D-Cube Link Arts Center Musical · Opera
D-Cube Link Arts Center seat view and sound experience
Sound experience
About the sound
Strings, woodwinds and brass together · Direction and distance change with your seat.
Direct sound is combined with early reflections and reverberation. Their proportions change with the seat. This is a synthesis based on assumptions, not a recording of the actual hall.
Acoustic sources and model scope
Ensemble listening estimates direct sound from five equally loud representative instruments plus early and late reflected energy. It does not trace individual wall reflections or measure sound on site. Playback uses the same energy model, but the samples' instrumentation and volume differ from the equal-strength scoring assumption. Changing a sample does not change the recommendation criteria.
- Reverberation time used
- 2.0s Shared assumption without venue measurements
- Room volume used
- 16,042m³ Assumed from the 3D shell (bounded to 8–13 m³ per seat) · actual volume unconfirmed
We also check score variation under nine assumptions: reverberation time ±0.4 seconds and volume ±20%. Balcony obstruction, reflector placement, and instrument directivity are not included. Scores cannot rank sound quality across venues.
Acoustic method and limitationsModel calculations from the selected seat to the reference point. A larger angular size means the person appears larger.
A/B score comparison
- Estimated acoustics · Ensemble listening
- 99pts
- View · Balanced
- 80pts
Lowest component: Instrument delivery balance, 96 pts. Weaker components influence the combined score; scenarios range from 80 to 99 pts.
Scores rise when all three criteria are met together. Weights indicate importance; weaker components have more influence on the combined score.
Ensemble estimate: 80–99 pts
These are nine calculations with different assumed reverberation times and room volumes. Actual quality is not guaranteed to fall within this range, and a few points do not establish which seat is better.
- Clarity–reverberation ratio (C80)
- -0.3 dB
- Sound strength (G)
- 4.8 dB
These values come from a statistical model, not measurements. C80 is assessed against a chosen balance range rather than rewarding higher values; G is assessed for sufficient strength. View calculation criteria
- Estimated acoustics · Ensemble listening
- 97pts
- View · Balanced
- 77pts
Lowest component: Sound energy adequacy, 93 pts. Weaker components influence the combined score; scenarios range from 73 to 99 pts.
Scores rise when all three criteria are met together. Weights indicate importance; weaker components have more influence on the combined score.
Ensemble estimate: 73–99 pts
These are nine calculations with different assumed reverberation times and room volumes. Actual quality is not guaranteed to fall within this range, and a few points do not establish which seat is better.
- Clarity–reverberation ratio (C80)
- -0.7 dB
- Sound strength (G)
- 3.8 dB
These values come from a statistical model, not measurements. C80 is assessed against a chosen balance range rather than rewarding higher values; G is assessed for sufficient strength. View calculation criteria
Ensemble listening uses assumed direct sound, early reflections, and late reverberation. Direct-sound preference is distance-based; view scores use distance, overview, and alignment. Reflectors, balcony obstruction, and instrument directivity are not modeled, so rear-seat acoustics may also be overestimated. How to read the scores
Comparing seats at D-Cube Link Arts Center
Compare stage views and strings, bass or full orchestra sound in A/B. Ensemble listening scores are acoustic model estimates, not on-site measurements. Sections, rows and seat numbers follow the official seating chart. Orchestra-pit seats (OP section) and the wheelchair spaces in row 20 of 1F sections A and C are not included.
How this experience was built
What sources confirm — From the theater drawings (2012, CAD) that the operator publishes for rental clients, we read the positions of all 680 chairs on 1F from the stage floor plan and all 510 chairs on 2F from the rigging plan, and from the same set’s stage section (a longitudinal cut along the center axis) every row’s floor height (1F, 20 rows: 0→2.05 m; 2F, 12 rows: 5.45→11.92 m). Seats per section and row, and the seat numbers, all match the operator’s seating chart (2023). The 15.5 × 11 m proscenium, the stage floor 1 m above the auditorium floor and the 2F balcony front (0.62 m wall, handrail at 1.16 m) come from the official drawings and stage information sheet.
What remains estimated — The drawings date from 2012, so later changes are possible (seat counts and numbers match the 2023 chart). The section cuts only the center axis, so sections A and C use the same row heights by row number, and the 2F balcony front applies that section’s wall and handrail heights to the side sections as an approximation. The stage front (the pit wall) is really an arc that bulges toward the audience (2.4 m from the proscenium line at the center, 1.3 m at the side walls), but the scene draws it as one straight 15.5 m edge placed where the arc passes in front of the side sections’ first row (1.92 m). The stage edge therefore looks 0.3–0.5 m farther than it is from 1F section B row 1 and up to 0.3 m closer from row 1 of sections A and C. The 0.56 m wall in front of 2F row 9 (at the cross aisle) is not drawn. The 30 orchestra-pit seats and the 14 wheelchair spaces in row 20 of 1F sections A and C are not included. Walls, ceiling and acoustics are modeled.
Views are calculated using a 1.75 m figure, your chosen eye height and seat coordinates. Actual obstructions from people, railings or equipment and show-specific layouts may not be represented. Orchestral sound combines direction, distance and assumed early reflections and reverberation. It does not use responses measured in the actual hall. Scores indicate preference fit; actual obstructions, sound quality and price are not yet included.
Orchestral audio: original samples made from VSCO 2 CE recordings (Versilian Studios, CC0). Band and game sounds are synthesized. Crowd audio uses Sandermotions’ CC0 recordings, not recordings from this venue.