Finding the Seat With the Best View: Stage-View Preference for Orchestra

Abstract

In a concert auditorium, conditions at different seats vary greatly, and are mostly affected by the view of the stage and the received sound of the performance, the former of which has been much less studied. With a focus on visual seat location, this study systematically investigates the effects of three visual factors: distance, lateral angle, and vertical angle, on the subjective seat preference of a symphony music performance, with one additional reference auditory factor: loudness (audio gain). Experimental investigation used virtual reality presentations of a 3D static orchestra on a stage with simplified orchestral audio, so that each factor could be changed independently. Results show that all factors significantly affect preference: smaller distances, smaller lateral angles, and vertical angles around 18° are preferred. Experiment results agree with those of an online questionnaire using corresponding stage-view images. A prediction model based on the results is proposed.

Use of Virtual Reality and auralization as a training tool for acoustic practitioners

“…The past decades have seen an increasing use of Virtual Reality (VR) in research and education in various fields, including the fields of architecture (Zhang et al, 2020). In architectural acoustics, VR is mostly used in subjective research on psychoacoustics and multisensory interaction (Chen et al, 2021(Chen et al, , 2022(Chen et al, , 2023a(Chen et al, , 2023bDoggett, 2021;Maempel & Jentsch, 2013;Muhammad et al, 2019;Postma & Katz, 2017;Valente & Braasch, 2010;Zahorik, 2001), taking advantage of its sense of immersement and realism, as well as ease of controlling the experimental environment. While using VR as a training tool for professionals has not yet been widely adapted in acoustics, it is already commonly used in other areas, especially where the practical situation involves higher risks or costs (Aïm et al, 2016;Carruth, 2017;Mantovani et al, 2003;Pantelidis, 2010;Van Wyk & De Villiers, 2009).…”