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ACOUSTICS 107
of the room. Just what ratio, no one seemed to know certainly. Sabine quotes several different recommendations. Modern opinion regards such a ratio as immaterial unless, of course, the dimensions be carried to an absurd extreme, as in a very long and narrow chamber.
The question of size must be determined principally by the purpose for which the room is to be used and not by considerations of space available or seating capacity desired. True, modern amplifying practice makes it possible to use a very large auditorium for speaking, but the present discussion is limited to the consideration of natural features and characteristics. The degree to which amplification can be relied on to enable the use of large auditoriums depends, of course, on the degree of excellence of the equipment used. The best modern apparatus is capable of meeting very exacting requirements in this respect.
Generally speaking, a theatre should be moderate in size, although an auditorium for musical programmes, such as orchestral or choral performances, may be much larger. Such performances, however, usually include several vocal solo numbers, and the introduction of the voice rather limits the size of the room. Experience with existing auditoriums therefore leads to an empirical rule connecting the volume of the room with the maximum number of orchestral instruments suitable. No distinction is here made between wind and string instruments, which are supposed to be present in balanced quantity.
In case the orchestra is reinforced by the organ, due allowance must be made. The new music room at the Library of Congress is an instance in point. Its volume is about 100,000 cubic feet. At the opening concert there was employed an orchestra of twenty-six pieces, which, with the organ, produced an excessive reverberation, perceptibly spoiling the effect of sudden pauses after a loud