Late Byzantine church buildings are places of multisensory perception. Their interior space not only serves as a stage for visual experience but also functions as the sounding body of acoustic staging. The focus of this chapter is on human perception and how this is influenced differently by acoustic and visual staging. As an example this case study examines 14 Late Byzantine church buildings containing pictorial illustrations of the Akathistos Hymn. These buildings exhibit different architectural designs, resulting in different soundscapes. Architecture and soundscape are closely linked, which is demonstrated by a brief explanation of how acoustic works. This is followed by a discussion of how architectural differences lead to different soundscapes which require different ways of dealing with it; in turn this leads to different results regarding human perception. Various ways of using acoustics and, accordingly, music were already discovered by the church fathers in Late Antiquity. On the one hand, they utilized music as a means of influencing the faithful. On the other hand and under certain acoustic conditions, acoustic and visual staging may have created a subjective transcendental realness, a phantasmagoria, which could not be separated from reality anymore. While numerous studies have dedicated themselves to the acoustic measurement of church buildings, here an attempt is made to discuss various scenarios of the impact on the individual’s perception.