Concertgoers have long complained about the acoustics at Toronto’s Rogers Centre, with many recently taking to social media to express their frustrations over poor sound quality at one of Toronto’s iconic venues.
Despite its prominence as a major venue for concerts, the acoustics of this iconic dome have consistently drawn criticism from attendees who say sound distortion and echoes distract from their overall experience.
“Rogers Centre was never built for concerts. It’s always been brutal for the stadium concerts from day one,” a Reddit user commented.
“It sounded horrendous; guitar solos were swallowed up by echoes,” another user said.
Anyone else think the sound at Rogers Centre for Metallica is brutal?
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SOUND CHALLENGES DUE TO MULTI-PURPOSE DESIGN
Finlay Braithwaite, an audio expert and assistant professor at Toronto Metropolitan University (TMU) of media production, explains that the acoustic challenges at Rogers Centre stem from the venue’s multi-purpose design.
“It’s a facility built for many things, from WrestleMania to baseball to big trade shows,” Braithwaite told Now Toronto on Monday. “It’s a jack of all trades, master of none.”
One significant factor affecting sound quality is the transient nature of concert setups. Touring acts bring their own sound systems, creating variability from one event to another.
“Companies bring in their own sound systems into the space, leading to highly variable experiences. Where, if you were to go to something like HISTORY or Massey Hall, they’re known for their acoustics, and they’re also known for the sound system in that space.”
Braithwaite adds that the enclosed, dome-shaped structure itself further complicates the acoustics.
“Indoor spaces provide challenges,” he explained. “You have the sound system, which gives you the direct sound from the performer to you as the audience member, but every single surface, to varying degrees, reflects sound to you as well. So, you have not only the direct sound, but you have thousands, countless reflections arriving at different times.”
“The longer the path takes, the more delayed it is. And so you start getting this really kind of confused image from not just the loudspeakers, of which there are many, but also all of the reflections in the space.”
Braithwaite explains that opening the dome at the Rogers Centre would also help clarify the sound and not make the echoes bounce.
“If you have no ceiling, if its trajectories are going up, then it just essentially escapes. So, by not having a ceiling, having an open air venue, you’re removing one critical surface from the equation, one less surface for the sound to bounce off of back into the venue,” he said.
Concertgoers online echo Braithwaite’s assessment, sharing experiences of “muddled,” “diffuse,” and “unclear” sound quality, and also how the dome being open will help the sound experience.
“The audio is distorted, muffled, and completely ruins the experience. A major event in one of our city’s biggest venues and this is the best they can deliver? This is incredibly disappointing and frankly embarrassing for a city like Toronto,” another said about a Metallica concert that happened last month.
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“The sound at the Skydome is absolutely terrible. If the roof is open it’s okay but that’s almost never,” another user said.
“Gotta have the roof open, or hope the sound crew understands to turn down the speakers to the left and right of whatever position the stage is,” a user noted.
Dr. David Gauntlett, Canada Research Chair in Creativity at The Creative School in TMU, adds that audience expectations should consider the nature of stadium events.
“It can be disappointing when the sound is really muddy, which can certainly happen in a big arena, especially if you’re at the sides or back. And the Rogers Centre could probably do more to improve that audio,” Gauntlett explained in an email statement to Now Toronto.
“But expectations for a massive stadium event are that you’re going to have an amazing spectacle, and be with so many fans who love the artist that you love. To be surprised that it’s not a hi-fidelity audiophile experience is perhaps missing the point.”
Regarding potential solutions, Braithwaite acknowledges the difficulty and expense involved in significantly improving acoustics.
“It would require a huge investment,” he said. “It would be a lot of acoustic treatment. It would be investing in at least a template or its own sound system, that would go a long way, but I just don’t see that happening, because that would get in the way of baseball, that would get in the way of all the other events and amenities they have in the space.”
WHERE SHOULD YOU SIT FOR THE BEST SOUND?
For attendees seeking better sound quality, Braithwaite advises choosing seats strategically.
“There’s definitely a sweet spot near the centre between loudspeaker arrays,” he noted.
Seats closer to the speakers often provide clearer sound, while distant seats, especially in upper levels, are likely to experience poorer acoustics.
Ultimately, Braithwaite encourages concertgoers to focus on enjoying the collective experience despite acoustic shortcomings.
“You’re going for the experience,” he explained. “As a professor of sound, the sound is an incredibly crucial part. But by the time you’re going to the concert, you’re already invested in so much more than just the sonic fidelity of it.”
“All I would say is, try to give it the benefit of the doubt that people are doing the best. This is kind of maybe the best they can do in this scenario. And just, enjoy.”
