Theatre Design & Technology - Feb 1966 - 21

F. Simplify the problems of microphone location,
mixer adjustment and audio control in outdoor situations and field houses where sound reinforcement
is necessary.
In the traditional bulk-density approach to shell
design, parameter D, (containment) is emphasized at
the expense of the others.
It was our analysis of the problem that parameters
A and B, balance and blend, were vital to orchestral
quality and that shells should be designed to control
the energy output of the various sections of the
orchestra even if it meant losing a slight amount
of total avai lable sound energy.
Based on discussions with musicians and our own
investigations we ascertained the importance of
including the following criteria in our shell designs:

1) Balance the orchestra at the source of sound.
2) Provide selective reflection of the various
orchestral choi rs.
3) Assure projection and even distribution of
balanced and blended sound into the listening area.

By "sound source balance" we mean blending and
balancing the sound before it leaves the performing area. This can be done by using such
dispersing surfaces as multi-faceted planes and
polycylindrical columns in a tunable shell (i.e. one
with ceilings that float within the perimeter of the
standi ng wall s ). Such a des ign reduces the di rectional characteristics of individual instruments,
and produces an ensemble sound in both the performing area and the hall.
"Sound source balance" simplifies the problem of
auditorium design by eliminating use of the hall's
ceiling and walls to balance the orchestra. It
must be stressed, however, that these surfaces
still play an important part in terms of other musical
acou sti c parameters.
The term "selective reflection" describes the heart
of our acoustical system. It is the result of placing
a completely adjustable shell close enough to the
performers to insure control over each section of
the orchestra. Adjustable ceiling panels and openings placed at carefully-selected locations regulate
the sound level from high energy sections (tympani

Pigure 1:
Adjustable multi·foceted ceilings allow maximum flexibility in establishing optimum sound
distribution patterns. Note that sound is reflected bock to the musicians and out to the listening orea
via the stage floor.

Balcony

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Feoruary 1966

21



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1966

Contents
Theatre Design & Technology - Feb 1966 - 1
Theatre Design & Technology - Feb 1966 - 2
Theatre Design & Technology - Feb 1966 - 3
Theatre Design & Technology - Feb 1966 - Contents
Theatre Design & Technology - Feb 1966 - 5
Theatre Design & Technology - Feb 1966 - 6
Theatre Design & Technology - Feb 1966 - 7
Theatre Design & Technology - Feb 1966 - 8
Theatre Design & Technology - Feb 1966 - 9
Theatre Design & Technology - Feb 1966 - 10
Theatre Design & Technology - Feb 1966 - 11
Theatre Design & Technology - Feb 1966 - 12
Theatre Design & Technology - Feb 1966 - 13
Theatre Design & Technology - Feb 1966 - 14
Theatre Design & Technology - Feb 1966 - 15
Theatre Design & Technology - Feb 1966 - 16
Theatre Design & Technology - Feb 1966 - 17
Theatre Design & Technology - Feb 1966 - 18
Theatre Design & Technology - Feb 1966 - 19
Theatre Design & Technology - Feb 1966 - 20
Theatre Design & Technology - Feb 1966 - 21
Theatre Design & Technology - Feb 1966 - 22
Theatre Design & Technology - Feb 1966 - 23
Theatre Design & Technology - Feb 1966 - 24
Theatre Design & Technology - Feb 1966 - 25
Theatre Design & Technology - Feb 1966 - 26
Theatre Design & Technology - Feb 1966 - 27
Theatre Design & Technology - Feb 1966 - 28
Theatre Design & Technology - Feb 1966 - 29
Theatre Design & Technology - Feb 1966 - 30
Theatre Design & Technology - Feb 1966 - 31
Theatre Design & Technology - Feb 1966 - 32
Theatre Design & Technology - Feb 1966 - 33
Theatre Design & Technology - Feb 1966 - 34
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Theatre Design & Technology - Feb 1966 - 36
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