Casino Cacophony

As my growing freelance workload continues to limit my S&G time, I’m happy to yield the floor to University of South Carolina journalism professor — and frequent Vegas visitor — Augie Grant, who has another guest contribution to make. I just hope you’ll be able to hear him over the din …

As an occasional visitor to Las Vegas (a few times a year), I appreciate the opportunity to share observations via Stiffs & Georges. During a July visit, a new challenge emerged on the casino floor—noise! Now, I realize that noise in a casino is nothing new. I remember the “old days” when the slot machines paid off in coin that were designed to hit metal pans, making as much noise as possible. The machines made noises, too, but the notes were primarily in the major chords of G, F and C. The noises fit together, giving a unique and exciting sound to the casino floor. (Yes, some casinos were more unique than others—the noise level at the old Sassy Sally’s downtown was the loudest I remember, but I’m sure that a few others could challenge the volume.)

But things have evolved since. The new generation of interactive slot machines still provides the same type of noises during regular game play. But the payoffs and bonus rounds have added a new range of noises that are designed to make the games more exciting. And it works — I’m not normally a slot player, but I was lured by the new Star Trek game that provides a unique progressive round that allows the player to build a fleet that will battle in the bonus round. The video, voices and animation are great, and you even have a volume control so you can hear it (and feel it through the vibrating seat). Yes, it was big fun for about 20 minutes and the bonus round helped me break even. So I cashed out and took my TITO ticket to a nearby video poker machine where I thought the money might last longer.

Now I had the (much quieter) sounds from the video poker and the (louder) sounds of the Star Trek machine about 20 feet away. A few minutes later, someone started playing the Lobstermania game (also about 20 feet away), and the music from that was added to the mix. Then it was the Gone Fishin’ game. Add background music playing in the casino to all of the other noises, and the result was a sometimes unpleasant cacophony.

This problem introduces a new opportunity for acoustic engineers and consultants in casinos. Today, I’m guessing that decisions are made on new games when they are played isolatrd from the other noises of the casino. Then new games are usually introduced in high-traffic areas, where they are much more likely to compete for players’ attention.

New games with strong sound elements are a fact of life in casinos — the level of interaction has proven to be too strong of a lure to players. But too many of these noisy games, like too much of anything, may end up having the opposite effect, chasing players away. In any case, attention to the mixture of sounds will probably become a key element in casino design. Maybe The Cosmopolitan (left) has the solution with its semi-private gaming salons on the main floor. Maybe the extra space the Las Vegas Hilton is adding between machines will help. But there is no question that these noisy, new games will need some extra attention by those designing casino floors.