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The Real Room Curve: Its Special Application in Theatrical Sound Reinforcement

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Having been involved in theatrical reinforcement for several years, in the late seventies we were working closely with the John F. Kennedy Center in Washington, DC. We established a goal back then to try to determine why reinforced sound in the theatre was consistently so awful. During the course of making frequency response measurements of the sound system in the Opera House, we had an idea. What, we wondered, did the room itself do to a sound emanating from the stage?

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