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| Our Lady of Guadalupe Adoration Chapel in Fargo, ND |
“Music is the universal language of mankind.”
–Henry Wadsworth Longfellow
Proper acoustics are important to consider when building, renovating, or restoring a sacred space and are often forgotten. Long before architectural drawings are sketched or the first brick is laid, we must educate church committees and all professionals involved in a project about potential acoustical challenges and the solutions that can ensure proper amplification and harmony.
Catholic Mass is a celebration during which we spend time with God, and the accompanying singing and music must provide the appropriate solemnity, joy, and spiritual uplift for the occasion. We must be able to clearly hear and understand the songs of praise and the spoken word that remind us that God has a wonderful plan for us, the invitation from the priest to let us acknowledge our sins and ask for mercy, instructions in our faith through the sermon, and the creed through which we proclaim our belief in God before we give ourselves to him. When sound quality is poor, this engagement suffers.
Churches are really multi-purpose spaces meant to bring communities together in many ways, and sound is a key player. From more intimate gatherings and assemblies to impressive celebrations and various liturgies, each area must have the proper acoustics and sound reinforcement to serve its purpose while diminishing unwanted noise. There are a number of things that must be considered to achieve acoustical harmony: church design, size and purpose, too many or too few hard surfaces, source location, and ADA accessibility for handicaps such as hearing loss. Thankfully, existing and innovative surface materials and technology can be used to aid in the throw of voice and song to minimize or maximize reverberances when necessary. For the deaf, there is a need for sign language leaders and electronic hearing device support.
One thing we see quite frequently in older churches is outdated building design that wasn’t intended for the spoken word, song, or musical instruments that involve a complex system of microphones, amplifiers, speakers, and consoles to distribute sound to a large audience. These often-symmetric spaces cause sound waves to cancel each other out and should be avoided in new construction. Deep balconies or irregular recesses can also create odd acoustics. Even the height and pitch of a ceiling and its direction affects the way sound carries and must be designed or renovated with that in mind. (While the vaulted ceilings that we often see in historic churches are beautiful, they can result in considerable echoing if certain tiles aren’t used.) These dilemmas require the careful placement of acoustical wall and ceiling treatments as well as numerous other considerations.
The size of the space also makes a difference in the placement, amount, and type of fabric-wrapped panels used on backwalls and ceilings to absorb sound when necessary. In the sanctuary, the right combination of acoustical treatments and quality sound systems need to be considered for its dimensions. Majestic basilicas and cathedrals will need different acoustical applications than smaller churches or chapels. Soundproofing should also be implemented in smaller, intimate areas like peaceful and contemplative study rooms to avoid disruption.
Excessive hard surfaces like wood or concrete in both old and new construction can cause speech, song, and instruments to reverberate and echo as well, impeding the ability to hear any of them clearly. On the other hand, too many absorbent surfaces result in flat sounds that do not project well. While wall-to-wall carpets are especially bad for song and organ chords and can kill the reverb of certain notes, using carpet runners, pads, and cushioned pews strategically can help balance these opposing issues to provide proper reverberation times for the purpose of the space.
The source location must also be calculated, or where the ambo, presider, lectern, cantor, choir, and instruments are placed. Notes must be able to roll along a surface and, at the end of that voice or instrument expression, encounter either solid or soft material depending on the desired effect. Short reverberations are best for speech clarity and amplification. For music, longer reverberations are necessary. If the sanctuary or stage is too resonant, it will cause muddy sounds or unintelligible speech. Celebrants and choirs should be elevated and face the community to project volume outward and to the back and corners of the worship space (in Catholic worship areas, they should be part of the assembly). A sound system’s speakers should be centrally orientated and directed towards the audience to provide even coverage. Sound is even affected by HVAC systems, but the resulting vibrations can be mitigated with newer systems and proper installation and insulation requirements.
Assistive listening devices should be provided for aging and hearing-impaired congregants to eliminate the risk of alienating them. FM radio frequencies are transmitted from a PA or speaker system or one worn around the pastor’s waist and broadcast to lightweight headphones that accommodate personal hearing aids. This technology can cut out ambient or background noise (babies crying, street noise, talking) and amplify music and the pastor’s message. Some of these systems can also translate language to make Mass accessible to those who need it.
While our worship spaces must be functional and aesthetically and architecturally pleasing as well as liturgically and devotionally correct, acoustics and sound reinforcement are frequently overlooked, at great cost. Finding the correct harmony of acoustical treatments and sound systems for the space and the needs of your parish that are also within budget is possible. Consulting with liturgical designers and their sound professionals can help you diagnose and address these complicated and often contradictory challenges with the best possible acoustic plan to provide an inspiring experience for everyone.
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