Abstract
The first design priority is to provide good intra‐pit communication, permitting the orchestra to coordinate tuning, timing, and loudness. Secondly, performers on stage need clear signals from the pit, to coordinate their efforts with those of the orchestra (the reverse path is important, but the conductor can usually mitigate problems that arise). Finally, the good overall performance achieved by these means must be properly transmitted to the audience. These goals are chiefly met by providing an adequate supply of early reflections (t ≲ 30 ms), each of which is a reasonably coherent version of an originally radiated sound. Designer's resources include reflection, quasicoherent scattering, and absorption via properly oriented surfaces whose dimensions correspond to wavelengths in the musically critical 250 to 1500‐Hz range. Electronic aids are risky if attention is not given to the need to assure multiple signal paths. [Work supported by NSF.]
Paper version not known (
Free)
Published Version
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call