Rooms we were in the room for.
Each of these records its volume, its surface schedule and its measured reverberation. The curves on those pages are computed from those numbers — nothing here is drawn to look convincing.
The Cheyne Room, Ashfield Interchange
A 420-seat recital room eleven metres above a running tunnel. The acoustics were the easy half.
Ellerby House, Farringdon
An open-plan floor held to a lecture room’s reverberation band, and a rooftop plant deck that had to lose 19 dB.
St Everild’s, Wharfeside
A stone nave brought from 4.2 s to 2.48 s without a single visible acoustic panel, and with a bass tail we kept on purpose.
Carrick Building, Lecture Room 2
290 seats, 1,058 m³ and 0.70 s — a raked teaching room designed so the back row hears consonants without a loudspeaker.
Studio Three, Bankfoot Lane
A 621 m³ live room where Sabine and Eyring part company by a fifth of a second — and Eyring is the one telling the truth.
Ropewalk Theatre, Leith
A 900-seat drama house inside a Victorian rope works. One second at mid frequencies, and a bass tail we argued about and lost.
Fenmore Opera House, Norwich
A horseshoe of 1,850 seats in 12,240 m³ — 6.6 m³ a seat, and every one of them deliberate.
Marlow Hall, Tyne Quays
1,800 seats in 17,204 m³, on a strip of reclaimed quay with a freight line forty metres behind the platform.