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Dec 1986

Volume 80, Issue S1, pp. S1-S128

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back to top Session A. Architectural Acoustics I and Musical Acoustics I: Acoustical Evaluation of Halls for the Performing Arts, Part 1
Invited Papers
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Segerstrom Hall—A review of concept, design process, and results (A)

A. Harold Marshall

J. Acoust. Soc. Am. Volume 80, Issue S1, pp. S1-S1 (1986); (1 page)

Online Publication Date: 13 Aug 2005

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The recently opened Segerstrom Hall in Orange County, California is a 3000‐seat directed reflection sequence (DRS) hall that responds in a unique asymmetrical way to the competing demands for theater and symphony. This paper reviews the origins of this concept, the design process by which it was realized, and the model study at 1:10 scale carried out in New Zealand. Comparisons between modeled results and final results in the hall will be presented.
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Segerstrom Hall—Evaluation of measurements and design details (A)

Jerald R. Hyde

J. Acoust. Soc. Am. Volume 80, Issue S1, pp. S2-S2 (1986); (1 page)

Online Publication Date: 13 Aug 2005

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The design of a large multipurpose performing space contrasts the well‐known criteria of theater against the acoustical requirements for symphony and other presentations. With a fan shape of extreme width the only solution for 3000 seats, unique yet workable design solutions are required. The criteria for all uses can push against each other in ways which derive opportunities out of what first might be seen as obstacles. Segerstrom Hall is presented as an example of this creative process. The objective measurement results including early decay time (EDT), sound strength versus position, lateral energy fractions, and early‐to‐late energy ratios will be discussed as they relate to model study results and finally to the subjective experience of the hall itself. Details will be given of test procedures, performance mode variations of the shell and reflector design, and the acoustical curtain system.
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The rest of the Orange County Performing Arts Center (A)

Dennis A. Paoletti

J. Acoust. Soc. Am. Volume 80, Issue S1, pp. S2-S2 (1986); (1 page)

Online Publication Date: 13 Aug 2005

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Considerable attention has been devoted in recent years at various technical meetings, including the 112th ASA Meeting, to the room acoustics design of the main theater of the Orange County Performing Arts Center in Costa Mesa, CA. In addition to the 3000‐seat multi‐use hall, there are four rehearsal spaces and numerous support facilities. This complex project has required a very large and thorough consulting effort in terms of sound isolation and mechanical‐systems noise and vibration control in addition to room acoustics design. This paper will discuss the overall building complex, details of specific support facilities, and many interesting aspects of the consulting process that have made this project unique.
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Design criteria for acoustical excellence of auditoriums (A)

Paul S. Veneklasen

J. Acoust. Soc. Am. Volume 80, Issue S1, pp. S2-S2 (1986); (1 page)

Online Publication Date: 13 Aug 2005

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Based on a 25‐year series of highly successful auditoriums, for which the designs drew upon a long background of musical participation and acoustical laboratory research, a summary of guidelines and quantitative achievement criteria is presented. In this paper acoustical factors are extracted from total functional requirements while recognizing that there is extensive interplay. Features are concerned with performers as well as audience. The role of laboratory modeling is stressed. The guidance role of auditorium synthesis over the years is also stressed. Adequate full‐scale verification is compared with current rating schemes.
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Critique of certain concert‐hall design criteria (A)

A. H. Benade

J. Acoust. Soc. Am. Volume 80, Issue S1, pp. S2-S2 (1986); (1 page)

Online Publication Date: 13 Aug 2005

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Current concert‐hall designs are often seriously unsatisfactory for performers and musically experienced listeners, who tend to pay more attention to the music itself than to the “ambiance” of a hall. Formal experiments dovetail with practical experience to support the idea that the auditory system uses early reflections to compile information on tone, pitch, spatial, and temporal location (as well as loudness) via an extension of the precedence effect. This suggests that the “early reflection” criteria with 60 < t < 80 ms, which were originally proposed before Haas, should be based on t < 30 ms for at least a handful of early reflections to assure a good sampling of (among other things) the radiation patterns of the instruments. Data abound showing poor instrumental recognition when stimuli are recorded under anechoic conditions that give the listener only what the instrument happens to radiate in the direction of the microphone. However, source/listener motions and/or a few close‐in reflectors (with or without instrumental onsets and decays) restore recognizability to recorded sounds. This is consistent with experiments that compare perception of carphone‐presented stimuli with those arising from the statistical sound field of a room. Outlines of such experiments and of practical examples will illustrate and support the views described, and suggest the insecure basis of hall designs guided by undefined “listener preference” data obtained with variously processed versions of music recorded in an anechoic chamber. [Work supported by NSF.]
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