Daegu Opera House Musical · Opera
Daegu Opera House seat view and sound experience
Sound experience
About the sound
Strings, woodwinds and brass together · Direction and distance change with your seat.
Direct sound is combined with early reflections and reverberation. Their proportions change with the seat. This is a synthesis based on assumptions, not a recording of the actual hall.
Acoustic sources and model scope
Ensemble listening estimates direct sound from five equally loud representative instruments plus early and late reflected energy. It does not trace individual wall reflections or measure sound on site. Playback uses the same energy model, but the samples' instrumentation and volume differ from the equal-strength scoring assumption. Changing a sample does not change the recommendation criteria.
- Reverberation time used
- 1.4s Midpoint of the operator’s stated 1.2–1.6 s design range
- Room volume used
- 13,158m³ Assumed from the 3D shell (bounded to 8–13 m³ per seat) · actual volume unconfirmed
We also check score variation under nine assumptions: reverberation time ±0.4 seconds and volume ±20%. Balcony obstruction, reflector placement, and instrument directivity are not included. Scores cannot rank sound quality across venues.
Acoustic method and limitationsModel calculations from the selected seat to the reference point. A larger angular size means the person appears larger.
A/B score comparison
- Estimated acoustics · Ensemble listening
- 78pts
- View · Balanced
- 76pts
Lowest component: Clarity–reverberation balance, 64 pts. Weaker components influence the combined score; scenarios range from 21 to 98 pts.
Scores rise when all three criteria are met together. Weights indicate importance; weaker components have more influence on the combined score.
Ensemble estimate: 21–98 pts
These are nine calculations with different assumed reverberation times and room volumes. Actual quality is not guaranteed to fall within this range, and a few points do not establish which seat is better.
- Clarity–reverberation ratio (C80)
- 1.9 dB
- Sound strength (G)
- 3.4 dB
These values come from a statistical model, not measurements. C80 is assessed against a chosen balance range rather than rewarding higher values; G is assessed for sufficient strength. View calculation criteria
- Estimated acoustics · Ensemble listening
- 70pts
- View · Balanced
- 77pts
Lowest component: Sound energy adequacy, 56 pts. Weaker components influence the combined score; scenarios range from 17 to 99 pts.
Scores rise when all three criteria are met together. Weights indicate importance; weaker components have more influence on the combined score.
Ensemble estimate: 17–99 pts
These are nine calculations with different assumed reverberation times and room volumes. Actual quality is not guaranteed to fall within this range, and a few points do not establish which seat is better.
- Clarity–reverberation ratio (C80)
- 1.4 dB
- Sound strength (G)
- 1.8 dB
These values come from a statistical model, not measurements. C80 is assessed against a chosen balance range rather than rewarding higher values; G is assessed for sufficient strength. View calculation criteria
Ensemble listening uses assumed direct sound, early reflections, and late reverberation. Direct-sound preference is distance-based; view scores use distance, overview, and alignment. Reflectors, balcony obstruction, and instrument directivity are not modeled, so rear-seat acoustics may also be overestimated. How to read the scores
Comparing seats at Daegu Opera House
Compare stage views and strings, bass or full orchestra sound in A/B. Ensemble listening scores are acoustic model estimates, not on-site measurements. Sections, rows and seat numbers follow the official seating plans. Sections BL·BR and 2F A·E have no row labels on the plan, so only seat numbers are shown. Wheelchair spaces are not included.
How this experience was built
What sources confirm — From the floor-by-floor seating plans (after the 2021 auditorium works) that the operator, Daegu Opera House, publishes with its facility documents, we read all 1,586 seat cells and assigned rows and numbers in sections OPA·OPB·OPC, A–E and BL·BR. Together with the 16 wheelchair spaces they match the official 1,602 seats, and every cell was checked against its printed number. The four plans share one frame, so the scale (0.54 m seat pitch) and origin come from fitting the 1F center rows to the 0.95 m treads in the longitudinal section of the operator’s stage drawings (2019, DWG) (rms 0.06 m over 16 rows), and the floor heights of the 1F treads and the 2F–4F balcony steps are read from the same section. The 2F rear rows, which were not used in the fit, also fall within 0.1 m of the section treads. The 15.0 × 10.3 m proscenium, the positions of the stage front and orchestra pit, the stage 1.05 m above the stalls and the 0.72 m balcony parapet are values from the operator’s theatre technical information and drawings.
What remains estimated — The seating plans are schematic, so seat positions in plan are approximations fitted to the drawings (about 0.1 m for the 1F center rows, possibly more for side blocks and side balconies). The section cuts only the center axis, so side blocks use the same row heights, and the height drawing dates from 2019, before the 2021 auditorium works. The current row layout matches the section’s treads, so we used it, but these are not post-renovation measurements. The seating plans draw the 2F, 3F and 4F balconies in the same place, while in the section each level sits about 0.95 m further back, so the 3F and 4F rear rows were moved to their section positions (3F 0.7–1.0 m, 4F 1.6–2.0 m). Side balconies (BL·BR, 2F A·E) keep their seating-plan positions with the first-row height of their level, which is an estimate, and the 1.5 m height of 1F BL·BR is an estimate back-solved from the operator’s auditorium photo (±0.4 m). OP seats assume the pit lift raised to stalls floor level, and the 16 wheelchair spaces are not included. Walls, ceiling and acoustics are modeled.
Views are calculated using a 1.75 m figure, your chosen eye height and seat coordinates. Actual obstructions from people, railings or equipment and show-specific layouts may not be represented. Orchestral sound combines direction, distance and assumed early reflections and reverberation. It does not use responses measured in the actual hall. Scores indicate preference fit; actual obstructions, sound quality and price are not yet included.
Orchestral audio: original samples made from VSCO 2 CE recordings (Versilian Studios, CC0). Band and game sounds are synthesized. Crowd audio uses Sandermotions’ CC0 recordings, not recordings from this venue.