With the new interactive exhibition The Storming of Königstein—An Attack That Never Happened, visitors can, for the first time, experience a historical siege scenario that never actually took place, yet vividly demonstrates why the fortress was regarded as impregnable for centuries.
The technical implementation was carried out by Dresden-based Whitebox GmbH. The system design was developed in collaboration with Ben Zenker (ZEN Audio Engineering) and André Neuhaus (Soundlike Großbeschallungstechnik).
The project featured solutions from ProAudio Technology GmbH, Hoellstern GmbH and Xcite Audio. The objective was not merely to present historical content visually, but to transform it into an immediate and immersive experience through the precise interaction of image, sound and haptic effects.
Our ambition was not only to explain the fortress's defensive capabilities, but to allow visitors to actually feel them. The greatest challenge was to develop a technically robust solution tailored to the site's specific conditions while achieving the highest possible level of immersion. It is precisely the interaction between light, visuals, sound and vibrations that transforms this historical scenario into a truly impactful experience, explains Daniel Sommer (Whitebox GmbH).
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A comprehensive system design as the foundation of the production
On a specially designed visitor platform, historical defence scenarios are brought to life through large-format visuals, multichannel surround sound and haptic effects. Cannons fire, gates close, drawbridges rise and projectiles strike the fortress. Visitors do not merely observe these events—they hear and feel them as well.
The engineering studio led by Ben Zenker was responsible for the system design of the installation. Zenker was supported by André Neuhaus (Soundlike Großbeschallungstechnik) in the areas of audio and system design. Their combined thirty years of hands-on experience in professional sound reinforcement technology made it possible to overcome the challenges posed by this historic venue.
The main challenge was to integrate the various technical systems in such a way that they delivered a coherent and highly realistic overall experience.
Ben Zenker comments: "In immersive applications, it is never a single component that determines the quality of the experience, but rather the interaction between all the elements involved. The objective was to coordinate the audio, haptic feedback and visual content so that visitors would perceive the depicted events intuitively and authentically. The result is a new way of communicating history that allows people to experience the past from an entirely different perspective".
High-Precision audio reproduction for a demanding environment
Audio technology plays a fundamental role in the overall concept. The installation had to deliver exceptional dynamics at a relatively moderate sound pressure level while ensuring maximum speech intelligibility in an acoustically challenging historic environment.
To provide sound coverage for the approximately 30 m² experience platform, a multichannel system from ProAudio Technology GmbH was selected, consisting of four MT10 high-performance loudspeakers, four compact MT5.2 installation loudspeakers and one SW12 subwoofer.
The MT10 loudspeakers form the acoustic backbone of the installation. Their wide dynamic range, precise impulse response and outstanding speech intelligibility enable them to reproduce even the most complex soundscapes with exceptional detail.
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These are complemented by the compact MT5.2 loudspeakers, whose low-profile design allows them to be discreetly integrated into the historic architecture.
High-performance amplification platform for immersive applications
Both signal processing and amplification are handled by two ProAudio Technology 10.4-DSP system amplifiers (Hoellstern OEM).
In immersive applications, where audio is combined with the vibrations generated by powerful haptic transducers, high-performance amplification platforms are essential to achieve the most realistic reproduction possible. Fast transient sequences, cannon salvos and consecutive explosions require substantial power reserves that remain stable under load, as well as precise control of complex speaker loads.
Immersive environments place very specific demands on audio technology. It is not enough to reproduce individual effects at high volume. What really matters is that every scene is reproduced with tonal accuracy and authentic dynamics across the entire frequency range, even when it contains extremely intense and ultra-fast signal sequences. Our amplification platforms, capable of operating with loads down to 2 ohms, are designed to meet these requirements, explains Udo Höllstern (ProAudio Technology GmbH and Hoellstern GmbH).
Thanks to their substantial power reserves, even the most complex sound events remain clearly differentiated while retaining their full impact. As a result, not only the first cannon shot but every single action can be experienced with the same intensity and precision.
When a cannon shot can be felt beneath your feet
In addition to its acoustic dimension, the installation incorporates a comprehensive structural sound system from Xcite Audio. Eight XBS200 structural transducers and four XBS100 units were integrated directly into the platform and seating.
As a result, cannon fire, explosions and the closing of the massive gates are not only heard—they are physically felt. The entire platform becomes an active part of the experience.
Particularly noteworthy is the signal processing system developed for the haptic dimension by sound designer Felix Findeisen. Rather than simply transmitting low frequencies to the structural transducers, relevant events are analysed and converted into clearly differentiated physical effects. The result is a far more nuanced perception that adds an entirely new dimension to the soundscape. Commenting on the interaction between the different systems, Udo Höllstern adds:
What is truly remarkable is the interaction between sound and physical perception. Visitors do not simply hear a cannon being fired—they experience it. When audio, visuals and haptic elements are combined with this level of precision, the result is a degree of immersion that captivates audiences and leaves a lasting impression.
Another advantage of the structural sound system is its ability to decouple the physical effect from the acoustic level. Since part of the energy is transmitted directly through the platform, the desired impact can be achieved without increasing low-frequency sound levels throughout the room.
Visitors experience cannon fire, explosions and vibrations more intensely, while actual exposure to low-frequency sound can be kept at significantly lower levels.
This approach opens up new possibilities for creating highly immersive experiences in historic buildings and sensitive exhibition spaces while maintaining precise control over the acoustic load. It also improves accessibility, creating new opportunities for people with hearing impairments to experience and better understand historical content.
A benchmark for immersive historical storytelling
The new interactive exhibition at Königstein Fortress demonstrates how state-of-the-art multimedia technology can be used to communicate historical content in an innovative way. The success of the project lies in the seamless integration of scenography, audiovisual technology, audio, haptic elements and system design.
This approach opens up new opportunities for museums, visitor centres and cultural institutions, enabling them to communicate content in a way that is emotional, engaging and memorable.
The Königstein Fortress installation demonstrates that high-quality audiovisual systems are now far more than technical components—they have become an essential part of the visitor experience, helping bring history to life in entirely new ways.
With this new experiential installation, the fortress has created not only an extraordinary attraction for visitors, but also an outstanding example of the potential offered by modern immersive experiences.
Image credits: Helge Wanta
