Theatre Design & Technology - Summer 2009 - 30

An Acoustical Response to Good Sightlines
John makes a case for good sightlines from
all the seats in an auditorium. Good sightlines,
according to John, typically need to be steeper
than is found in many halls these days. That
poor sightlines are as commonplace as John
suggests surprises me since good sightlines
are so basic for any form of theatre. There is
something to be said, acoustically, for raked
seating that is not too steep. For music halls
there is a need to enhance diffuse sound reflections from the rear wall surfaces so that
the performers on stage can hear the sound
characteristics of the hall returning to them.
This is especially important for opera singers.
Time-delayed sound energy reflecting from remote surfaces in a hall must be diffuse and not
discrete. diffuse sound reflections contribute
to the smooth sounding reverberant quality of
the hall without creating echoes. Steep raked
seating presents a problem because it keeps

...the acoustical
design
community has
become keenly
aware of the
importance of
designing halls
that reflect
sound, not only
overhead from
the front of a
stage, but also
laterally from
the sides.

2

Figure 2. Lateral sound reflections enhance spatial
envelopment.

28

theatre

design

&

technology

S U M M E R

Acoustical Criteria

While we attempt to provide at least good
acoustics for everyone in front of the stage/
performing area, when we consider the acoustical environment for the performers, especially
musicians and singers, they have somewhat different acoustical needs than the audience. The
performers are typically located in a very different architectural environment (on stage) than
the audience (in the seating area).
It is interesting to note that many music
halls and theatres may seem to have similar
programs, hence the acoustical criteria (and
probably the theatrical criteria also) are somewhat similar. How the architect and design team
employ the building layout and interior design
to meet those criteria and all of the other factors that go into a hall's design is the real challenge that differentiates one hall from another.
Keep in mind that design is often an individual
talent on some projects, whereas, on other
projects it becomes the collective talent of multiple designers, consultants, project conditions,
and other related input.
It is well known experientially that there are a number of
non-acoustic issues that are important when trying to make assessments of sound quality. These include sightlines, acoustics,
lighting, aesthetics, comfort, and individual opinions, as well as

1

Figure 1. Steeply raked audience seating can absorb
much of the sound energy generated on stage.

sound energy from interacting with the walls.
A significant amount of direct sound energy is
absorbed when the first thing it interacts with
is soft, "fuzzy" people and upholstered seats
(see fig. 1).

2009



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2009

Contents
Theatre Design & Technology - Summer 2009 - 1
Theatre Design & Technology - Summer 2009 - 2
Theatre Design & Technology - Summer 2009 - 3
Theatre Design & Technology - Summer 2009 - Contents
Theatre Design & Technology - Summer 2009 - 5
Theatre Design & Technology - Summer 2009 - 6
Theatre Design & Technology - Summer 2009 - 7
Theatre Design & Technology - Summer 2009 - 8
Theatre Design & Technology - Summer 2009 - 9
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Theatre Design & Technology - Summer 2009 - 12
Theatre Design & Technology - Summer 2009 - 13
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Theatre Design & Technology - Summer 2009 - 18
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Theatre Design & Technology - Summer 2009 - 47
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Theatre Design & Technology - Summer 2009 - 84
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com