These yellow foam balls hear sounds just like the human ear and feed the results into the laptop of Gunter Engel. Dotted around the empty rows of seats are yellow foam balls that resemble smiley faced emojis listening to headphones. Suspended above are 28 giant reflectors, made of wood and shaped like petals of a flower – or maybe rounded guitar pics. On stage the players are working their way through Tchaikovsky and Mozart, conducted by Israeli violinist Pinchas Zuckerman. November, 2016 and there’s more pressure than usual during a rehearsal of the Sydney Symphony Orchestra. It’s been an issue that’s never been solved and if we can solve it that’s a wonderful thing.”
“Improving the acoustics in the Concert Hall is a critical part of Renewal,” says Sydney Opera House CEO Louise Herron. Yet it’s just one of six projects that form the centrepiece to the Opera House’s Decade of Renewal. On its own it would be a massive project. The biggest change will be to how the hall sounds: the stage will be lower, the walls beneath the boxes will tilt differently and new acoustic reflectors will replace the plastic ‘donuts’ that have been hanging above the stage since the Opera House opened in 1973. Better access and more room is being made available for people in wheelchairs. Theatre machinery, grid systems and the air-conditioning is all getting replaced. In 2014 actor and director John Malkovich said an airplane hangar would sound better.īut after 46 years of mixed reviews, the Concert Hall is finally getting a major upgrade.
It’s said the hall is simply too big and its ceiling is too high. Many think the sound is different depending on where you are in the room. Some feel the acoustics in the Concert Hall lack power. Everyone loves the building, but not everyone loves the way it sounds, especially in its largest venue, the Concert Hall, home to the Sydney Symphony Orchestra, the Australian Chamber Orchestra and a stage for everything from rap artists to world-famous classical orchestras (Kanye West played in 2006.
Sydney Opera House, one of the world’s most famous music venues, has long had a problem. And it’s one of hundreds of laws of acoustics – a complex mix of geometry, architecture, physics and neuro science – that must be mastered to make a hall sound beautiful. It helps explain why music in a concert hall sounds better than at an outdoor festival (and why the sound can seem muffled if you’re sitting right at the back). The answer lies in the way our hearing focuses on sounds that our brains think are the most significant – a capability that has evolved over time, promoting human survival by helping avoid predators and locate prey. So why does the recording sound so different? Notice what’s different? The sound in the recording seems fuller and more textured than the real thing. Record a conversation on your smartphone and then play the recording back to yourself. We’ve reopened the Joan Sutherland Theatre.
0 kommentar(er)
