Monday, July 06, 2026
The Problem Wasn't the Gear. It was Everything Around It.
Church Production Magazine: Sit on the left side of the room and all you heard was drums. Sit on the right and all you heard was piano. Land somewhere in between and you got both—competing, unblended, bouncing off 880,000 tons of concrete in a 1,600-seat horseshoe that, by any reasonable measure, wasn’t supposed to sound like this.
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One of the things that makes theatrical technology so interesting to me is despite the innovations that allow designs to excel when done right, often it's the techniques that have been around for centuries that matter the most for shows. Venues started to be designed for acoustic properties long before we could even dream of electronically amplified sound. And while technology has come a long way since then the physical properties of the room remain an important consideration. It's interesting to see that in this case acoustics was one of the first things to be cut when the budget got tight but I can understand how it happened. Often when you've worked in a venue where something "just works" for long enough it can be hard to weigh how important the individual components that make it "just work" are. In many venues the acoustic paneling goes in very early and if done right is rarely thought about again.
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