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May 1987

Volume 81, Issue S1, pp. S1-S100

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back to top Session Y. Musical Acoustics II, Architectural Acoustics IV, and Shock and Vibration II: Distinguished Lecture on Early Lateral Reflection in Modern Concert Halls
Invited Paper
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Early lateral reflections in modern concert halls (A)

Lothar Cremer

J. Acoust. Soc. Am. Volume 81, Issue S1, pp. S52-S52 (1987); (1 page)

Online Publication Date: 13 Aug 2005

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It is agreed that part of the acoustical qualities of the “shoe box” halls of the 19th century results from their nearly parallel sidewalls and from “cue ball” reflections below the soffits of their balconies. This arrangement conflicts with the enlargement of the stage and audience capacity and with the modern expectation of comfortable seating and full view of the stage from each location. Three possibilities for overcoming these difficulties, based on the author's recent consulting work, are discussed: (a) Placement of a large part of the audience behind the stage but not lateral to it (Madrid. under construction). This solution is unsatisfactory for visual performances; (b) providing strong early reflections from proscenium towers which focus the sound in the vertical plane but diffuse it in the horizontal. This solution, proved by echograms, can be used in even a very broad (26‐m) stage, such as the Salle Apollon, Nice, opened in 1985. Subdivision of the audience by “vineyard” steps produces early lateral reflections; (c) the use of vineyard steps, allowing an optimal and simple “trapezium terrace” system (Las Palmas, Gran Canaria, planned). Here, the visually preferred diverging fan‐shaped plan is compensated acoustically by the converging steps of the trapezium terraces, which could easily be inclined so that they provide early lateral reflections to the middle of the terraces. The limits of this geometrical behavior are quantitatively investigated according to Fresnel's formula. The more diffuse reflections at lower frequencies are profitable for the late reverberant sound.
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