Modern acoustic measurements on Canadian stages

Abstract

The purpose of this study was to add to the database of stage acoustics measurements proposed by Gade (1989) and Naylor (1988). Some of the results are shown. A fundamental conflict in stage acoustics is the performer's need to hear both herself and her colleagues. In a hall where an orchestra was provided with significant control of the stage acoustics, the authors measurements indicate that these conflicting requirements were superseded by the listener's desire for greater reverberance