The "Konzer­thaus Det­mold" is the largest con­cert hall Det­mold Uni­versity of Mu­sic and has ap­prox. 600 seats. It was built in 1965 - 1968 ac­cord­ing to plans by Kurt Wi­ers­ing in the Pal­ais­garten and opened as the "Neue Aula". A mod­ern­isa­tion then took place in 2007, when the acous­tics were greatly im­proved and a „Wave Field Syn­thes­is“ sys­tem (WFS) with more than 300 speak­ers was in­stalled in the walls and ceil­ings.

The stage can hold a smal­ler sym­phony or­ches­tra, but can be par­tially lowered so that there is enough space in the stalls for a wide vari­ety of pro­duc­tions. The con­cert hall is con­nec­ted via 144 ana­logue / di­git­al con­nec­tions as well as count­less fibre op­tic cables and net­work cables. These are ac­cess­ible at the con­nec­tion pan­els, each with 8 XLR, 4 BNC-coaxi­al, 3 LC-LWL and two RJ45 net­work con­nect­ors, and are dis­trib­uted to the stu­di­os via a patch pan­el on the high stage. An elec­tric winch sys­tem op­er­ates the six hoists, the po­s­i­tion of which can be stored if re­quired.

Since the open­ing, the con­cert hall has had a four-manu­al or­gan by Jo­hannes Klais (Bonn) with more than 50 sound­ing stops. This is mainly used for or­gan les­sons, and the room sound can be ex­ten­ded with an ar­ti­fi­cial re­ver­ber­a­tion via the WFS loud­speak­ers (see be­low).

Wave Field Syn­thes­is in the Con­cert Hall

Since 2009, the Det­mold Uni­versity of Mu­sic has two Wave Field Syn­thes­is (WFS) sys­tems for dif­fer­ent ap­plic­a­tions. The Det­mold Con­cert Hall is equipped with a WFS sys­tem from IO­SONO / Barco, which al­lows the spa­tial re­pro­duc­tion of sounds from up to 32 vir­tu­al sources for the per­form­ance of mod­ern mu­sic as well as three-di­men­sion­al sound­scapes via 333 loud­speak­ers on the walls and in the ceil­ing.

By com­bin­ing the WFS with the per­man­ently in­stalled re­ver­ber­a­tion sim­u­la­tion sys­tem from SIAP, artists can se­lect an ex­ten­sion of the nat­ur­al re­ver­ber­a­tion from 1.6 to 5 seconds at the touch of a but­ton. This en­ables, for ex­ample, the per­form­ance of church mu­sic or or­gan works ap­pro­pri­ate to the work.