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6 T. Leishman, S. Rollins, and H. Smith, “An experimental evalua- tion of regular polyhedron loudspeakers as omnidirectional sources of sound,” J. Acoust. Soc. Am. 120, 1411–1422 (2006).
7 J. Pätynen, S. Tervo, and T. Lokki, “A loudspeaker orchestra for concert hall studies,” The Seventh International Conference on Auditorium Acoustics, pp. 45–52, Oslo, Norway (2008).
8 T. Gulsrud, Loudspeaker simulation of a string quartet for in situ listening evaluation,” International Symposium on Room Acoustics, Melbourne, Australia (2010).
9 ASTM C423-02a, Standard Test Method for Sound Absorption and Sound Absorption Coefficients by the Reverberation Room Method (ASTM International, West Conshohocken, PA, 2002).
10 B. Shield, “The Royal Festival Hall: The history of the acoustic design,” Proceedings of the Institute of Acoustics 24, Pt. 4 (2002).
11 J. Bradley, G. Soulodre, and S. Norcross, “Factors Influencing the
Perception of Bass,” J. Acoust. Soc. Am. 101(5) Pt. 2, 3135(A) (1997).
12 N. W. Adelmen-Larsen, E. Thompson, and A. C. Gade, “Suitable reverberation times for halls for rock and pop music,” J. Acoust.
Soc. Am. 127(1), 247–255 (2010).
13 A. Buen. “Can we hear the geometrical measures of a violin?”
Joint Baltic-Nordic Acoustics Meeting, Gothenburg, Sweden
(2006).
14 L. Kirkegaard, T. Gulsrud, and S. McCreery, “Acoustics of the
Concert Hall at the Sydney Opera House. Part Two: The acousti- cian’s perspective,” Proceedings of the International Congress on Acoustics, Sydney, Australia, (2010).
15 L. Taylor and D. Claringbold, “Acoustics of the Concert Hall at the Sydney Opera House. Part One: The client’s perspective,” Proceedings of the International Congress on Acoustics, Sydney, Australia (2010).
When a wise man advised “find a career around what you most enjoy doing,” Larry Kirkegaard listened to the advice and continues to listen—to clients, to performers, and especially to spaces to discover the secrets of great acoustics. He thrives on the collabo- rative challenges of designing wonderful spaces that enhance the joys of listening and performing.
Pursuit of excellence drew Larry to Harvard College as an undergraduate and then to Harvard’s Graduate School of Design for studies in architecture and acoustics. He interned at the acoustics firm Bolt, Beranek, and Newman while completing his MArch degree in 1964. These steps began the journey that has led to working on many of the world’s most notable performing arts facilities and to earning a place among the world’s leading acousticians.
The firm he founded in 1976 embodies the same pursuit of excellence with enthu- siasm, dedication, spirit of collaboration, and extraordinary talent. The firm is privileged to work with passionate clients on extraordinary projects, collaborating with visionary architects, and professional colleagues... All who listened to the same wise career advice!
Tim Gulsrud is a Senior Consultant with Kirkegaard Associates, based in Boulder, Colorado. He received a B.S. in physics from the University of Oregon and a M.S. in physics from the University of Colorado, Boulder. During his work at Kirkegaard Associates he has been involved in several key projects including the Royal Festival Hall in London, the Sydney Opera House Concert Hall, the San Francisco Conservatory of Music, and currently the Studio Towers Renovation Project at Carnegie Hall in New York City. He has research interests in a wide variety of architectural acoustics issues including the use of computer modeling in consulting practice, room acoustics meas- urements, sound source simulation, and auralization. He is also active as a recording engineer and church musician, and was recently appointed Lecturer for the Recording Arts program at the University of Colorado, Denver.
14 Acoustics Today, January 2011