ACOUSTICS
FLEX ACOUSTICS
of sound Wall
H aving researched and defined
the optimum acoustics for
pop and rock venues, Niels
W Adelman-Larsen of Flex
Acoustics set about developing
a variable acoustics system that could create
these in any hall. The goal was to enable one hall
to cater for all music genres. The result of his
research, Evoke, is now available.
“I have always had a deep passion for music
and acoustics,” says Adelman-Larsen. “As a fiveyear
old, I set up suitcases, pots and pans
in the bathroom to get a fatter drum sound!
Later, working as a professional musician for over
a decade, I found myself wondering more and
more about the acoustics of the spaces we played
and, frankly, how it impacted my playing and
general well-being after the concert.”
Acoustic analysis
Before his music career, Adelman-Larsen had
completed a bachelor’s degree in engineering
with a thesis on studio control room acoustics.
In 2003, he set about studying acoustics in even
greater detail. “Before I knew it, I was researching
what objectively makes halls favorable for jazz,
pop and rock music – a field I was surprised to
find more or less uncharted territory,” he says.
The research involved collating the views of
a large group of professional musicians and
sound engineers regarding the acoustics of halls
they know very well. Most of the musicians
A new acoustic
module enables
halls to achieve
the variability
needed to
create the ideal
reverberation
time for any
type of music
52 AUDITORIA 2019 VOLUME ONE