflection amplification 4

omni-direction focusing

SOFTNESS

3

Additional drawings MUSIC SAMPLE ANALYSIS AND INDIVIDUAL SHEETS FOR EACH MEASURED MODEL AND THEIR ACCOMPANYING GRASSHOPPER ANALYSIS

MUSIC SAMPLES_ LACRIMOSA ZBIGNIEW PRESISNER 1998 OCHESTRAL, OPERATIC

1:36

2:06

0

+10

+20

+30

WAVEFORM

INTENSITY

LYRICAL

ACCOMPANYMENT

ATMOSPHERE

PUNCTUATION

-- , -- ~ ~ ~ ~^ ~ ~~ , ~

~ / —, >

, ~ ~ ~~ `` ......

!! !!!! ! !! , # # # .. !!!!!!!! !

!!!! ^ ^ . !!!! !!!! !!!! !!! . !!!!! ! ! / ^ . ! ! . ! ! ..

MUSIC SAMPLES_ CITY OF STARS RYAN GOSLING, LA LA LAND 2016 MUSICAL, SOLO SINGER

0:47

1:17

0

+10

+20

+30

WAVEFORM INTENSITY

LYRICAL

ACCOMPANYMENT

ATMOSPHERE

PUNCTUATION

‘ ~~ { ; . .}{ ‘; ~ ~ ~

-

,} ~ ~ ~ ~ ~

{ ‘; . .} { ‘;

-

,} ~~~~~

. * [ “ , . ... { ” ’ ; } ( ‘ ; . . “ ,’ } ; } ^ ~ ~ }~ ~

MUSIC SAMPLES_ BLACK BETTY RAM JAM 1977 HAVY ROCK

3:08

3:38

0

+10

+20

+30

INTENSITY WAVEFORM

LYRICAL

ACCOMPANYMENT

ATMOSPHERE

PUNCTUATION

& &&

º º & >> •• º• • ••• •O // & // & ¿ º

¿ ¿¿

¿

&&&& °•

//

// /

&° •

&&

°• & ! ! ! ! !°• ! ! ! ! !°•

&

! ! ! ! !°

& •

! ! ! ! !° ! ! ! !

•

ITERATION 15_ Variant 01_ As per the physical model

ITERATION 15 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

177

SOURCE

171 106

42

220

160

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Very pronounced amplification, directional. _ Directional made for interesting listening to S02 which seemed to become more ethereal, S03 lost a lot of its hard edges in the beat and in the guitar. S01 also had an otherworldly echo to its vocals.

_ Sound source placed at centre of the base _ Significant dead space at the front and sound is channeled down two lines spreading from the shape _ A significant amount spread to the side.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 83 dB MAX_ 115 dB STANDARD DEVIATION_ 1.00 or 0.46

ITERATION 15_ Variant 02_ Canopy lengthened, same sound source position

ITERATION 15_2 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

177

SOURCE

171 106 220

42

160 140

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Form with larger canopy _ More reflections down off the canopy that increase the dB at the front and decrease the dead spot _ However the overall distribution isn’t improved at greater distances.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 85 dB MAX_ 115 dB STANDARD DEVIATION_ 1.00 or 0.47

ITERATION 16_ Variant 01_ Sound source centralised

ITERATION 16 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

105

SOURCE

115 105

240

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Folding in four directions _ Very interesting acoustics. _ Omni-directional sound output _ The beat of S03 was very clear as was the piano notes, especially the high notes, in S02. Vocals were not notably influenced.

_ Omni-directional sound but focusing towards the corner _ Dead spots around the model are significant _ Amplification in minimal when compared back to the base condition, accept along the very focused paths that align with the openings.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 74 dB MAX_ 116 dB STANDARD DEVIATION_ 1.07 or 0.47

ITERATION 16_ Variant 02_ Sound source pushed to the right side, mimicking the bottom speaker on iPhone X

ITERATION 16 1:5 DRAWINGS @A3

50

150mm

500

LISTENER

105

SOURCE

115 105

240

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Less consistent sound around the model. _ With the sound source pushed to the rear the reflections focus in two primary directions _ Amplification is increased in certain paths and surprisingly the overall coverage is improved compared to the base condition.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 68 dB MAX_ 114 dB STANDARD DEVIATION_ 1.09 or 0.47

ITERATION 19_ Variant 01_ New version of iteration 16 with shell shape, source shunted to the back

ITERATION 19 1:7.5 DRAWINGS @A3

20

200mm

500

LISTENER

SOURCE 451 222 451

160

172

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Amplification quite significant _ Very high clarity, especially in S03 in the drum beats and high notes on the guitar, punchy vocals. _ Piano in S02 hits clean and lyrics very clear as well _ Amplification at the cost of any interesting acoustics.

_ More covered version of iteration 16 _ Very even sound distribution, focusing towards the centre of the space, almost symmetrical.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 91 dB MAX_ 103 dB STANDARD DEVIATION_ 0.94 or 0.42

ITERATION 19_ Variant 02_ Sound source towards the front, mimicking the front facing iPhone X speaker

ITERATION 19 1:7.5 DRAWINGS @A3

20

200mm

500

LISTENER

451

SOURCE

222 451

160

172

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Sound source pulled forward _ Significantly more drop off in dB level. _ Spread is still consistent across the surface _ Overall amplification is less than previous position but still an increase on the base conditions.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 89 dB MAX_ 102 dB STANDARD DEVIATION_ 0.97 or 0.44

ITERATION 20_ Variant 01_ Sound source placed towards the back under the canopy

ITERATION 20 1:5 DRAWINGS @A3

50

150mm

500

SOURCE

LISTENER

230 161 106 230

190

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ No physical model produced for this geometry.

_ The more refined design better distributes the sound and is effective in spreading across the audience surface _ Focusing occurs along two axes parallel to the edge of the geometry, perhaps because of the flags on the canopy.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 87 dB MAX_ 116 dB STANDARD DEVIATION_ 0.94 or 0.45

ITERATION 20_ Variant 02_ Sound source pushed into the front pouch

ITERATION 20 1:5 DRAWINGS @A3

50

150mm

SOURCE

500

LISTENER

230 161 106 230

190

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Sound source is pulled forwards _ More reflections off the canopy that fall in the front of the audience _ There is now significant drop off in dB level the further away from the geometry.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 82 dB MAX_ 114 dB STANDARD DEVIATION_ 1.19 or 0.50

ITERATION 21_ Variant 01_ Spiral on its side, sound source placed about midway towards the back wall

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

171

375

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Interesting to observe the whisper wall effect in physical model rather than just pachyderm _ Amplification much better than any previous iterative model. _ Overall sound smoothening, very pleasing for the operatic sweeping vocals in S01.

_ Whisper wall effect sends the reflections along the curved edge which results in a significant focusing of the sound along an axis _ Amplification is also significant along that axis, but there is a quick fall-off outside this area laterally.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 79 dB MAX_ 110 dB STANDARD DEVIATION_ 1.05 or 0.46

ITERATION 21_ Variant 02_ Spiral on its side, sound source placed in the base of spiral

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

171

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ With the sound source pulled back into the spiral the distribution is more even as the geometry has more reflections internally _ Surprising how different the change in position makes the distribution _ The focusing is less intense and there is still a significant amplification.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 77 dB MAX_ 107 dB STANDARD DEVIATION_ 0.99 or 0.46

ITERATION 21_ Variant 03_ Spiral placed vertically with sound source in its base

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

171

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Vertical placement spreads the sound deeper into the audience _ Wider drop-off laterally across the audience.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 82 dB MAX_ 104 dB STANDARD DEVIATION_ 0.97 or 0.46

ITERATION 22_ Variant 01_ Spiral on its side, sound source placed about midway towards the back wall

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.

_ Wider space and folding geometry had a great impact on the overall amplification and spread as opposed to previous test _ Focusing on a single axis extending from the geometry is less noticeable and overall a very even distribution.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 88 dB MAX_ 108 dB STANDARD DEVIATION_ 0.92 or 0.44

ITERATION 22_ Variant 02_ Spiral on its side, sound source placed in the base of spiral

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Similar to previous iteration (21) _ With the sound source deeper in the spiral amplification is less but the increase in reflections is creating a better distribution.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 87 dB MAX_ 109 dB STANDARD DEVIATION_ 0.99 or 0.45

ITERATION 22_ Variant 03_ Spiral placed vertically with sound source in its base

ITERATION 21 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ As opposed to iteration 21, this vertical positioning results in greater amplification, the impact of the flat angled surfaces perhaps. _ Focusing on a spot in the front of the audience but still filling backwards into the space pretty evenly.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 88 dB MAX_ 104 dB STANDARD DEVIATION_ 0.97 or 0.43

ITERATION 23_ Variant 01_ Spiral on its side, sound source placed in the base of spiral

ITERATION 23 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

MODEL OBSERVATIONS_

DIGITAL OBSERVATIONS_

_ Even greater amplification noticeable, perhaps not as smooth as iteration 21. _ The bass of S03 appears boosted, or at least exposed with the clarity of the treble reduced by the number of reflections _ S02’s piano is better balanced as well behind the vocal track.

_ Perforations increase the sound filling the non-axial areas _ This is with the sound source in the depths of the spiral, so comparatively more amplification but maybe will have more effect on the quality of the sound rather than dB levels.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 85 dB MAX_ 107 dB STANDARD DEVIATION_ 1.02 or 0.46

ITERATION 23_ Variant 02_ Spiral placed vertically with sound source in its base

ITERATION 23 1:10 DRAWINGS @A3

25

75mm

SOURCE

500

LISTENER

630 228

240

375

START

END

80

TIME

DIGITAL OBSERVATIONS_ _ Vertical positioning yields greater results here, _ Noticeable inc rease in amplification in the front of the audience _ More patchy distribution but this may be down to computation power to evaluate enough rays to get a smoother picture.

110 SOUND PRESSURE LEVELS

SOUND PRESSURE LEVELS_ TAKE AT 100Htz BOUNDS_ MIN_ 89 dB MAX_ 105 dB STANDARD DEVIATION_ 0.97 or 0.44