{"id":56441,"date":"2023-02-28T10:42:06","date_gmt":"2023-02-28T09:42:06","guid":{"rendered":"https:\/\/www.connessioni.biz\/architettura-sonora-the-omnidirectional\/"},"modified":"2023-02-28T10:42:06","modified_gmt":"2023-02-28T09:42:06","slug":"architettura-sonora-the-omnidirectional","status":"publish","type":"post","link":"https:\/\/www.connessioni.biz\/en\/architettura-sonora-the-omnidirectional\/","title":{"rendered":"Architettura Sonora – The Omnidirectional"},"content":{"rendered":"

Among the elements that have always and more than any other distinguished and characterized the production of Architettura Sonora are undoubtedly the Omnidirectional models.<\/h4>\n

\"\"<\/p>\n

Sphere, Cylinder, Cube, and Spherina are iconic models of Architettura Sonora, manifestos of the distinctiveness of a production that clearly departs from the usual concept of “sound box.”<\/p>\n

The shape, the material component are undoubtedly distinctive features of AS products, as is the type of acoustic emission they propagate.
\nLet us try to understand together what Omnidirectional acoustic emission is and how AS products are able to achieve it in exploiting their potential.<\/p>\n

The first AS omnidirectional elements were designed to be placed on the ground, turning the ground into an actor, an integral part of the acoustic design.
\nIn simple words, we could say that the sound bounces off the ground thanks to the baffle placed at the bottom of the AS emitter, thus creating a “donut” effect.<\/p>\n

\"\"<\/p>\n

Therefore, it can be easily deduced that the omnidirectional acoustic element should never be placed higher than the “ground” placement, otherwise the immersive and enveloping effect of sound would be lost.<\/p>\n

The omnidirectional acoustic behavior on the ground is well represented by the following figure below, which simplifies its concept<\/p>\n

\"\"<\/p>\n

The following image, on the other hand, gives us (albeit still from a simplified perspective) a more detailed representation of the concept of immersive sound.
\nThis graphic diagram shows that the correct theoretical positioning is between 3 and 4 meters away from the object. In other words, at this distance the actual musical volume is perceived (in the drawing represented with 100dB), while it decreases as one moves away from the point of sound emission, until it decays significantly between 15 and 20 meters.<\/p>\n

\"\"
\nRepresenting the above with a diagram that also inserts the Frequency Range figure, it will be seen that around the 4-meter range reveals the most correct frequency range (40 Hz-20K Hz):<\/p>\n

\"\"<\/p>\n

The last diagram summarizes the omnidirectional behavior on the ground with listening placement recommendations.<\/p>\n