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In a concert hall or theater, we prefer "alive" room, where the sound has fullness.
在音乐厅或剧院里，我们更喜欢“活房间”，即充满声音的房间。
So we need to control the reverberation time.
所以我们要控制好回声时间。
After all, we don't want the listeners or the performers have to struggle, right?
毕竟，我们可不想听众或表演者拼尽全力，对吧？
So what are some important considerations when we design a theater or a concert hall?
所以，在我们设计剧院或音乐厅时，什么是重要的考虑因素？
The size of the place?
地方的大小？
Absolutely. The larger the room, the longer the reverberation time.
对。房间越大，回声时间越长。
So we'll have to take into account what the room will be mainly used for, since music requires more reverberation than speech.
所以我们要考虑房间的主要用途，因为音乐演奏比演讲来说，更需要回声。
A room intended for music needs to be designed differently from a room intended for drama.
音乐演奏的房间设计必须不同于戏剧表演的房间设计。
For music, we need a very large room, a concert hall, actually I should say for full orchestras, because for a single instrument, say something like a piano recital, a room with a short reverberation time is better.
要演奏音乐，我们需要一个很大的房间，一个音乐厅，我应该这么说，能容纳整个管弦乐队的房间，因为只有一种乐器的话，比如一场钢琴独奏会，有较短回声时间的房间更好。
So for a solo piano a smaller room works well. Yes?
所以，对钢琴独奏来说，小房间也不错。嗯？
I read that concert halls designed for symphony orchestras have too much echo for jazz music.
我看到过，一些为交响乐团设计的音乐厅，若演奏爵士乐，会产生过多的回声。
That doesn't surprise me.
我并不惊讶。
Most small jazz groups would need rooms with a shorter reverberation time.
大多数爵士乐团需要回声时间更短的房间。
But besides the size of the room, another variable affecting reverberation is the shape of the room.
除了房间大小以外，另一影响回声的变量是房间形状。
Let's say you design a rectangular box-like space with bare walls and ceiling, this would allow the sound to act like a ball in a racquetball court, you know, bouncing around and hitting some parts of the walls and ceiling but missing many others.
假如你设计了一个长方体的，像盒子一样的空间，里面都是裸墙和裸天花板，这会让声音像壁球场里的球一样，来回反弹，击到墙壁和天花的某些部分，另一些则击不到。
If that happens in a concert hall, audience members may hear some sounds, but not others.
如果这发生在音乐厅里，听众可能只能听到一些声音，别的听不到了。
