Longer Reverberation Times for Low Frequencies

Longer Reverberation for Lows

低频的混响更长

It is a common experience for more distant listeners to music to conclude that it is deficient in bass. This bass problem is a characteristic of the ear since the ear shows progressively greater discrimination against low frequencies as the sound gets softer.

对于更远处的听众来说，常常会认为音乐缺乏低音。这种低音问题实际上是耳朵的特性，因为随着声音变弱，耳朵对低频的辨别能力逐渐增强。

This problem can be partially overcome by designing the auditorium so that its reverberation time for low frequencies is greater than that for high frequencies. This gives a natural-sounding bass boost to sound in the rear of an auditorium. Actually, the longer reverberation time for lows usually happens naturally, particularly if a lot of wood is used in the construction since wood absorbs high frequencies more than lows. However, some construction types selectively absorb low frequencies and are to be avoided in music-making areas. Typical thin wood paneling on studs selectively absorbs low frequencies and thus should be avoided in auditoriums.

这个问题可以通过设计礼堂，使其低频的混响时间大于高频的混响时间来部分解决。这会使得礼堂后方的声音自然地增强低音。实际上，低频的较长混响时间通常会自然发生，特别是当使用大量木材建造时，因为木材吸收高频比低频更有效。然而，某些建筑类型会特意吸收低频，因此在音乐区域应避免使用。典型的薄木板贴在龙骨上会特意吸收低频，因此在礼堂中应避免使用。

Longer Reverberation Time for Lows

低频的混响时间更长

The graph shows a progression to higher reverberation times for low frequencies. It is typical for the reverberation time for low frequencies for a good auditorium to be some 30% higher than the overall average reverberation time. This characteristic helps to deal with the bass loss problem, one of the fundamental problems of auditorium acoustics.

该图显示低频的混响时间较高。对于一个良好的音乐厅来说，低频的混响时间通常比总体平均混响时间高约30%。这一特性有助于解决低音损失问题，这是音乐厅声学中的一个基本问题。

Auditorium Examples

听众示例

The auditoriums cited below are some of the most outstanding in the world, and they show the consistent pattern of having significantly longer reverberation times for low frequencies. The first column is a measurement of the delay time between direct sound and the first reflected sound, which has been associated with a feeling of "presence" or "intimacy" as perceived by the listener.

下面列举的礼堂是世界上一些最突出的礼堂，它们显示出一个一致的模式，即低频段的混响时间显著更长。第一列是直接声与第一反射声之间的时间差测量，这种时间差与听众感知的“存在感”或“亲切感”有关。

Auditorium 礼堂	t1(floor, ms) t1(楼层数, 毫秒)	RT(125Hz)	RT(500 Hz)	RT(2000 Hz)
Symphony Hall, Boston 波士顿交响大厅	15	2.2	1.8	1.7
Orchestra Hall, Chicago 芝加哥交响乐团大厅	40	...	1.3	...
Severance Hall, Cleveland 塞弗兰·霍尔，克利夫兰	20	...	1.7	1.6
Carnegie Hall, New York 卡内基音乐厅，纽约	23	1.8	1.8	1.6
Opera House, San Francisco 旧金山歌剧院	51	...	1.7	...
Arie Crown Theatre, Chicago 芝加哥的阿里·克罗恩剧院	36	2.2	1.7	1.4
Royal Festival Hall, London 伦敦皇家节日大厅	34	1.4	1.5	1.4
Royal Albert Hall, London 伦敦皇家阿尔伯特音乐厅	65	3.4	2.6	2.2
Concertgebouw, Amsterdam 阿姆斯特丹的 Concertgebouw	21	2.2	2.1	1.8
Kennedy Center, Washington 华盛顿肯尼迪中心	...	2.5	2.2	1.9

See also White & White, p375 for table of opera houses and auditoriums.

Reverberation time

混响时间

Longer reverberation time for lows

低频时混响时间更长

参见White & White，第375页，了解歌剧院和礼堂的表格。