The author is steadfast in his approach to the problems, not by confirming subjective perceptions (in equally subjective wording) but by converging physics, facts and surprisingly simple remedies in a powerful way, supported by the purposely sober layout of the book. For example: turning down the PA volume in spite of the general excitement rising both on and off stage. One of the best gigs I ever saw and heard was an open air performance by The Cure at the end of a day’s worth of extremely loud (but not necessarily bad) bands. The Cure had brought their own sound technicians who straight off turned the overall PA volume down by at least two thirds compared to earlier that day. And it worked — the crowd despite Simon Gallup’s thundering bass guitar came towards the stage rather than fleeing from it.
 
If you recognize the above and have an interest in optimizing room, hall, studio, or even open-air acoustics aiming to give performers on stage the best tool to capture their audience, then Acoustics in Performance is for you. What appears to be a book serving a niche audience in fact has much wider appeal thanks to the succesful convergence of so many disciplines including you can learn from the book: being able to formulate your perceptions in terms of acoustics.
 

Acoustics in Performance
Richard A. Honeycutt
Elektor International Media BV
ISBN: 978-1-907920-64-6
124 pages, soft bound
SKU 18334 on www.elektor.com
Available in week 6 (5-11 February), pre-ordering available at the time of review.