Theatre Design & Technology - Feb 1966 - 22

.--........" ,

and brass choir) and prevent them from masking low
energy sections (the strings). As a result, the
conductor is able to control the full dynamic range
of the orchestra, and to produce tonal nuances which
might previously have eluded him.

70

1

Figures 2 and 3 show that the selective reflection
acoustic shell produces an extremely even di stribution of sound. Moreover, tests have suggested that
the shell helps counteract many distribution problems created by the architecture of the hall.
At this juncture, the question must be posed, has
the application of these principles met with acceptance?

60

I

orchestras

were

asked

to

q

~ ~, ~_:r

"'.

55

--'

\ .- - -'
'

_

'-+-,-,-;-~----'-----+-----'--+-f-+--+-:------+~---:-=-----t-
-~.-

I

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;-+-+-'-+-+-l--c:,-----+--j---:--+-I+-I-t+i:-----~
,

I

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I

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o

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o
o

o

o

o

g

o

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75

70

65

,

60

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FREQUENCY

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Figure 2:

Campara ive
Brown

sound

levels

nine

materials

(and

various

hroughout

the

musical

Theatre, Louisville, Kentucky.

combinations

thereof) used in the construction of portoble shells,
plywood

and

canvas

were

used

most

extensively

and ...:ith varying effectiveness rated from exceHent

to "better than norhing". Noteworthy was the fact
that all fibreglass shells were rated as excellent
with nothing but superlative comments made about

them.

22

IUSITT

0
0
0

"
... '"

SECOND

of the shell by the orchestra. It was found that of
the

....

----1---

participate

forty-six reported tho
they were using shells and
he requested data. A compilation was made
of the doto which included information on the 5i ze,
material, cost and evaluation of the effectiveness

----;

--r-

In the survey. Of the one hundred replies received,

riled

'

_1_'-~

,

--~-~'\.

I

I

The American Symphony Orchestra League recently
conducted a survey with the cooperation of member
orchestras to determine the extent of use by symphonies of demountable concert enclosures, to
categorize the design and construction of these
enclosures, and to obtain evaluations of the shells
by individual symphonies. A final report was released last year (League Memo No. 320). Mr. Danard
Cook wrote in the May-June NEWSLETTER of the
American Symphony Orchestra League:
member

,. . ,!.;

J

1--,---,--+'-+'--t'-,-_W_I_T_H--+_B_A_RrE_.,-S_T.,-G+--:-V+-,--_~\\~ -_~ ~ ~I~

After five years experience with more than thirtyfive concert installations, I am convinced that the
value of "selective reflection" as applied to orchestral sound has been consi stently substantiated
by electronic and subjective evaluation. The reaction of knowledgeable people in the music community has been beyond expectations. The designs have
been effective in locations ranging from the small
twelve-hundred-seat
auditorium
at the Corning
Glass Center to the thirteen-thousand-seat Civic
Arena in Pittsburgh.

All

-t--

1-+--t-''i-H+------L---I--'--+-+-O-I1r+-r'->... ::,......- r
65

Whenever possible, each section of the orchestra
is placed directly beneath an adjustable doublefaced panel in the ceiling of the shell. As shown
in Figure 1, this permits a port of the sound to be
reflected to the musicians, enabling them to hear
themselves and each other.

,--;

l
I-+-+...;r----+-l:>-I"/'-----.__-+',.-=.-"'I-::-+--t-t-f"'+<:l::l~ "

I

Distribution of musical sound is extremely difficult to forecast solely by analysis and calculation.
An impartant feature of our design is the ability to
tune the shell with the orchestra in place, simply
by changing the sound distribution pattern of the
shell to suit the characteristics of the hall.

~·_----,--·--II--I--I
~-c-

I-H·-+-+++-----f----+I--'---·,H--.
I-+--+---HI-++-----:;;~-+-.,-""""::t-+~-_.

THEATRE DESIGN AND TECHNOl[X;Y

frequenc)

J
ran;le.

G
C



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
Theatre Design & Technology - Feb 1966 - 35
Theatre Design & Technology - Feb 1966 - 36
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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