In 2024, HOLOPLOT’s X1 system was chosen to provide the sound for The Atmosphere stage at Tomorrowland, a custom-made circus-top tent featuring DJs. The system utilised two main arrays consisting of six X1 modules each, with six surrounds of two X1 modules each.
The key challenges to overcome were the highly reflective surfaces causing echoes in the listening area, preventing an even sweet spot to fully benefit from the immersive content played at the stage.
Pieter Doms, Sound Engineer at Noizboyz and Co-Founder of stereo upmixing solution Areal, is responsible for the sound design of all 16 stages at Tomorrowland and chose the HOLOPLOT system for the audio experience at Atmosphere.
“I was really shocked with the sound quality that was achievable because I expected beamforming to decrease it,” he said. “It sounds great, almost studio monitor clean. It’s amazing how the quality rises when you just focus audio on the people and don’t create any reflections. You get a very clean sound, and that improves the immersive experience. It gives you that small club feeling, but you’re in a ginormous tent”
In the spirit of technological advancement, Tomorrowland, together with Noizboyz, had already developed a new piece of software, allowing them to upmix stereo signals into multi-channel content in real time. This had been used at Atmosphere for a couple of years already, but the size of the tent and the required distributed system had still proven challenging for the designers in the past, with the additional loudspeakers needed to achieve the surround sound effects causing increased reflections and confusion in the diffuse field. Using X1 allows better control of sound, delivering the results of the upmixed content via Areal to the crowd without echos.
Enabling this are the two core pillars of HOLOPLOT technology, 3D Audio-Beamforming and Wave Field Synthesis. “Both allow us to control sound in the 3D space,” stated Sebastian Boeldt, Senior Application Engineer at HOLOPLOT. “We can precisely shape the coverage areas in the audience zone, but also avoid certain shapes of the venue, minimising reflections and improving the clarity of the performance.”
HOLOPLOT’s horizontal control, also allows the precise gain and delay alignment between them. “This means we can increase the immersive sweet spot and minimize the delay spread, a key parameter when designing immersive systems,” Boeldt explained. “The combination of sound control via avoidance of the tent surfaces and division of the crowd into time aligned coverage zones create a perfect base canvas for the Areal technology to shine. It’s a really flexible piece of software that paired beautifully with the X1 system.”
“The widespread misconception that loud is always better doesn’t apply here, and thanks to the isolated yet aligned zones X1 created and the multi-channel content from the Areal engine we achieved great results. It sounded really tight, giving that small immersive club feeling,” concluded Doms.
