Immersive Panoramic Sound System Project for Shedu Thirteen Fang Theat – Valtec-Tubesound
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Immersive Panoramic Sound System Project for Shedu Thirteen Fang Theater, Luoyang, Henan

(1) Project Positioning

Luoyang Shedu Thirteen Fang Theater is a core immersive performance venue built on Luoyang’s “Shedu” historical and cultural IP. Focusing on immersive historical and cultural shows, it centers on two landmark productions: Hetu Luoshu and Empress Wu’s Grand Banquet, aiming to create a cultural experience space featuring “integrated sound and scene, time-and-space travel”.

The theater covers a total area of approximately 3,800 ㎡, with a 270° circular viewing area and a seating capacity of 800 people.Its core goal is to break the limitation of traditional “one-way sound transmission” through immersive panoramic sound, achieving an experience of “sound moves with the scene, music follows the plot” and “sound effects flow with the story, sound and scene coexist”, strengthening the sense of cultural immersion.

● Hetu Luoshu is based on a 270° circular viewing area and nine-grid lifting stage, combined with holographic projection and water effects to interpret ancient mythology and Heluo culture. It requires airy highfrequency sound effects (8 kHz–12 kHz) to match the water-screen mythological scenes.

● Empress Wu’s Grand Banquet creates a grand Tangdynasty imperial court atmosphere through a huge water screen and dynamic stage. It requires rich mid-frequency performance (256 Hz–512 Hz) to reproduce the texture of ancient music such as chime bells, dancing and music, as well as the majestic sound of imperial ceremonies.

(2) Core Objectives

1) Cultural Immersion

Accurately restore the timbre details of ancient Tang-dynasty music (chime bells, konghou, jiegu drums), and create an ethereal, surround soundscape for the “water-screen myth” scenes in Hetu Luoshu, enhancing cultural narration.

2) Immersive Experience

Break through the limitations of traditional theater sound and build a 360° enveloping sound field, allowing the audience to clearly distinguish sound sources and experience perfect integration of sound, plot and visuals, greatly improving overall immersion.

3) Scene Adaptability

Frequent switching between multiple show scenes (e.g., “underwater fantasy” in Hetu Luoshu and “imperial celebration” in Empress Wu’s Grand Banquet). The system must support fast sound mode switching and audio linkage with lifting stages and water screen equipment.

4) Uniform Sound Field

The 270° circular viewing area faces challenges such as weak sound at corner positions and large SPL differences between front and rear rows. Scientific equipment layout and professional tuning ensure uniform acoustics and consistent listening experience for every audience member.

5)Technical Compliance

Ensure sound pressure level deviation ≤ 3 dB across the venue, with a frequency response of 18 Hz–20.5 kHz, meeting professional theater acoustic standards including:

● GB/T 503562005 Acoustic Design Code for Theaters, Cinemas and Multipurpose Halls

● GB 49592011 Acoustic Characteristics of Hall Sound Reinforcement Systems

2. Core Framework of System Design

(1) Design Basis

Show Requirements:According to the different styles and sound effect needs of Hetu Luoshu and Empress Wu’s Grand Banquet, customized sound parameters are designed respectively.Hetu Luoshu focuses on ethereal high-frequency sound effects, while Empress Wu’s Grand Banquet emphasizes rich mid-low frequency sound, to accurately restore the characteristics of each performance.

Venue Characteristics:Fully considering the features of the 270° circular space – weak sound at corners and large sound pressure differences between front and rear rows – a layered and distributed equipment layout is adopted to maximize space utilization and optimize sound field distribution.

National Standards:The acoustic performance of the sound reinforcement system shall meet or exceed the First-Class standard for cultural performance sound systems specified in GB/T 28049-2011 Code for Design of Sound Systems in Auditoriums and Stadiums:

● Maximum Sound Pressure Level: ≥ 106 dB

● Transfer Frequency Characteristic:Taking the average sound pressure level of 80–8000 Hz as 0 dB, a variation of ±4 dB is allowed within this band (measured in 1/3 octave bands).

● Sound Field Non-Uniformity:

● 100 Hz: ≤ 10 dB in most areas

● 1000 Hz: ≤ 6 dB in most areas

● 4000 Hz: ≤ 8 dB in most areas

● Microphone Transmission Gain: ≥ -8 dB at 100–4000 Hz

● System Noise: NR-20

(2) System Architecture

A “fourinone dimensional” architecture is adopted to achieve fulldimensional sound coverage and deliver an allround auditory experience:

1) Main Sound Dimension

Mainly responsible for delivering the main melody and vocals, accurately covering the middle and rear core areas of the circular auditorium, ensuring the audience can clearly hear the core sound information of the plot.

2)Surround Sound Dimension

Through reasonably arranged surround speakers, a 360° spatial enveloping feeling is created, restoring ambient sounds in scenes (such as court footsteps, water flow, etc.) and enhancing the audience’s sense of environmental immersion.

Panoramic Effect Speaker Profile Layout

Low-Frequency Dimension

Low-frequency speakers are used to enhance the impact of sound effects, such as drumbeats of imperial ceremonies, thunder in mythological scenes, etc., allowing the audience to experience the shocking power of sound.

Ultra-Low-Frequency Speaker Profile Diagram

Monitor Dimension

Provides real-time, clear sound feedback for performers on stage, helping them accurately grasp the performance rhythm and avoid performance errors caused by sound issues.

4.Construction & Implementation of Immersive Panoramic Sound Control System

(1) Immersive System Workflow

1) Establish Virtual Space Model (Room)

Create a circular virtual space with four-sided surround, and configure sound source positions in four main directions:

● Front (0°)

● Right (90°)

● Back (180°)

● Left (270°)

Assign audio inputs from each stage to the corresponding directions.

2) Audio Routing

Each stage can be equipped with multiple microphones/inputs (such as front-stage microphones, effect tracks, etc.) and multimedia playback materials.Each input is assigned an independent Source, and the corresponding stage orientation is set in the virtual space.

Multimedia playback materials are configured into the 3DAP server for spatial rendering.