On the Sequence of Unmasked Reflections in Shoebox Concert Halls

Abstract

Highly appreciated concert halls have their own acoustic signature. These signatures may not often be consciously appraised by general audiences, but they have a significant impact on the appreciation of the hall. Previous research indicates that two of the most important defining elements of a hall’s acoustic signature are (i) the reflection sequence and relative reflection levels at the listener position and (ii) the perceptibility of the reflections based on perception thresholds. Early research from Sir Harold Marshall identified the importance of unmasked early reflections to enhance a concert hall’s acoustic signature. The authors see an opportunity to extend the existing research by further examining the sequence of unmasked reflections. By analysing the cross-sections of three concert halls, this manuscript quantifies potential links between a hall’s architectural form, the resultant skeletal reflections, and the properties of its acoustic signature. While doing so, the manuscript identifies potential masking reflections through visual and analytical assessment of a hall’s skeletal reflections. It is hypothesized that the “rhythm” of the reflection sequence could hold key insights into the hall’s “personality” and acoustic signature. If so, this could present new design tools and considerations for new concert halls and the diagnosis of underperformance in existing halls.