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Bob Essert and Anne Minors spotlighted at Auditorium Acoustics Conference at the Bristol Beacon
The Institute of Acoustics held its Auditorium Acoustics 2025 conference at Bristol Beacon on 8-10 September 2025. More than 160 acousticians from around the world attended. This was a great opportunity for Sound Space Vision to show off the successful integration of acoustical priorities and design expertise in a major concert hall transformation project.
Bob Essert, lead acoustician on transformation, opened the conference with a presentation entitled “Acoustical History and Design of the Bristol Beacon”. The acoustical qualities and relevance of Colston Hall to the Bristol community and to musical developments through its four previous incarnations helped us to justify our transformative guidance on geometry and materials . In collaboration with architects Levitt Bernstein we have crafted a sound that is both clear and warm, and flexible for all genres of music. The programming and operations of the building are driving success with older and newer music alike. The printed version of Bob’s presentation is here:
Anne Minors was on the conference organising committee and created opportunities to help the Beacon shine as a perfect venue for this triannual gathering. She organised two sessions: first a chamber orchestra assembled by Carole Jenner-Timms to show off the inspiring acoustics in Beacon Hall with both string and wind ensemble pieces. Second, by leading a panel discussion on the project journey and inclusivity with people who have been key drivers in the success of creating and using the building:
- Louise Mitchell CBE, CEO of the Bristol Music Trust 2011-2024, and project champion
- Dougie Scarfe, OBE, CEO of Bournemouth Symphony Orchestra, who perform regularly in the Beacon
- Charles Hazlewood, Artistic Director of Paraorchestra, the world’s only large-scale orchestra with disabled and non-disabled players, with a strong profile at the Beacon.
The Lantern Hall proved a fantastic venue for the conference lectures, with its clear speech acoustics and low background noise, helping to promote active listening. There was also an afternoon devoted to progress on “Active Acoustics” — the use of digital technology and loudspeakers to augment natural acoustics, taking advantage of the Lantern Hall’s acoustical flexibility and technical infrastructure – demonstrated by a jazz trio and violin solo.
Thanks to the IOA Auditorium Acoustics Committee chaired by Raf Orlowski, with Sheema Ali and Evan Green.