Where not to install a reverberation enhancement system

Abstract

For hundreds (perhaps thousands) of years venues for live performance emphasized communication—the transfer of speech or musical information from performers to listeners—as paramount to success. The Greeks could perform drama to 15,000 listeners without microphones, and halls used by Haydn, Mozart, and Beethoven were small and dry. Wagner built a fan-shaped opera hall with an absorbent stage, a covered pit, and no lateral reflections. It is still considered perhaps the best in the world. Sabine and others made lecture and Vaudeville halls that worked. But in the 20th century suddenly early reflections were essential, and long reverberation times desirable. Wood stages and lateral reflections were mandatory. These ideas linger on. In this talk we share our experiences of often misguided attempts to improve sound in venues of all types. The lessons we learned from a few perceptive musicians and artists have changed our approach to acoustics. Attention is the key, not reverberation. Reverberation can be lovely if it enhances a listening experience, but it must not muddle the performance. There are ways to get it right, but doing so requires the right system, careful adjustment, and close attention to the natural acoustics of the venue.