The normal procedure in acoustical designs usually emphasizes audience acceptance. This approach often results in unfavorable acoustical conditions for performing artists, both instrumental and vocal. The imbalance occurs form neglect of the musicians’ need for mutual communication, and too great an emphasis on achieving ’’optimum’’ reverberation conditions. There have been notable examples of halls meeting accepted reverberation criteria which have nevertheless proved to be unsatisfactory, and many of these gave trouble because of performance difficulties as transmitted to the audience. Conversely, reverberation conditions can differ considerably from the norm, and still provide a satisfactory hall if the stage is properly designed. Study of a variety of halls strongly suggest that an essential requirement for music is that conditions should be suitable for performers. Architectural designs that provide ample sound reflecting and diffusing structures on stage to enable artists to hear each other well, blend the sound, and achieve favorable ’’local reverberation’’ are usually judged to be excellent by both performers and audience. This essential result can be achieved even in rooms which depart appreciably from standard reverberation time criteria.