By Mark Holden
Using the studies of a world-renowned acoustician celebrated for the winning layout of multi-use appearing arts facilities, Acoustics of Multi-Use acting Arts facilities examines the complexities of this venue and discusses the demanding situations and ideas that come up within the thought, layout, building and commissioning phases.
This booklet addresses some of the programming wishes of a multi-use acting arts heart (needs which can diversity from symphony, opera and ballet to highly-amplified concert events and Broadway productions) and gives guideline from the making plans of the preliminary inspiration to the ultimate tuning stages.
While assuming a simple knowing of the principals of sound, development and function, the writer contains architectural drawings interested in scale and provides case reviews with in-depth dialogue of undocumented halls. He additionally offers a whole bankruptcy on tuning multi-use halls and provides an within examine layout innovations for adjustable acoustics that come with level, pit and corridor layout.
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Additional resources for Acoustics of Multi-Use Performing Arts Centers
Than about 200 Hz add little to the impression of clarity. This means that lighter-weight reflectors made of thin materials such as glass, plywood, honeycomb, resin, or composites can be effectively used to achieve clarity in a hall. Using lighter-weight reflectors can represent huge cost savings in multi-use hall designs. Side reflections also enhance spaciousness and source width and provide a sense of envelopment. When reflections come from behind the listener, they tend not to enhance clarity but do help with the sense of envelopment.
In the best-case scenario, the acoustician is engaged before the rest of the design team and has a hand in influencing the selection of the design architect. In this scenario, it is assured that the lead designer will engage the acoustician in a meaningful way. Individual groups acting independently, or within silos, often exist on a multidisciplinary design team. The success of the hall depends upon close collaboration and the removal of these silos. Acousticians; theater consultants; architects; interior designers; contractors; and structural, electrical, and mechanical engineers must form one cohesive and respectful team in order to achieve success.
1 m) minimum. (F) Apron 4–6 ft. 8 m) and a pit lift/stage extension of 9 ft. 7 m) to 26 ft. (8 m), depending on shell configuration (Chapter 10). (H) Throat walls. See Chapter 12 for details on this area. 6 Wagner Noël PAC, Midland, TX, 2009. Programming the stage area. (A) Area for chorus of up to 150 seated. (B) Main area for orchestra of up to 100 musicians that will extend into forestage area C. (D) Proscenium height 30–35 ft. 6 m). (E) Shell towers typically 30 ft. 1 m) tall. (F) Forestage reflectors, fixed or movable from 30 to 40 ft.
Acoustics of Multi-Use Performing Arts Centers by Mark Holden