The room geometry and surface coverings are selected to provide natural amplification. Hardwood, plaster and even glass are popular choices.
But if the space is to be used for contemporary amplified music, these room reflections are unnecessary and even detrimental. What is usually needed is large amounts of absorption in the space—an idea that is anathema to the classical mindset.
The surface coverings of choice are velour drapes, padded seats, and carpet. The idea is to “kill off’ the room and place full control of the sound in the hands of the mixer operator.
It should come as no surprise that the acoustic advice provided by one “expert” may completely contradict that given by another. It depends on their mindset, and which musical type they are trying to enhance. This power struggle has raged for years, and is probably getting worse rather than better.
We have witnessed the development of the need for the “sound reinforcement acoustician” that understands the acoustical requirements of electronically amplified sound.
Have It Both Ways
One solution is to create a variable acoustic environment. This can be accomplished physically by mechanically changing the surface coverings of the space by installing reversible panels of retracting drapes.
It’s a viable solution, albeit potentially expensive. A more modern approach is to vary the acoustics electronically. This requires a large number of auxiliary loudspeakers that are used to produce the “reflected” sound field. Done properly, these systems can be quite convincing and represent a method of having both a dead and live room that can be selected with the push of a button.
The most important thing to understand is that the room acoustic criteria for contemporary and traditional music are mutually exclusive – one can’t be improved without sacrificing the other. Attempts to reach a “middle ground” can make a space non-optimal for either type of music.
The greatest potential for “having it both ways” lies in properly designed and implemented electronic acoustic enhancement systems. These can often be implemented at a total cost similar to the expensive acoustic treatment required to make a room suitable for only one type of music.
Suppliers of these systems can arrange demonstrations to allow those interested to hear the system in use so that they can judge for themselves if such a system will meet their needs.
The real key to walk into any discussion of acoustic with a basic understanding, and to work with an acoustical professional who seeks to best serve the musical styles offered at your church.