Spatial responsiveness in concert halls and the origins of spatial impression

The story of research into spatial effects in auditoria is an intriguing one. Serious studies only began with the development in the 1950s of simulation systems which reproduced direct sound, early reflections and reverberation in anechoic chambers. The traditional view had been that spatial effects were associated with later reverberation. This paper discusses the early work from the late ‘60s on spatial effects produced by early lateral reflections from the perspective of two early participants. Subsequent work on spatial impression and the importance it has for overall concert hall acoustics are also considered. The current position is that two or more spatial effects may coexist in concert hall listening and that the nature of the performance, from solo to fully scored orchestra, may influence the spatial effects experienced.