Acoustics of Multi-Use Performing Arts Centers by Mark Holden

By Mark Holden

Applying the reviews of a world-renowned acoustician celebrated for the profitable layout of multi-use acting arts facilities, Acoustics of Multi-Use acting Arts facilities examines the complexities of this venue and discusses the demanding situations and options that come up within the notion, layout, building and commissioning phases.

This booklet addresses some of the programming wishes of a multi-use appearing arts heart (needs which may variety from symphony, opera and ballet to highly-amplified concert events and Broadway productions) and offers guideline from the making plans of the preliminary notion to the ultimate tuning stages.

While assuming a simple knowing of the principals of sound, development and function, the writer comprises architectural drawings interested in scale and provides case reports with in-depth dialogue of undocumented halls. He additionally presents a whole bankruptcy on tuning multi-use halls and gives an inside of examine layout thoughts for adjustable acoustics that come with level, pit and corridor layout.

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I liken this to a recipe for soup. Many ingredients are needed, but high-frequency diffusion or the texture of a surface takes on the role of salt in soup. It makes it taste better, but other ingredients including mid- and low-frequency diffusion are also necessary in the recipe. Without salt, the soup will be less satisfying but will still be soup. 6). 5 Alice Tully Hall, New York, NY, renovated 2009. High-frequency diffusion cones. (A) Height of cone and base diameter varies. (B) Constant spacing between cones.

3 Globe-News Center, Amarillo, TX, 2006. A CATT digital model used for study of early (0–30 ms), mid (30–80 ms), and late reflections (80 ms and higher) from hall surfaces. Distinct reflections 90 ms after the original sound are destructive reflections. 24 ◾ Acoustics of Multi-Use Performing Arts Centers For specular (image-preserving) reflections from flat surfaces, delays of more than 80 milli­ seconds can cause perception of a distinct echo. This delay corresponds to sound path length differences greater than about 80 ft.

Everyone in the business of hall design must have strong self-confidence in order to make their case during design meetings. However, an exaggerated ego can shut down the collaboration that is necessary for great buildings and great acoustics. It is important to be a good listener and a clear communicator. Fear of losing control can also halt the open communication of ideas. The mentality of “my way or the highway” does not make for great collaboration. The stakes are very high. Reputations and prestige are on the line, as are millions of dollars.

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