88 Starwood Rd. Nepean On, K2G 1Z5
The configuration of the performers for most orchestras results in their instruments being directed towards the conductor and not the audience. Hence, the sound for some instruments on either side of the conductor, such as the cellos and the 2nd violins, is lost on the opposite wall of the stage. The sound of an orchestra could be improved by repositioning the members so that the sound from their instruments is directed towards the audience. The direct sound from an instrument is louder and of a higher quality than that reflected from the walls, which is delayed, muddled, weaker and unbalanced. A wall can also absorb the higher frequencies. The first violins and some brass are well positioned as their instruments are generally directed towards the balconies. However, the 2nd violins and violas need to be repositioned more to the left of the conductor so their instruments face the audience. The cellos can then be positioned to the right and front of the conductor. The double bass could move in closer on the right side of the conductor and the bass drum and timpani could be positioned beside the double bass to balance the orchestra or by the brass. Most of the members of the orchestra will now be on the left side of the stage so the conductor could be somewhat to the right of the stage for better visibility of all members (see sketch). However, this configuration is only a suggestion and others might be explored and tested.
A method to test the directivity of the various instruments of an orchestra is to measure it with some audio instruments. A simple way to accomplish this is to setup two directional microphones about a third of the way back from the stage and in the middle of each half of the hall. The sound from each microphone should go to a recording system with meters and to each side of some headphones. Calibrate the recording equipment with a single "omni" directional speaker in the centre of the stage so that the sound is the same level in both channels. It should also appear to come from the centre of the stage when wearing headphones. Starting with the present configuration of the orchestra as a reference, have each group play, in turn, sustained low, middle and high notes so that the levels on the meters can be determined and recorded. Then by trial and error have the members for each group shuffle about so that their instruments point towards the center of the opera and the sound level is approximately the same (within a few dB) in both meters. Similar levels in both meters will result in well-blended high quality sound throughout the hall during a performance. Record the position of the members for each test. The sound should then appear to come from the centre of the stage when using the headphones. Repeat the process for the other groups. Merge the orchestra back together in a configuration that produces a balanced sound and is suitable for visual contact with the conductor. Check the balance and directivity of the full orchestra by again playing sustained notes and with some music that has separate movements for each group of instruments. Compare the output (balance) with that of the original position of the members. Some compromise will be necessary in order that the musicians can also see the conductor and their instruments can "see" the audience. Note music stands and chairs may have to be staggered and some of the horn players may need to be on risers or stand and have reflectors (oboe and clarinet) in order to clear obstructions. Document the tests and the results for later analysis and study. Rehearsals might also be recorded so that the blend and balance of the music can be checked. The new configuration should increase the sound level several dB and the sound will be direct, well blended, balanced and of high quality. Amplified sound should only be used as a last resort to increase the level of sound in a hall because such sound will muddled the original sound.
Some concert halls are very wide such as the Roy Tompson hall in Toronto and the Opera at the NAC in Ottawa. The directivity and clustering of some instruments results in an uneven distribution and hence unbalanced sound in such wide halls. A better distribution of the sound can be obtained by members of each group of the orchestra splitting into two clusters. Each cluster would play towards its closest half of the hall. This would provide a significantly improved balance and blend of sound throughout these wide halls.
Any comments, concerns or results of
tests would be appreciated, thanks. Updated April 4, 2000. You are
the visitor.
