Weird acoustic?
Estonian CHOIR in as dry an acoustic as possible. In music that somewhat cried out for a bit of a halo.
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Weird acoustic?
Estonian CHOIR in as dry an acoustic as possible. In music that somewhat cried out for a bit of a halo. -
Milton Court doesn't have "as dry an acoustic as possible". It's rather a good concert hall for voices.Originally posted by DracoM View Post -
Listening via the iPlayer now, I would not describe the acoustic as dry, but neither is it that reverberant. Not dead, but not exactly lively, either. I am no great fan of AP'S music, but it certainly beats the Trumpeting about to start on the BBC news Channel.Originally posted by Gabriel Jackson View PostComment
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I was invited by Guildhall to one of the first concerts when Milton Court was first open. A big thing was made of its 'infinitely variable' acoustics. Apparently there are all sort of panels and acoustic reflectors that can be fiddled about with at the touch of a switch. Maybe they didn't hit the right combination? Haven't listened yet...but will do.
PS I gather also the concert hall part of the complex is somehow protected from the rumbling of Underground noises.
From its own website:
Arup was appointed to provide acoustic consultancy services to ensure the highest-quality sound in all performance and studying spaces. We worked closely with RHWL Arts Team during the design and held rigorous acoustics trials to test the acoustics in Milton Court’s concert hall, theatres and rehearsal rooms.
The concert hall has a variable acoustic system and automated stage extension systems to allow for the swift change from school rehearsal to public performance use. The acoustics can be adjusted to make the room suitable for orchestral use, and for amplified and speech related activities.
The concert hall at Milton Court provides beautiful acoustics for performers and audience alike. It represents a rare opportunity in London to realise an ideal blend of ample volume and rigorous form, resulting in both clarity and fullness. Its upper volume provides a natural reverberance which allows musical phrases to connect to each other, while its narrow footprint reinforces the sound path from performer to audience.
Wall surfaces are carefully articulated and have been laboratory tested to ensure they respond ideally, each vibrating subtly in response to the music and providing even, dispersed reflections. The architectural ordering of the surfaces ensures that the audience receives a smooth sequence of acoustic reflections, resulting in a warm, blended sound.
The hall is highly flexible in platform configuration and acoustic response, to allow for the broadest range of repertoire. The platform comprises a series of lifts so that its size and tiers can be optimised to suit the programme, from solo recital to symphonic repertoire. The reverberance of the hall is also widely adjustable through the use of a series of automated drop-down wall banners, so that the response can be fine-tuned to the demands of the programme.
To ensure immunity from disturbance, the hall has been constructed as a fully isolated ‘box-in-box’ masonry construction, supported only by a series of natural rubber isolation bearings. Structurally it is completely independent of the building within which it sits. The ventilation system slowly trickles fresh air in through openings within the seats, to ensure the most delicate pianissimos are heard against a silent background.Comment
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Much better music in the second half - Jonathan Harvey's final piece, 'Plainsongs for Peace and Light' is beautiful.Originally posted by Bryn View PostComment
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